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Phoenix Ensemble brings Stephen King's classic tale to life in a haunting and emotionally charged performance of "Carrie - The Musical." Set in 2009 Chamberlain, Maine, the musical explores themes of radicalised religion, power dynamics, and the devastating consequences of bullying. My evening kicked off with their signature cocktail, the delicious 'Bloody Carrie,’ setting the mood for the show. Directed by Joshua Brandon in his directorial debut, "Carrie" unfolds with striking intensity that reverberates throughout the intimate theatre space. Victoria Lancaster's choreography complements his creative vision, drawing the audience into the world of Chamberlain High. The opening number in both Act 1 and Act 2 sets a (misleading) joyful tone with dynamic movements and energy. Under the guidance of Hayley Marsh, the ensemble's vocal talent resonates beautifully throughout the theatre. The tech team created a balanced sound, allowing the band to skilfully complement the cast's strong vocal performances. Harley Roy truly stands out as the MVP of the production, taking on multiple roles of Stage Manager, Set Designer, Set Constructor, and Costume Designer. Roy's multifaceted involvement ensured a cohesive and visually captivating presentation. The set design makes use of every aspect of the theatre, from the detailed gym floor to the bloodied walls and clever props that heighten the tension. At the heart of the production, we have Chelsea Sales giving a brilliant performance in the challenging role of Carrie White. Her portrayal feels authentic and emotionally charged, masterfully capturing Carrie's transformation from a timid outcast to a powerful force. Her crystal-clear vocals and impressive belting abilities shine in solos "Carrie" and "Why Not Me" as she truly personifies the complexity of the character. Sales’ acting is nuanced, with every emotion vividly expressed through her eyes, from fleeting moments of joy to profound fear to intense hatred. Sales brings a compelling vulnerability to Carrie, making her both pitiful and formidable in the eyes of the audience. Carly Quinn's portrayal of Margaret White, Carrie's controlling and fearful mother, is hauntingly authentic. Quinn's outstanding vocals and gripping acting in emotionally charged pieces like "When There's No One" powerfully convey the emotional turmoil of her character, culminating in (SPOILER) a heartbreaking climax as she decides to kill Carrie. Sophie Mason's portrayal of Sue Snell is equally compelling, navigating her character's evolution from harsh bully to a remorseful and selfless individual and eventual (SPOILER) lone survivor of the massacre. Her gentle vocals in the touching "Once You See" really hit home with their emotional depth. Lisa Alsop's portrayal of Ms. Gardner is a perfect balance of toughness and compassion as a guiding mentor for Carrie. Alsop's heartfelt rendition of "Unsuspecting Hearts" showcases her exceptional vocal talents and the character's empathy as she blends beautifully with Sales’ voice. Storm Fraser commands the stage as Chris Hargensen; a complex antagonist with powerful vocal performances, especially in the upbeat "The World According to Chris." Fraser captures the character's dual nature, drawing the audience in with a mix of admiration and disdain, much like the iconic mean girls we all love to hate such as Regina George or Heather Chandler. And I can’t forget Macca Kelly, who plays the devious Billy Nolan, truly embodying the hateful character through excellent stage presence. Kyle Armstrong's portrayal of Tommy Ross shines through his amazing vocal talents, a sentiment echoed by friends who have seen him perform. I had the pleasure of watching Dugald Lowis, who understudies Tommy, and I was touched by their performance of “Dreamer in Disguise.” Lowis does a fantastic job at capturing the kind and sincere essence of the character, which makes his eventual tragic fate even more heart-wrenching. The musical numbers in "Carrie" are undeniably brilliant. "I Remember How Those Boys Could Dance" incorporated contemporary dancers behind a backlit sheet to add a visually stunning layer of artistry. "Do Me a Favor" really showcased the talent and cohesion of the entire cast, and the Act 1 Finale with Carrie's confrontation with her mother was truly electrifying and memorable. The climactic destruction scene is a tour de force of theatrical craftsmanship. It's filled with intense fight choreography, atmospheric lighting, alarming special effects, and plenty of blood to really make the haunting scene come to life. (SPOILER) The emotional depth in the portrayals of Carrie and Margaret’s deaths really leave a profound impression. Overall, Phoenix Ensemble's production of "Carrie" is a must-see for theatre enthusiasts who enjoy a thought-provoking experience. The entire ensemble and crew really kill in every aspect of the production, pun intended.

