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PAID OPPORTUNITY FOR SEQ ARTISTS ABOUT THE SHOW: Description: Follow six strangers from diverse backgrounds whose lives intersect in a transformative night at The Hotel California. Immerse yourself in a musical journey of love, discovery, and modern-day relationships set to the legendary catalog of the Eagles. Musical Style: Rock, soul, pop, and country undertones Strong emphasis on vocal harmonies and musical storytelling CASTING NOTES: Open to performers aged 25-50 of all gender identities and cultural backgrounds. Seeking strong singers with harmonising abilities. Strong acting skills and ability to take direction are essential. Some movement and dance skills required. Instrumental skills are highly valued. Roles Available: POPPY / KATE BARMAN / NARRATOR JOHNNY / HARRY LEBRON / BEAU JUNIOR TRAINEE PROGRAM - further details below TO APPLY: Application Requirements: Complete the online form at Registration Link Submit: Professional CV Headshot/s Self-tape (Minimum of 60 secs of a pop, soul, rock or contemporary song + monologue in American accent) Deadline: Applications close on 29 April 2024 REHEARSALS: Dates: Monday 26 August - Friday 30 August Monday 23 September - Friday 27 September Location: Brisbane Central Timing: Mostly daytime hours, some evenings (subject to change) TECH + DRESS REHEARSAL: Date: Wednesday 9 October SE-QUEENSLAND TOUR DATES (2024): Dates: Friday 11 October Saturday 12 October Friday 25 October Saturday 26 October Sunday 3 November Saturday 16 November Saturday 23 November POTENTIAL FUTURE TOURS: Tours: 2025 / 2026 (To Be Determined) PAYMENT SCHEME: Rehearsal Day Rate: $200.00 per rehearsal day Show Day Rate: $500.00 - $1,300.00 per show day (varies by role and number of performances) Total Pay: Estimated $3,000.00 - $19,500.00 for approximately 15 days of work (including rehearsals and performances) JUNIOR TRAINEE PROGRAM: Overview: Paid trainee program for students interested in production roles (stage management, lighting, audio, etc.). Gain hands-on experience and mentorship from industry professionals. Requirements: Enrolled student (high school, college, or equivalent). Passion for music and performing arts. Strong communication and teamwork skills. To Apply: Submit CV and statement of interest to monique@mcgeeentertainment.com.au by 29 April 2024 ADDITIONAL INFORMATION: Casting Brief: Download Here More Details: For inquiries or issues, please contact Monique Cribb at monique@mcgeeentertainment.com.au

Villanova Players Theatre transported us on a hilarious journey through seven magical years at a certain school of wizardry, where magical kids are sorted into groups - a bit like horoscopes for wizards. At this school you can find  'the braves', 'the smarts', 'the snakes', and 'everyone else with no discernible personality’. We meet Wayne, an Aussie bloke from Beenleigh, who finds himself sorted into the Puffs house in the same year that a certain "boy who lived" is sorted into the Braves. This show is a must-see for Harry Potter fans as it's packed with references that only faithful fans would fully appreciate. As a millennial fangirl of the Wizarding World I found myself in stitches for most of the show, often shedding tears of laughter; as if it were one big inside joke between the cast and the audience. The show delves into the untold tales of students trying to survive amidst the backdrop of the school's more renowned heroes. Wayne forges bonds with a quirky bunch of misfits in the Puffs house. Among them, the charismatic Cedric portrayed wonderfully by Sam Connolly, who also delivers a surprising turn as Voldemort in Act 2. Jackson Paul’s portrayal of Wayne from age 11 to 17 is a delightful journey, capturing the character's struggles with learning magic, adolescent angst, and his quest to forge lasting friendships. His comedic timing and natural acting ability imbue Wayne with authenticity, complemented well by Jeremy Hales' portrayal of the nerdy and nervous Oliver. The cast's ability to ad-lib lines added an extra layer of humour, showcasing their quick wit and comedic talent. Their physicality, prop work, and skill in embodying multiple characters with distinct accents and traits were truly impressive. While each member shone in their respective roles, certain actors stood out to me. Dominic Bradley, as J. Finch/Zach Smith (and many small character appearances), had the audience in stitches with every line. His seamless transformation from timid and sweet Justin Finch to the rough-and-ready Zach Smith was pure comedic gold, highlighting his remarkable versatility with character work. These quick-change transformations never failed to delight. Even "Harry Potter" disappearing for a mere five seconds and returning as Susan Bones sans wig left us all cracking up. Hannah Martin's portrayal of Susan Bones/Harry Potter was particularly impressive, with sassy Harry's chaotic appearances eliciting much laughter. Priya Shah, as the narrator, engaged with the audience effortlessly, adding to the show's intimate atmosphere by connecting with the audience to make me feel as if I were listening to a friend. Despite the lack of microphones, the cast did a commendable job projecting their voices to ensure we caught all the hilarious dialogue. A friendly reminder to some actors: facing the front or corners instead of the sides helps with audibility, ensuring we don't miss a single joke. While not every joke landed, which may be attributed to the script or direction, the show's parody nature invites you to cringe and laugh at its witty absurdity. One drawback was the show's length, which stretched beyond comfort. The tongue-in-cheek joke about a five-hour journey through seven years at Hogwarts wasn't far off the mark. Despite this, my smile lasted for the entire play!