A heartfelt exploration of adolescent challenges wrapped up in an original musical! I recently had the pleasure of attending the BTG's production of "Mayhem in June," a heartfelt musical written and directed by Nicholas Hargreaves. This original production, featuring a cast of six budding young actors, explores the turbulent world of high school dynamics against the backdrop of the game of chess. The story follows Peter as he navigates his way through Grade 11 at a new school, aiming to climb from chess captain to choir leader. Throughout the school year, we witness the ups and downs of teenage life - from unrequited crushes, friendship conflicts, misinformation, and self-discovery. The simple set design with scattered chess pieces and chess-themed costumes cleverly reflected the musical’s themes of strategy and interpersonal dynamics. One of the highlights of "Mayhem in June" is the incredible original score. As a recent high school graduate himself, Hargreaves has shown impressive talent in crafting memorable tunes with intricate orchestral arrangements. While the vocal performances could have been a bit more polished with extra rehearsal time to refine articulation and ensure confidence in delivery, the cast did an admirable job given their age and experience levels. I also appreciated that the orchestra was placed on a raised platform at the back of the stage, allowing the audience to fully appreciate their skills. Lead actor Harrison Port gave a captivating performance as Peter by truly embodying the character's mix of social anxiety, people-pleasing tendencies, and struggle with decision-making. The number “I Wanna Be Somebody" that appears repeatedly throughout the show perfectly sets the tone for Peter's character development, conveying his introspective nature and his desire to leave a lasting impact in his new surroundings. A few songs really stood out to me, like the clever “Expectations” duet and the catchy “Eight Years Old” tune that even taught me a thing or two about chess! “The Crab”, the chess-competition group number, emerged as a standout with its captivating energy and creative execution. While the lyrical content was brilliant, there were challenges where clarity was compromised and plot points obscured. While the layered vocals in pivotal moments, like "Did You Hear?” added the desired angst to the scene, they sometimes made it hard to follow the storyline – for example, the accident was unclear to me until the actor appeared onstage with a cast on their arm. Rowan Eastgate as Tristan was the standout vocal performer of the show for me. His powerful rendition of "Trick of the Mind" demonstrated Eastgate's impressive vocal tone and developing stage presence. Cody Hargreaves, in the role of Cam, gave a brilliant acting performance in his portrayal of a complex and troubled teenager; his heightened emotions palpable through nuanced acting skills; plus a terrific performance in "Unrequited Amends”. Zara Lassey was equally impressive, showing off her versatility in transitioning between different roles and vocal styles. Her bluesy solo as Cam's mother in “Tough” was a distinctive moment that showcased her upper vocal range and natural stage presence. Anika Jocumsen and Harrison Port really excelled together as Mal and Peter in some beautiful duets. The song "Choices" poignantly portrayed the shared inner struggles that their characters were facing, and their duet in Act 2 “I Wish I Could Tell You” was powerful in exploring the unspoken feelings and complexities of their relationship. Kira's solo, "Complicated," performed by Brooke Garwell is such a well-written piece with so much potential. I really think a studio recording of the soundtrack would truly enhance the appreciation of these songs, although I know that is not always be possible. But I can't help but wish I could listen to them again! “Mayhem in June" is a promising musical debut that really highlights Nicholas Hargreaves' budding talent as both a composer and storyteller. Although there were a few vocal challenges and technical glitches with the projections, the musical offers a relatable story that will definitely connect with high schoolers and musical theatre fans. It's clear that this show is a testament to the creative skills of its young creators and performers. With a bit more polishing, this musical has the potential to really shine. We can't wait to see what future productions come from this talented young team!

Audition Dates: June 7th - June 10th, 2024 Call Backs: Monday 10th June, 2024 or Wednesday 12th June, 2024 at 7:30pm Venue: Wynnum State High School, Peel Street, Manly Minimum Age: 16 years AUDITION PREPARATION Principal Audition Details: Private individual auditions for vocal ability and reading skills (10-minute slots) Prepare two contrasting musical theatre songs (32 bars each) Accompanist available on Saturday morning (9am - 12:30pm) Sheet music required or bring backing tracks and device with aux cable Script excerpt provided (to be performed within audition) Colour headshot and completed audition form required All principals must attend a dance audition session Ensemble Auditions (Basic Movement and Dance Movement): Saturday, June 8th, 2014 (1pm - 3pm for Basic Movement, 2pm - 4:45pm for Dance Movement) Group auditions with taught song excerpt and potential solo vocal line Movement videos provided for practice Colour headshot and completed audition form required PRODUCTION INFORMATION Show Synopsis: Set in 1959, Curtains is a musical comedy that unfolds backstage at Boston's Colonial Theatre. When the leading lady mysteriously dies on stage, local detective Lieutenant Frank Cioffi steps in to investigate. As the show must go on, the cast and crew become suspects in this brassy and bright whodunnit musical. Performance Dates: September 21 - October 5, 2024 Venue: Iona Performing Arts Centre, 85 North Road, Lindum 4178 PRINCIPAL ROLES Lieutenant Frank Cioffi (Stage age: 40s) Local Boston detective and musical theatre enthusiast. Vocal Range: A♭2 to E4 (Tenor, Baritone) Niki Harris (Stage age: 20s-early 30s) Chorus girl aspiring to Broadway, falls in love with Cioffi. Vocal Range: B3 to E5 (Soprano) Georgia Hendricks (Stage age: 30s) Songwriting team member who becomes the leading lady. Vocal Range: G3 to E5 (Mezzo-soprano) Carmen Bernstein (Stage age: 45-65) Brassy Broadway producer with strong comedic skills. Vocal Range: E♭3 to E5 (Mezzo-soprano, Alto) Aaron Fox (Stage age: 40s) Composer, charming ladies' man, separated from his wife. Vocal Range: G2 to G♭4 (Tenor, Baritone) Sidney Bernstein (Stage age: late 50s – mid 60s) Tough, self-serving producer with good comic timing. Vocal Range: Non-singer Christopher Belling (Stage age: 40-60) Flamboyant English director known for humor. Vocal Range: B2 to F4 (Baritone) Bambi Bernét (Stage age: early 20s-early 30s) Chorus performer, daughter of Carmen, skilled dancer. Vocal Range: B3 to E5 (Soprano) Daryl Grady (Stage age: 30s) Influential theatre critic. Vocal Range: Non-singer Johnny Harmon (Stage age: 40s-50s) Gruff yet lovable stage manager. Vocal Range: B2 to B♭3 (Tenor, Baritone) Oscar Shapiro (Stage age: 45-65) General manager with a business-minded approach. Vocal Range: G2 to E4 (Baritone) Bobby Pepper (Stage age: 20s to early 30s) Choreographer and lead dancer. Vocal Range: A2 to E4 (Tenor, Baritone) Jessica Cranshaw (Stage age: 30s-40s) Former Hollywood star, terrible singer/actress. Vocal Range: D4 to E5 (Mezzo-soprano) IMPORTANT DATES Information Session: May 19, 2024 @ 10am-11am Rehearsals begin: June 30, 2024 Sundays: 12pm - 5pm Mondays: 7:15pm – 10pm Wednesdays: 7:15pm - 10pm Photoshoot: Sunday 21st July, 2024 Launch Event: Sunday 28th July, 2024 Sitzprobe: Sunday 1st September, 2024 Bump–in to the Theatre: Friday 6 th September / Saturday 7 th September, 2024 Performances: September 21 - October 5, 2024 CONTACT INFORMATION Email: auditions@savoyards.com.au Website: www.savoyards.com.au PRODUCTION TEAM Director: Carolyn Latter Musical Director: Jacob Cavanough Choreographers: Ange Schoemaker and Melanie Southall NOTES All auditionees will be notified of outcomes via mobile phone or email. Rehearsals and production involvement are expected for all successful cast members. Savoyards encourages diverse applications for all roles. Casting decisions are made based on a combination of talent, suitability for roles, and availability for rehearsals and performances. For more detailed information, download the audition pack from the Savoyards website: Audition Pack

If you were looking for a night filled with surprises and outstanding talent, "A Night at the Musicals" delivered beyond expectations. The show, curated by the brilliant Sophora Cliff, took audiences on a journey through lesser-known gems and refreshing renditions of classic musical favourites. I was swept away by songs I had never encountered before, which allowed Sophora and her team to craft a production devoid of many preconceived notions. An ensemble of 18 phenomenally talented locals graced the stage with a thunderous opening number from "Songs For a New World". The vocals, oh the vocals! Each carefully-selected performer was exceptional, but a few left me utterly spellbound... Carly Wilson's rendition of "Screw Loose" from Cry Baby and Cody Arthur’s gender-bent version of “Popular” from Wicked were fantastic comedic choices to kick off the solos. They embodied their unhinged characters brilliantly. And then there was the boy band vibes during "One Knight" from Wonderland; led by the charismatic Sam Caruana and his entourage of singers. Pure entertainment! Kirra Lang, our real-life Cinderella, sang "On the Steps of the Palace" from Into the Woods, which was nothing short of angelic as she tackled a notoriously challenging song with grace and skill. Nathan Kneen's rendition of "Anthem" from Chess left a lasting impression with his masterful classical voice. It's not surprising that some friends told me they were quick to buy tickets as soon as they found out he would be singing this piece. Heidi Enechelmaier's interpretation of "Astonishing" from Little Women was a powerhouse display of passion and talent that uplifted as she embodied the headstrong character of Jo. Belinda Lewis took my breath away with her rendition of "All That Matters Now" from Finding Neverland, a powerful solo that I had the privilege of hearing for the first time that night. The trio of Sam Caruana, Henry Kafoa, and Jake Lyle captured my heart with their charming rendition of "Can’t Take My Eyes Off of You" from Jersey Boys. Their palpable joy and stunning harmonies left me grinning. In the delightfully awkward "Sing but Don't Tell" from Island Song, Sophora Cliff's performance was an absolute riot. She had a live pianist as her muse for the song, which was just the perfect touch. And her duet with Jessica Papst was also a highlight, mixing vulnerability and musical finesse beautifully. I