Hayley is the current Artistic Director at Phoenix Ensemble, Beenleigh, QLD. Thank you for taking the time to speak with us. Can you share a bit about your background and journey into the world of theatre? Hayley: I have been immersed in the performing arts for as long as I can remember. I began dance training at the age of 3, and from there went on to work as a choreographer before moving to Australia in 2018. Since living in Brisbane, I have pretty much thrown myself head first into musical theatre without looking back! My directorial credits in Brisbane include The Wedding Singer (BTG, 2023), Urinetown: The Musical (Phoenix Ensemble, 2023), Legally Blonde: The Musical (STG, 2022), as well as working as Assistant Director on It Shoulda Been You (Phoenix Ensemble, 2022), Mamma Mia! (QMT, 2021) and Beauty and the Beast (QMT, 2021). I have also had the honour of holding the position of Artistic Director at Phoenix Ensemble since August of 2023. Did you undergo any formal or informal training in the performing arts? Hayley: When I realised that I had a passion for direction in the performing arts, I started putting myself forward for Assistant Directing opportunities to gain experience. I’m very lucky to have had the chance to shadow and learn from some exceptional talent in our South East Queensland community who have been integral in my growth as a creative. I have also completed workshops and masterclasses to further develop my skills, including the Directing Essentials course at NIDA. One thing about directing, and I’d imagine every other creative role feels similarly, is you learn SO much your first time around in the director’s chair. So all that being said, you can be as prepared and ready as humanly possible, but you will always be met with situations or challenges you may not have been expecting. There is nothing that is as beneficial as learning on the job. How do you go about selecting projects to work on? Hayley: I have spent the last few years directing quite a range of projects which has given me the chance to try a good mix of styles and get a feel for what I’m most drawn to. I believe it’s important to have a passion and excitement behind each production you take on, and that it then really translates through the work showcased on stage more than people realise. So, I always try to select projects that have a theme or a story that speaks to me and makes me excited to share my version of that show with audiences. I can tell based on the list of productions you mentioned; they all sound like highly entertaining and appealing projects! As Artistic Director, what are the key responsibilities and challenges you face in your role? Hayley: As the current Artistic Director at Phoenix Ensemble, I wear a producer hat when it comes to selecting and curating our season of shows, which comes with its own challenges. Selecting a lineup of shows for season is kind of an art form in itself. I aim to provide a mix of different styles, so that Phoenix Ensemble has a little something for every type of performer each year. I would say one of the challenging parts, per say, of directing is having a total understanding of the text you are working with. A good director will have such an in-depth, dissected understanding of the story, as well as each character. As an actor in a show, you often do a deep dive into your own character and all of the nuances that come along with that, but when you’re directing, you essentially do that work for every character in the show, if that makes sense. However, drawing that back to your previous question, that doesn't necessarily feel as much like a challenge if you have a love and passion for the story you are directing. I'm sure fellow directors will agree wholeheartedly. Plus, I have to say that I admire your choices for Phoenix Ensemble's lineup for 2024: Footloose, Carrie, Company, and Twisted. How do you approach working with creative team members to bring a production like these to life? Hayley: A big part of being a director is collaborating with other members on your team. I have found that communicating my vision and ideas for the show as early as possible is so important, as this ensures everyone on the team feels like we are always working towards a common goal. Finding people who have the same passion and love for a show as I do makes this process a breeze. Can you share any strategies or techniques you use to maintain a positive and productive rehearsal