have to mention the uproarious performance of "Can't Hang" from Muriel's Wedding featuring Tiffany Payne, Carly Wilson, Kyla Price, and Kirra Lang. The Aussie accent, the humour, the talent - sheer perfection. I seriously need to see them perform the entire musical now! Plus, Liam O'Byrne's gender-bent version of "Don't Lose Your Head" from Six was a standout, with Liam's impeccable vocals and showmanship stealing the spotlight and his final riff leaving me gobsmacked. Alex Watson's brilliant rendition of "You'll Be Back" from Hamilton was not only technically impeccable but also filled with personality. Alex's interpretation breathed new life into the crazy character, with his deliberate and meticulous approach to the song. Every gesture, every expression, and every vocal nuance was carefully crafted to maximise comedic effect and capture the essence of King George's pompous yet endearing demeanour. Kyla Price's rendition of "Burn" from Hamilton was nothing short of breathtaking. Her performance was so intense and powerful that it felt like we were watching the professional production! The medley from Les Miserables featured hauntingly beautiful harmonies that sent shivers down the spine. The arrangement was particularly striking, transforming a well-known solo “Bring Him Home”, into a captivating quartet that added new depth and emotion to the familiar melodies. Jake Lyle's performance of the final stanza, with its poignant plea of "If I die... Let me die!,” was filled with heart-wrenching emotion and sincerity. What made this show truly exceptional to me was its fresh approach to familiar tunes, adding new harmonies and inventive mashups that kept the audience engaged and surprised, as seen in the Andrew Lloyd Webber trio. Sophora and her team curated a show that struck a perfect balance between solos, small groups, and big ensemble numbers, culminating in a night of pure musical magic. This two-show run, unsurprisingly, sold out in record time. I can only hope they extend the season next time, as this level of talent deserves to be seen by all. This production was a testament to the wealth of talent in our local musical community and left me eagerly awaiting their next spectacular instalment, “A Night at the Jukebox Musicals,” set to grace us with its presence in September 2024.

What sparked your interest in theatre? Nick: My initial exposure to musical theatre was through Pure Imagination Theatre Productions, a children’s theatre company run by the incredible Emily Bernoth. They transformed musicals into something enjoyable that sparked my excitement; which lead me to join drama classes and turn in, my passion for theatre. I have such incredibly fond memories of that group, and even began writing my first musical after promising Emily I wouldn’t leave until we had produced a show that written by me. The show I wrote was called 'The Box'; it was rubbish and I never shared it. Although 'Camp Fear' showed improvement, I never followed through with it. Finally, now 'Mayhem in June' is a project that I am genuinely proud of and beyond excited to finally share! The fact that you started writing your own musicals at such a young age shows a lot of initiative and creativity. 'Mayhem in June' sounds like an interesting project, and I'm curious to know more about it! How do you decide which projects to pursue, such as your acting role in ‘Shakespeare in Love’ or writing musicals like ‘Mayhem in June’? Nick: Whatever project you do is going to be a huge time commitment, so I don’t do anything unless I’m passionate about at least one aspect of it. With 'Shakespeare in Love', I was drawn to working alongside the other artists involved and the prospect of portraying Shakespeare; which was highly appealing to a Shakespeare nerd like me. For 'Mayhem in June', it has been all about the message. The show is about the toxic effect that conformity can have on young people—an issue close to my heart. Without this meaningful theme, it would have been challenging to justify the extensive time and effort I have invested in this production. Your dedication-based on the artists involved or the important themes—speaks volumes about your commitment. How do you navigate the creative process when balancing acting and writing? Nick: There's always a moment in writing or acting when your understanding of a character finally clicks, and you realise who they are. The challenge, however, is that understanding a character doesn't automatically translate into how you portray them, because characters do not exist in the abstract. They evolve with each scene, and in 'Mayhem in June', some characters appear within re-enactments narrated by biased storytellers, adding another layer of complexity. So, when considering all these factors, the most important thing is to assess how each scene contributes to the overall show. For instance, you might grapple with a character's condescending nature, which they conceal. But if the scene sets up a song about their frustration with condescension, you prioritise conveying that theme. Building on this, could you share some of the influences or inspirations behind 'Mayhem in June'? Are there specific themes or personal experiences that have shaped the story? Nick: 'Mayhem in June' is the culmination of experiences shared by myself and many people around me over the years. At its core, it serves as a case study of the toxic customs ingrained in high school culture. During my time in high school-as many young people will probably relate-I discovered that 'truth' often takes a back seat to collective beliefs and consensus. It can be confronting when you feel pressured to go along with stories that don't align with your beliefs. Through this show, I aim to illustrate the liberating experience of breaking free from these societal pressures and letting those cares go. I'm curious about your approach to translating these themes into songs. How do you draw inspiration and translate your ideas into the musical elements of your production? Nick: In my experience, songs often begin with either a lyric or a piano motif. Throughout writing 'Mayhem in June', I initially started with piano ideas, but recently, I've shifted towards beginning with lyrics. If you're unsure where to start when writing a song, I recommend starting with lyrics. Words provide a natural rhythm with stressed and unstressed syllables, which can then be transformed into a melody. What advice would you give to those looking to pursue creative projects like you have done or embark on their own theatrical endeavours? How can they navigate the challenges and opportunities you've encountered in your journey? Nick: I wouldn't claim that I've fully broken into the industry yet, but my best advice for anyone is to simply start, no matter the perceived quality or level. Too often, aspiring writers hesitate to begin because they think they're not yet good enough yet. The thing is, you can study, network, and plan all you want, but the best way to improve is by actively engaging in the craft. If you're interested in acting, audition for numerous shows and volunteer your time. If you're a writer, consider sharing your work with friends and family for feedback. Now, the biggest problem here is is the substantial time commitment required, and there’s no real solution for that. Currently, I'm juggling 12 to 14-hour days between pre-service teaching and preparing for 'Mayhem in June', which is a good example of poor time management that I would not recommend. Composing music, in particular, can be a time-consuming process; crafting just eight bars of music can sometimes take hours. Nevertheless, if you love what you’re doing, you'll find ways to integrate it into your life, even as a hobby. So keeping that in mind, set yourself (achievable) deadlines: “I will have Act 1 complete by May 1st”. I never actually reach those deadlines, but they can serve as a motivating force to get you started. And I get close! Your insights into starting creative projects are incredibly valuable, especially as someone who understands the demands of teaching firsthand. What do you enjoy most about working in the theatre industry and what keeps you motivated to continue creating and performing? Nick: I don’t believe live performance is a medium that will ever fade away. Especially during the pandemic, we realised that audiences need that in-person connection, and that is something truly special. When you're in the audience and witness something special happening onstage, you're part of that moment. My main motivator to continue making theatre is to create those moments, whether I'm on stage or behind the scenes. Looking forward, what aspirations or goals do you have? Are there specific projects or collaborations that you hope to pursue in the future? Nick: I believe I have improved a lot at writing musicals since I started, and I'm committed to further improvement in that regard. I would also love to collaborate with some other artists, as it pushes me out of my comfort zone and fosters new creative perspectives. As for future projects, during Easter weekend, I was fortunate enough to have some theatre friends willing to read through the first draft of my next show, 'Flight!', which explores the stories of notable figures from aviation history through a musical anthology. So keep an eye out for updates on this over the next 12 months! I want to extend my gratitude to Stage Buzz for this opportunity — thank you so much for doing this interview, it's really greatly appreciated! Catch the world premiere of 'Mayhem in June' on May 3-4 at the Crete Street Theatre. Secure your tickets now at https://www.trybooking.com/CPSES

Audition Submissions Due Date: 18 May 2024 (By midnight) Audition Date: Sunday 19 May 2024, 9am - 12pm Venue: New Farm Park Performance Dates: 30 August, 31 August & 1 September, 2024 About the Show: "Shakespeare in Bloom" presents William Shakespeare's beloved comedy, A Midsummer Night's Dream, in a magical adaptation set in New Farm Park. Join us for a streamlined rendition combining Shakespeare's wit with modern colloquial language, contemporary songs, and captivating performances under the stars. Creative Team: Director: Rhona Bechaz Assistant Director: Clare Thomson Assistant Director: Hannah McNamara Vocal Director: Emma Parkinson Costume Designer: Lachlan Hall Band Director: Thaleia Fogarty Principal Acting Roles: Puck Acting Role - Flexible Gender/Age Mischief maker, narrator, fairy/sprite, Oberon’s confidant. Requires overwhelming charisma and ease with audience interaction. Titania Acting Role - Flexible Gender/Age Ethereal Queen of the Fairies, embodying grace, strength, and confidence. Oberon Acting Role - Flexible Gender/Age Proud King of the Fairies, schemes to trick Titania due to jealousy. Requires commanding stage presence and resonant voice. Peter Quince Acting Role - Flexible Gender/Age Leader of the troupe of mechanicals, patient