environment? Hayley: This is SO important to me. It can sometimes be tricky to find a balance between being productive and having fun, especially when it comes to community theatre. I think that the greatest part about working in community theatre is you know that every person involved is there because they love it. When I am in the rehearsal room directing a community theatre show, it isn’t anybody’s day job, and everyone is there as a volunteer because they want to be. It makes the project so special. Everyone is there working towards a common goal, and I think that is what makes it ‘fun’ while staying focused and working. I’m a director who’s big on collaboration, which I think adds to my positive rehearsal space. I find that actors feel so much more ownership and pride in their performance if they feel like they have contributed their thoughts, opinions and ideas to bringing that character to life. Can you share any upcoming projects or productions you're excited about, and what audiences can expect from them? Hayley: I don’t have any productions that I am directing at the moment, so I’m personally in the planning and brainstorming stage right now! To be honest, I’m enjoying this “calm before the storm” moment, and I’m soaking it in as much as I can before I get busy again. Phoenix definitely keeps my hands full, though! We are deep into our rehearsals for Carrie: The Musical which runs for the month of May, and we’ve just completed our auditions for Company! Head to www.phoenixensemble.com.au, or our social media pages to keep up to date on everything going on at the Tin Shed (honestly, it’s even hard for me to keep up some days!) I am looking forward to being an audience member for those performances, both of which are musicals I have never seen before. Do you have any advice for individuals aspiring to pursue a career on the stage or behind the scenes? Hayley: Get involved in your local community theatre! I am a HUGE advocate for the performing arts from a young age, but it is never too late to get involved. I know there are lots of places online to find audition notices (including the Stage Buzz Brisbane website!) or find which theatre is closest to you. Reach out to those companies! Since community theatre companies are all volunteer-based, they are always looking for extra hands. Too true. Since publishing this website, I have discovered just how many community theatre companies there are in South-East QLD. What do you love most about working in the theatre industry, and what keeps you motivated and passionate about your role? Hayley: I love the people that I get to interact with. Theatre people are some of the most loving, supportive people and I am very lucky to surround myself with a group of friends who share the passions that I have.  I’m motivated by my passion for the theatre industry, I guess? At Phoenix Ensemble, I am motivated by continuing to produce high quality theatre for community theatre performers to be involved with and grow as artists. I love the fact that we are able to offer actors in the community an opportunity to learn, grow and tell stories in our space that THEY love. Watching cast members form friendships and loving the work they are doing is always going to be such motivation for me, and that goes for producing as well as directing. I'm getting misty-eyed here! Lastly, can you share any memorable or inspiring moments from your career that have reaffirmed your love for theatre and the arts? Phoenix Ensemble is also the home of Phoenix Arts Academy, a youth program to learn singing, dancing and acting for students from Prep to Year 12. Observing the students' love for theatre in classes is such a joy and inspires me everyday, and consistently reminds me how important performing arts education is for our younger generations. The highlight of my directing career to date was last year when I had the opportunity to direct Urinetown: The Musical. While this is a lesser known show, it is easily one of my favourites and is a story that I believe is so important, powerful and relevant to our society today. I walked into every rehearsal with so much fiery passion and working on that project with a group of remarkable humans who shared that same passion for the story for 12 weeks was indescribable. Thank you so much for your time and wonderful responses Hayley. (Carrie: The Musical runs from 3rd-25th May, 2024 at the Phoenix Ensemble Theatre at Beenleigh Showgrounds.)