and determined. Nick Bottom Acting Role - Flexible Gender/Age Arrogant and boastful, turned into an ass, providing comedic relief. Helena Acting Role - Female presenting/Flexible Age Tall, graceful, and clumsy emotional mess, deeply infatuated with Demetrius. Requires physical comedy skills. Hermia Acting Role - Female presenting/Flexible Age Headstrong, confident, and purposeful, in love with Lysander. High energy and direct personality. Lysander Acting Role - Flexible Gender/Age Gentle and dreamy lover, besotted with Hermia. Sarcastic, witty, and clever. Demetrius Acting Role - Male presenting/Flexible Age Slightly arrogant, starts as a player but experiences character growth. Requires fight scenes and physical comedy. Ensemble Roles: Peaseblossom, Cobweb, Mustardseed, Moth Singing & Movement Roles - Flexible Gender/Age Vocalists & fairy entourage, storytelling through song and movement. Mechanicals (Snug, Francis Flute, Tom Snout, Robin Starveling) Acting Roles - Flexible Gender/Age Comedic roles within the troupe of amateur actors. Audition Requirements: Acting Roles: Prepare a comedic Shakespearean monologue (1-3 minutes) for the workshop. Attend a one-hour workshop in the park for theatre games, monologue work, and ensemble building. Singing & Musician Roles: Sing a contemporary song demonstrating your vocal range and abilities (accompanied by backing track or instrument) - submit via the Google Form. Key Dates: Sun 19 May: Auditions Sun 16 June: First Rehearsal & Meet & Greet Tues 18 June: Headshots Sun 7 July: Sitzprobe Sun 14 July: Photos 2 Sun 4 Aug: Full Run Sun 11 Aug: Dress Run Sun 25 Aug: Tech/Dress Rehearsal Fri 30 Aug: Show 1 Sat 31 Aug: Shows 2 & 3 Sun 1 Sept: Show 4 Rehearsal Schedule: Sundays (9am-12pm) Some Tuesdays & Thursdays (7-10pm) Note: Detailed schedules will be provided post-casting. Audition Form & Details: Audition Form: Google Form Link Audition Pack: Download Audition Pack Join us for a unique interpretation of this timeless Shakespearean comedy! For more information and to register for auditions, please use the provided links. Get ready to bring the magic of A Midsummer Night's Dream to life in the heart of New Farm Park.

Audition Date: Monday 27 May 2024 @ 7.30 pm at Ipswich Little Theatre, 15 Burley Griffin Dr, Ipswich QLD Performance Season: 18 September to 5 October 2024 About the Show: Join us for "Clue On Stage," adapted from the cult classic Paramount Pictures film and Hasbro board game. It's a dark and stormy night at Boddy Manor where you'll encounter a bizarre dinner party, aliases for guests, a variety of weapons, and a host who's... well, dead. Follow the quirky characters like Scarlet, Plum, White, Green, Peacock, and Mustard as they unravel the mystery before the body count rises! Directed by: Tony Erhardt, with Assistant Director Jo Robbins Roles Available: Wadsworth: Traditional British butler, uptight and formal. Male 40 - 60yrs. Yvette: Loyal and sexy French maid. Female 20 – 40yrs. Miss Scarlet: Dry and sardonic D.C. madam. Female 30 – 50yrs. Mrs. Peacock: Wealthy, neurotic, and quick to hysteria. Female 30 - 60yrs. Mrs. White: Pale, morbid woman with a mysterious past. Female 40 - 60yrs. Colonel Mustard: Pompous military man. Male 40 - 60yrs. Professor Plum: Arrogant academic. Male 30 – 50yrs. Mr. Green: Timid and officious rule follower. Male 30- 50yrs. Ensemble Man: Plays multiple small roles. Male 30 – 60yrs. Ensemble Woman: Plays multiple small roles. Female 30 – 60yrs. Audition Information: Audition Sides: Download Audition Sides Perusal Scripts: Available upon request To Register for Auditions: Complete the form here

In the intimate setting of PIP Theatre, Passion Productions presents "35MM: A Musical Exhibition" directed by Harrison Allen. This song-cycle blends live music with visual artistry, with each of its sixteen standalone songs inspired by a photograph captured by artist Matthew Murphy. This innovative concept offers a fresh perspective from traditional theatre where we are accustomed to a linear narrative structure. Here we are treated to a different story and set of characters within each song. Once I adjust to this premise, I was rewarded with a compelling journey through various storylines, akin to a collection of short stories rather than a novel. The adaptable staging at PIP Theatre creates an immersive experience with its runway-style stage and some cabaret seating to engage the audience in the unfolding narratives. The walls adorned with strings of photographs add a gallery-like ambiance to the transformed theatre; while impeccable sound and lighting design further elevate the production's atmospheric quality. Each musical performance is complemented by a backdrop projection of the corresponding photograph. Additional contextual cues such as costumes, props, and facial expressions assist in conveying the mood and themes of each number. The vocal performances are exceptional, showcasing impressive range and versatility across the talented cast of seven. Despite minor diction issues, the singers deliver incredibly compelling solo moments and passionate group numbers that contribute to the diverse tapestry of stories reflecting themes of love, loss, humour, and introspection. Mabelle Maynard's rendition of "Crazy Town" captivates with percussive dynamism and raw energy, enhanced by intriguing visuals of random body parts that emphasise the song's surreal and chaotic nature. Maynard's performance sets a striking