Join us for auditions for "Kimberly Akimbo," a touching play set in 1999 that explores the challenges and joys of an unconventional family. Here's all the information you need to audition: Audition Details: Date: 19 May 2024 Time: 10:00 am Location: Javeenbah Theatre Co., Cnr Stevens Street and Ferry Street, Nerang QLD 4211 About the Play: "Kimberly Akimbo" follows the life of Kimberly, a 16-year-old girl who ages four times faster than normal due to a rare medical condition. Despite her challenges, Kimberly navigates life with resilience and humour, facing family tensions and unexpected friendships. Character Descriptions: Kimberly (age presenting 50-70): A teenage girl dealing with an aging disease. Resilient, introspective, and central to the story. Pattie (age presenting in 30s): Kimberly's mother, heavily pregnant and accident-prone. A hypochondriac with comedic and dramatic flair. Buddy (age presenting in 30s): Kimberly's father, portrayed as an alcoholic. Complex, with vulnerabilities and shortcomings. Debra (age presenting in 30s): Pattie's sister, wily, homeless, and an ex-con with a plan. Adds intrigue and unpredictability to the story. Jeff (actor over 18, portraying 16): Kimberly's friend, awkward and unpopular. Quirky, with interests in D&D and anagrams. Production Dates: August 31 - September 14, 2024 Audition Pack: Download the audition pack here: Akimbo Audition Info Audition Process: Auditions will involve reading from the script provided by the director. Prepare for your audition by familiarising yourself with the characters and the themes of the play. For audition pieces and access to the perusal script, please contact director Kaela Gray at: jbahakimbo@gmail.com Note: This production is a play, not the musical version of the story.

Join us for auditions for the exciting lineup of one-act plays presented by Javeenbah Theatre Co. This is your chance to be part of captivating stories and showcase your talent on stage. Here's everything you need to know: Audition Details: Date: 19 May 2024 Time: 2:00 pm Location: Javeenbah Theatre Co., Cnr Stevens Street and Ferry Street, Nerang QLD 4211 Audition Pack: Download Here Register for Audition: Audition Registration Form Plays and Characters: Mothers’ Group: Uncorked Emma Barton (35, Female Presenting) Jennifer Meadows (45, Female Presenting) Amanda Wayne (51, Female Presenting) Crystal Pegg (23, Female Presenting) Ashley Brighton (31, Female Presenting) To Be a Superhero Jon/Superstar (Male presenting, 20-40) Lexi (Female presenting, 20-40) Grove (Male presenting/undefined gender identity, 20-30) Ensemble (Any Gender identity, any age) Radio Waves Frankie (20-30, Male Presenting) Eddie (25-35, Male Presenting) Drag Queen (Any Age, Any Gender) Man (20-60, Male Presenting) Battle of the Boyfriends Harry (20-30, Male Presenting) Mouse (20-30, Male Presenting) Amy (20-30, Female Presenting) Logan (18-early 20s, Male OR Female Presenting) Gordon (40-60, Male Presenting) Don’t Do Drugs (Unless They’re Free) Greg (20-30s, Male Presenting) Molly (20-30s, Female Presenting) What to Prepare for Audition: Group cold read of the script (approx. 30 minutes) Prepare for the audition by reviewing the audition pack and familiarising yourself with the characters and scenes. Rehearsal and Production Details: Rehearsals will be scheduled based on the cast's availability, with compulsory rehearsals on specified dates. Production dates: 12-14 July 2024 (4 shows, including 2 on Saturday) Membership Requirement: All cast and crew members will need to become Javeenbah Members ($10 annual membership). For any questions or inquiries about the production, please contact artisticdirector@javeenbah.org.au. We look forward to seeing you at auditions and bringing these captivating stories to life on stage! Let your talent shine in our upcoming one-act wonders.

We invite you to audition for our production of Godspell, a captivating musical theatre experience featuring beloved songs by Stephen Schwartz. This uplifting show tells the story of Jesus Christ through a variety of parables, using a mix of games, storytelling, and vibrant musical numbers. Audition Dates & Locations: Group & Acting Call: Sunday, April 21 at Spring Hill Hall, 10:00 AM - 4:00 PM Vocal Calls: April 22-23 at Footlights Studio (Evenings) Callbacks: Wednesday, April 24 at Backbone/Seven Hills Hub, 7:00 PM - 9:30 PM Audition Requirements: Vocal: Prepare a musical theatre song (approximately 1 minute) and a song of your choice to showcase your style and personality (approximately 1 minute). Familiarise yourself with songs from the show if called back. Dance: Learn choreography on the day and perform in small groups. More challenging choreography is optional. Acting: Participate in group acting exercises, improv, and cold reads. Show your ability to bring characters to life. Roles: In our production of Godspell, each actor will use their own name, embodying specific character archetypes while letting their unique personalities shine through. JESUS: Male presenting, must be the most charismatic individual in the cast. High energy, charming, funny, gentle yet strong. Others instinctively follow him. Please be familiar with “Save the People” and “Finale.” JOHN THE BAPTIST/JUDAS: Charismatic in an overt revolutionary way. Usually played by someone handsome and masculine with an undertone of sexuality. Must be serious and intellectual yet possess a good sense of physical comedy. Please be familiar with “On the Willows.” “We Beseech Thee”: Characterised by very high energy, impishness, and playfulness. “All Good Gifts”: Sweet and innocent, though not the brightest. Must be a very strong singer. “Light of the World”: The comedian and class clown who can do various voices and imitations. “Day by Day”: A bit of a tomboy, open, and sweet. Potentially the youngest of the group. “Bless the Lord”: Confident and show-off, often volunteering without fully understanding the situation. “By My Side”: Shy and sometimes slow to grasp things, but committed once she does. Radiates an “earth mother” warmth. “Turn Back, O Man”: Sassy and slightly cynical, exuding a put-on sexiness reminiscent of Mae West or Madonna. “Learn Your Lesson Well”: Female equivalent of the class clown, characterised by goofiness and humour. Casting Notes: We are committed to diversity and inclusion. LGBTQ+ actors, BIPOC actors, and actors with disabilities are strongly encouraged to audition. Actors of any faith or background are welcome. About The Show: Godspell, the first major musical by Stephen Schwartz (Wicked, Pippin, Children of Eden), features beloved songs such as “Prepare Ye the Way of the Lord,” “Learn Your Lessons Well,” and “All Good Gifts.” A small group of people help Jesus tell parables using storytelling techniques and a blend of musical styles ranging from pop to vaudeville. Production Team: Director: Isaac Brown Music Director: Benjamin Richards Choreographer: Isabelle Quayle Production Schedule: Rehearsals will be held on Mondays, Wednesdays, and Fridays from 7:00 PM - 10:00 PM, and Sundays from 12:00 PM - 5:00 PM at the Footlights rehearsal space in Cannon Hill until Show Week. Cast members must be available for all rehearsals as dictated in the Rehearsal Schedule. Key Dates: Sunday-Tuesday, April 21-23: First Round Auditions Wednesday, April 24: Callbacks Sunday, April 28: First Rehearsal Sunday, June 30: Production Week AUDITION PACK: Download Here AUDITION FORM: Fill Out Here

Get ready to embrace your inner villain this Halloween with Salad Bowl Collective and Mira Ball Productions' "A Night With The Villains"! Join us for a spellbinding cabaret featuring talented local performers, as we take you on a journey through the most sinister musical and pop hits. Expressions of Interest Now Open! Requirements: Submit a 1-2 minute video showcasing your most villainous song, monologue, dance, or comedy routine. Include a headshot, current CV, and availability for September and October. Complete the audition submission form. Key Dates: Rehearsals begin in early September (once a week on Sunday evenings). Performances run from October 29th to October 31st at the Ron Hurley Theatre (with potential extension to Nov 1st-2nd). Remuneration:This is an independent production operating on a commission-based, profit-share model. About the Show:"A Night With The Villains" premiered in 2023 to sold-out audiences. Now, it's back to celebrate the spookiest season with our community. Embrace your dark side and embody iconic villains from musical theatre! Submit Your EOI: Apply now at villainsnight.com and let us know which villain you'd love to become this Halloween! We can't wait to see your wicked talents come to life on stage. Join us for a Halloween to remember!