opening tone for the production, drawing the audience into a world where emotions run unpredictable and unrestrained. Aurélie Roque delivers a standout performance in the poignant "Leave Luanne," masterfully spinning the tale of a faithful yet scorned wife. Roque commands the stage with unwavering presence as the storyteller, surrounded by a captivated ensemble and Samantha Sherrin as Luanne. In contrast, Roque’s rendition of "The Party Goes With You" captivates with its beautiful slow ballad style, unfolding against the backdrop of a contemporary duo dance. Roque's vocal delivery infuses the stage with heartfelt emotion, drawing the audience into a poignant exploration of life's transient moments and connections. Rae Rose delivers a vocally demanding performance in "On Monday," offering a nuanced portrayal of intricate relationship dynamics through emotive delivery. Connor Clarke engages the audience in "Caralee," offering humorous storytelling that invites the audience into the character's world. The chilling closeup photograph of a doll - an interpretation of the toddler named Caralee - emphasises the character's struggles and frustrations with taking care of a child with no boundaries. “Good Lady” emerges as a formidable anthem, highlighting Tomer Dimanstein's commanding presence as a captivating protagonist. Accompanied by candlelight, "Mama Let Me In" is an emotional acapella group number that serves as a testament to vocal director Nykita O'Keeffe's artistry with stunning harmonies and precise dynamics. On the other hand, the upbeat and rebellious group song of “Why Must We Tell Them Why?” challenges conventional notions of art and purpose, with the live painting on stage adding a clever visual element. "Hemming and Hawing" explores the complexities of a crumbling marriage through a duet between Dimanstein and Rose. The actors convey anguish and emotional turmoil with compelling authenticity, allowing the audience to empathise with the characters' struggles and indecision. "The Seraph” evokes heartfelt and vulnerable emotion with spiritual undertones, complemented by Bethanie Walsh's guitar accompaniment. I highly enjoyed the remainder of the songs too, but "The Ballad of Sara Berry" is a standout group number that concludes the production with infectious passion. Roque's commanding performance as Sara Berry, a determined high school cheerleader, highlights themes of ambition and rivalry with rock-infused intensity. The song's narrative unfolds with electrifying enthusiasm, showcasing the cast's collective talent and delivering a thrilling finale. "35MM: A Musical Exhibition" is a bold and thought-provoking exploration of storytelling through music and photography. With exceptional performances, this musical exhibition dares to push boundaries, inviting audiences to appreciate the artistry of capturing profound moments in time. Now playing at PIP Theatre, Milton until 4th May Ticket Link

Audition Dates: Saturday, April 13th: 3pm-5pm Saturday, April 20th: 2pm-4pm Sunday, April 21st: 3pm-5pm Video Audition Due: Wednesday 24th April Audition Venue: Northpine Christian College Drama Room Synopsis: Embark on a cosmic journey with "Kaleidoscope" as we explore profound questions of existence. What unfolds when a crew is stranded in space, their vessel torn open by a meteor? Join us in unraveling the mysteries of life's purpose and human resilience. An opportunity for actors to delve into the depths of their being. Characters (Age range: 18+): Captain Hollis: Firm, compassionate leader Stone: Intelligent, well-trained crew member Stimson & Woode: Nervous, mentally weak Applegate: Antagonistic, sarcastic Lespere: Optimistic, with a positive outlook Barkley: Cool, collected demeanour Performance Dates: 2-4th August: Beenleigh 9-11th August: Ipswich 23-25th August: KSP Theatre, Burpengary 31st August: Northpine Christian College Rehearsals Commence: Saturday, April 27th Wednesdays: 7pm – 9pm Saturdays: 9am – 12pm *Additional rehearsals may be scheduled* Membership fee: $60/year. Membership of Introspect Theatre Company is compulsory to perform with us. Enjoy perks like exclusive workshops and smaller shows throughout the year. Book audition

An Evening on Broadway: Heros vs. Villains Auditions: Sunday, April 21st, 2024, from 9:00 AM - 11:00 AM & 12:00 - 2:00 PM Video Audition Due: Sunday, April 28th, 2024 Venue: Northpine Christian College, 29 Hughes Rd E, Dakabin QLD 4503 Details: Group auditions will be held in 2-hour slots. Wear comfortable clothing for movement. Audition Link: Register Now Show Overview: Immerse yourself in a cabaret featuring iconic characters and songs from musical theatre. Join the debate over which side is better through songs and scenes, led by two dynamic MCs. Rehearsals: Rehearsals will be on Tuesdays or Thursdays from 5:45 PM to 9:00 PM, and Sundays from 4:00 PM to 8:00 PM starting on May 12th. Performance: September 7th, 2024, at 7:00 PM Characters: Good MC Evil MC Dancers Singers - Specific characters will be decided collaboratively during rehearsals. Membership: Membership of Introspect Theatre Company is compulsory to perform with us. The membership fee for the year is $60. Becoming a member comes with amazing perks including smaller shows throughout the year, unlimited access to workshops, and more. Visit our website or social media pages to find out more. Contact Information: Website: introspecttheatreco.com.au Facebook: Introspect Theatre Company Instagram: @introspect_theatreco Phone: 0478 691 569 (Cindy) OR 0415887447 (Lachlan)