Join us for auditions for our upcoming production of "Panic in Pipton" at Act1 Theatre, Old Shire Hall, 238 Gympie Rd, Strathpine AUDITIONS: Saturday, April 27th from 11:00 am to 3:00 pm Sunday, April 28th from 10:00 am to 1:00 pm PERFORMANCE SEASON: 13th - 28th September, 2024 Director: Deb Hossack Musical Director: Andrew Munslow Interested in a character role? Private message the Director Deb Hossack with your name, current email address, and the role you're interested in, and we'll send you an audition song in the style of what you'll perform. Auditions will include cold script readings and vocal assessments. CHARACTERS: Lindsay and Jane Couple at odds with each other Age: 25+ Roles include solos, duets, and chorus Ted Works at Pipton Hotel Age: 30+ Roles include solos, duets, and chorus The Vicar Church figure struggling with faith Age: 30+ Show-stopping solo and chorus Sam Drifter prone to daydreaming Age: 25-45 3 Songs and 2 duets Lily Spirited owner of Pipton Hotel Age: 40+ 1 Song, 1 duet, plus chorus Radio Announcers Broadcasting segments of "War of the Worlds" Roles vary based on interest and ability

AUDITION DATE: Monday, 13th May at 6:45 pm for a 7:00 pm start - Tugun Theatre, 414 Coolangatta Rd, Tugun QLD "The Cemetery Club" is a delightful comedy that explores love, loss, and friendship with heart and humour. Set in New York, the play follows a group of quirky characters navigating life after the death of a spouse. Characters: Ida: She is a nurturing and sweet person – but she delivers her share of wisecracks. Ida is ready to move on to find male companionship again. Lucille: Lucille is the feisty girl with the big personality, who just wants to have fun. She hides her heartache with humour. Doris: Doris is conservative and judgemental. She still lives for her husband, though he’s been dead for four years. She disapproves of her friends who are trying to find love again - but values their friendship and shared bonds. Sam: Sam, the butcher, is a widower. He is an easy-going, thoroughly nice person – a people pleaser. He loved his wife but he is lonely and wants to find female companionship again. He’s sweet on Ida. Mildred: Mildred is trying to get her hooks into Sam. She is wriggling her way into his life, whether he likes it or not. Requirements: American accent (not Southern), but we can assist with perfecting it. All characters have a stage age of 50s to 60s. 4 females and 1 male required Rehearsal Schedule: Monday and Thursday nights leading up to the show. Performances run from 15th to 31st August (Thursday, Friday, Saturday evenings) with matinees on 17th and 24th August. Please ensure availability on these dates. For more information or to express interest, contact Director Judy Neumann at director.tuguntheatre@outlook.com.

Can you share a bit about your background and journey into the world of theatre? Tony: I discovered theatre through film. I grew up watching a lot of silent movies with comedians like Charlie Chaplin who had their beginnings in music hall and vaudeville. This led to a love for musical theatre, and a fascination with the relationship between Broadway and Hollywood, particularly during the golden age where most movie musicals were adapted from the New York stage. Eventually, I became inspired by the magic of the theatre. I was lucky that my Grandmother noticed this interest and during my teenage years, I was taken to everything; plays, ballet, opera, symphony. It was the ultimate education. From here, I was very fortunate to attend a local school of excellence program in the performing arts. They are a little more commonplace now, but it was an enriching experience to spend half my day in senior school studying dance, music and drama! This gave me an excellent grounding where I have strived to build my life around this singular passion for theatre, both as an actor and director. What kind of informal or formal training did you undergo? How has this shaped your approach to your work? Tony: I studied Drama at QUT and later completed postgraduate studies in guidance and counselling. On reflection, I could not have asked for a better place to complete my undergraduate studies. The Drama degree had such variety, from studies in acting to the entrepreneurial aspects of the creative industries. I experienced having my thinking challenged by academics who opened up a world of possibilities about what performance could look like. At the time, I found this disruptive approach quite daunting but ultimately it strengthened my perspective. My postgraduate studies taught me about the importance of building relationships and communication within the arts. I learnt never to underestimate the impact of supporting and empowering other creatives. Couldn't agree more, because it is precisely what Stage Buzz is all about too! Do you have a particularly memorable project from your theatre career so far? Tony: Soon after I first graduated, I was invited to work as assistant director for the late, great Bille Brown, AM. From time to time, we are all touched by little pieces of magic. Working