The opening performance of "Blood Brothers" by Ghostlight Theatre featured a talented local cast that navigated last-minute challenges with commendable resilience. For newcomers to this musical, “Blood Brothers" by Willy Russell delves into the lives of Mickey and Edward - twins separated at birth in 1950s Liverpool - whose contrasting upbringings lead to divergent paths in adulthood. The narrative adeptly explores themes of inequality, superstition, and violence across childhood, adolescence, and into adulthood. While the music, reflecting the 1980s with synthesisers and distinct stylistic choices, was occasionally marred by choppy backing tracks, this did not significantly detract from the overall impact. The musical navigates themes of coming of age, with songs like “Kids’ Game” depicting childhood camaraderie and evolving into more mature compositions like “That Guy,” a delightful duet between the twins that highlights their contrasting personalities. As the brothers mature, Mickey grapples with becoming a husband and father amidst unemployment, mental struggles, and criminal activities, while Edward confronts his feelings for his best friend’s wife, Linda. The standout performances were delivered by the three young leads: Benjamin Oxley as Mickey, Alexander Sakellarakis as Eddie, and Row Blackshaw as Linda. Oxley portrayed Mickey's progression from childhood leisure to adulthood turmoil with stunning authenticity, capturing the character's increasing stress and emotional intensity with impressive acting skills. His opening monologue, ‘I’m nearly eight’, perfectly captured the essence of a seven-year-old, despite the actor being a young adult. His lower-class accent and beautiful singing voice were especially notable, particularly in the touching rendition of “Long Sunday Afternoon.” Alexander Sakellarakis excelled as Eddie, delivering memorable one-liners in an accurate high-class accent. Sakellarakis demonstrated a natural ability to embody his character throughout the show, staying fully immersed with consistent facial expressions and body language. His steady, bright vocals were showcased in his incredible ballad “I’m Not Saying a Word." Row Blackshaw brought depth to Linda's character with charm, navigating her complex relationships with the twins with emotional subtlety. Claire Yorston's portrayal of Mrs. Lyons showcased a sweet singing voice and divine costumes. She effectively conveyed Mrs. Lyons' descent into paranoia and madness in this challenging role; although I expected a stronger presence and cruelty from the character in Act 2. Hannah Davies, as Mrs. Johnstone, demonstrated a lovely singing voice, convincing accent, and natural acting abilities, notably highlighted in her poignant rendition of “On Easy Terms.” Kristy Smith-Wood approached the manic role of Sammy with conviction and strength. Elissa Holswich, playing the Narrator, possessed a strong singing voice, although microphone issues caused some lines to be missed. Nevertheless, Holswich's introspective performance of “The Devil’s Got Your Number” masterfully depicted the internal conflict and escalating superstition paranoia of Mrs. Lyons. Additionally, the character could have benefited from greater engagement, given the narrator's constant presence on stage. The technical aspects were notable, with effective use of fog, blood-red lighting, a set design mirroring the ‘twins' theme, and impactful stage blocking that enhanced intense moments. Theatre 102 provided an intimate setting, featuring a raised stage and cabaret-style seating, complete with a nostalgic ambiance from pre-show and intermission music of the era. Despite some amateur execution, the production's strength lies in its narrative exploration and committed performances, particularly by the two male leads. "Blood Brothers" is scheduled to run until May 4th, 2024. Note: Contains coarse language and depictions of violence and death.

About The Show: "The Thrill of Love" is a compelling drama that delves into the true story of Ruth Ellis, the last woman to be hanged in Britain. As a divorcee working in nightclubs, Ruth's life takes a dramatic turn when she becomes obsessed with a wealthy racing driver named David. The play explores the complexities of their relationship, leading to a shocking murder and a trial that captivated the nation. Production Team: Director: Ashleigh Cates Auditions: Date: Sunday, 19th May 2024 Time: Morning (9am - 12pm) or Afternoon (1pm - 3pm) Audition Requirements: Prepare a dramatic monologue from a play (preferably written in the last 50 years). Participate in a group audition involving learning a short scene within a 15-minute period. To book your audition slot, email ashleighmjcates@gmail.com. You will receive a confirmation email with your specific time slot within 24 hours. Roles: RUTH ELLIS: Nightclub hostess JACK GALE: Detective Inspector SYLVIA SHAW: Nightclub manageress VICKIE MARTIN: Model and actress DORIS JUDD: Charwoman Production Schedule: Rehearsals: Tuesdays and Thursdays: 7:00pm - 9:30pm Sundays: 1:00pm - 5:00pm Key Dates: Sunday, 26th May: First Rehearsal Saturday, 20th July: Opening Night Sunday, 11th August: Final Performance For more information or to request audition materials, please contact Ashleigh Cates at ashleighmjcates@gmail.com. Join us for this captivating production and be part of bringing Ruth Ellis's story to life on stage!