with Bille brought an incredible new focus into my creative life. His discipline and sense of structure was inspirational. Learning from Bille was an unrivalled masterclass. He exposed me to a directing style that struck the balance between explicit instruction and instilling a sense of discovery in his actors. Sounds like a great opportunity for a post-graduate! Speaking of directing, can you share any strategies or techniques you use to maintain a positive and productive rehearsal environment? Tony: I always promote the importance of effective planning throughout the production process. I believe it is essential to utilise the precious commodity of time within rehearsals. In conjunction with the entire creative team, I strive to develop a rehearsal and production schedule that compartmentalises the show to ensure a variety of activities are occurring, and every cast member is active within every rehearsal session. Importantly, this places the work at the heart of the entire experience. As well, I encourage all company members to engage fully as viewers, when they are not performing, during the initial runs. I consider this an important shared experience amongst the entire cast. This effective planning, coupled with a motivated and energised cast, fosters a positive and rewarding creative experience. As the late, great Broadway artist Ann Reinking once said, “the joy is in the work”. Can you share any upcoming projects or productions you’re excited about, and what we can expect from them? Tony: I am very excited to have launched my own business. I am an advocate for the transformative power of the arts. I recognise and value its ability to elevate all aspects of life. With this vision in mind, I have created ‘The Ovation Program’. This short course is an 8-week experience that offers a safe, inclusive, and productive environment, encouraging risk-taking and skill development. It has been tailored for those who are seeking to refine their craft, as well as those who are intrigued by the idea of stepping into a creative space. As well as learning about character building and voice and movement, the course also serves as a platform to finesse soft skills such as communication, collaboration, and self-motivation. I have structured the program with a clear beginning, middle and end with supportive instruction, guidance and feedback every step of the way. The course concludes with the presentation of short scripted scene learnt throughout the sessions. (Register to participate in The Ovation Program: www.tonycampbell.net.au or email: ovation@tonycampbell.net.au) Congratulations on your business launch! Without giving too much away from the program, what advice do you have for individuals aspiring to pursue a career on the stage or behind the scenes? Tony: I think Dame Julie Andrews said it best in her recent memoir, “Home Work”: “You just don’t know in life. Life knocks you about and pushes you over boundaries. But be ready. Do your homework; that’s all I can say”. I think there’s something profound in this view. Never underestimate the power of real preparation. What do you love most about working in the theatre industry, and what keeps you motivated and passionate about your role? Tony: In my opinion, it all comes down to sharing meaningful stories. We are all story-tellers who can take advantage of the opportunity to use the existing resources of local theatre or student theatre to amplify and enrich our community. I am also inspired by our rich history of artists, academics, technicians and musicians who make up the creative tapestry of our industry. But most importantly, it’s the unsung heroes, those who maintain our theatre spaces from front of house to backstage. These pieces of infrastructure allow us to practice our craft.  It is their quiet love for this artform that keeps us rolling along. You're so right. Lastly, can you share any memorable or inspiring moments that have reaffirmed your love for theatre and the arts? Tony: I recently attended the closing night of the Broadway musical, “Some Like It Hot” at the Shubert Theatre in New York City. YouTube has taught us that Broadway closing nights are very sacred events where audience members are particularly excited. There are many beautiful ‘fourth wall breaking’ moments where the actors have no choice but to quietly acknowledge the audience in order to keep the show moving. It is the ultimate shared experience of celebrating artistry. What I didn’t anticipate was the number of Broadway luminaries in attendance! Songwriters Marc Shaiman and Scott Wittman, Director Casey Nicholaw along with Aaron Tveit and Patti LuPone. Sitting metres away from these legends was like watching two shows at once. However, what I found very striking was their humble, everyday nature as they applauded their colleagues and engaged in enthusiastic interval discussion about the show. They were just like anyone else I know having an incredible night at the theatre. It made me realise we are so similarly connected by this artform, with a deep love for the work and the craft.

Audition & Submission Process: Audition Date: Sunday, 21st April 2024 Callbacks: Wednesday, 24th April 2024 (if required) Registration Deadline: 5:00 pm Friday, 19th April Auditions will take place on the Gold Coast. Self-tape auditions available upon request. Show Details: Season Dates: 19th July - 17th August 2024 Venue: Halpin Auditorium, Spotlight Theatre Complex, 185-187 Ashmore Road, Benowa QLD 4217 About the Show: "Ghost the Musical" is adapted from the romantic film by Bruce Joel Rubin, telling the heart-wrenching story of Sam and Molly. Sam, murdered tragically, refuses to leave Molly after discovering she's in grave danger. With the help of Oda Mae Brown, a spirited psychic, they embark on a supernatural journey defying life and death. Creative Team: Director/Choreographer: Clay English Musical Director: Shari Willner Associate Choreographer: Laura English Rehearsal Period: Nine-week rehearsal period starting Monday, 19th May 2024. Rehearsals on Sundays, Tuesdays, and Thursdays with additional calls for filming and photoshoots. Character Breakdown: Sam Wheat (25-35): Charismatic banker, strong actor/vocalist Molly Jensen (25-35): Vibrant artist, strong actor/vocalist Carl Bruner (25-35): Suave antagonist, strong actor with stage combat skills Oda Mae Brown (25-50): Larger-than-life psychic, comedic timing, strong actor Ensemble Roles: Various characters including Willie Lopez, Subway Ghost, Hospital Ghost, Clara, Louise, and dancers. What to Prepare: Ensemble/Dance Auditionees: Sing 32 bars/90 seconds of a musical theatre song. Lead Auditionees: Prepare a 90-second musical theatre piece and a character piece from the show. Only those auditioning for a dance/ensemble role will be required to attend a dance call. Notes: This is an unpaid, amateur production. Performers must be local or available on the Gold Coast during the engagement. All cast members must become financial members of the Spotlight Theatrical Company. All genders, communities, identities, backgrounds, sizes, and races are encouraged to audition. Age specifications refer to playing age; actors outside the specified range can still audition if suitable for the role. Contact for Enquiries: Email: ghostmusicalspotlight@gmail.com Audition Form Audition Pack

I had the pleasure of attending a jam-packed performance of “Mel Brook’s Young Frankenstein” by Millennial Productions on April 6th at the Ron Hurley Theatre. This hilarious stage adaptation of Mel Brooks' classic comedy film follows the story of neurosurgeon Dr. Frederick Frankenstein (Victor's grandson). Despite his initial reluctance to embrace his family's mad scientist legacy, Frederick embarks on a madcap journey to bring a corpse to life, accompanied by Igor, his faithful hunchbacked sidekick; Inga, his lovely lab assistant; and Frau Blücher, the mysterious housekeeper. As a first-timer at a Millennial Productions show, I quickly understood why they're renowned for high-class entertainment. From the moment the curtain rose, the ensemble's energy was electric! The cast exuded the confidence of seasoned professionals, with the ensemble effortlessly juggling multiple roles and infusing the stage (and the stairs) with irresistible enthusiasm. Director Taylor Andrews has crafted a lively and impeccably rehearsed production that felt both fresh and uninhibited. Andrews's vision was apparent in every detail, from audience interaction to immersive storytelling techniques. The set design ingeniously maximised the small stage, creating a close-up environment, enhanced by high-quality tech elements. Zach Price as Dr. Frederick Frankenstein delivered a standout performance. He tackled rapid-fire lyrics with the precision of a neurosurgeon and convincingly delivered Frederick's descent into madness with hilarious flair. Sam Sherrin as Elizabeth showcased a crystal-clear voice and comedic prowess in her number "Please Don't Touch Me,” setting the show’s tone from the get-go. Damien Quick as Igor and Emily Rohweder as Frau Blücher stole every scene they were in. Igor had the audience in stitches, and Rohweder's Frau Blücher had an impeccable transformation into the eccentric but loveable character. Amelie Clarke's entrance as Inga was iconic, featuring outstanding vocals and yodeling skills to boot, she had the audience cackling during "Roll in the Hay." Plus, the accent work was spot-on! Now, let's talk about Dale Shearman as The Monster. This guy was a showstopper! With phenomenal makeup and a talent for physical comedy, he brought The Monster to life (pun intended) with hilarious facial expressions, sound effects, and yes, even dancing! The ensemble was a force to be reckoned with, shining in numbers like "Hang the Doctor" and "Transylvania Mania," using every inch of the stage to their advantage. And don't get me started on "Puttin' on the Ritz"—you just have to see it! Jaime O'Donoghue's choreography was top-notch, perfectly complementing the physical comedy and lively performances of the cast. If you're looking for a laugh-out-loud experience and monstrously good entertainment, do yourself a favour and catch this show before it wraps up on April 13th at the Ron Hurley Theatre. Content Warning: Hold on to your miniature top hats, because this production features everything from strobe lighting to adult-oriented humour, cheeky sexual references, comic violence, and just a dash of mild coarse language to keep things spicy.