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Date of Attendance: 6th April 2024 Catch Me If You Can - The Musical, presented by the Beenleigh Theatre Group was an absolute treat from start to finish, showcasing remarkable local talent, engaging storytelling, and vibrant energy that transported the audience to the glamorous world of the 1960s. Based on the true story of Frank Abagnale Jr., this musical follows the journey of a young con artist who successfully poses as an airline pilot, doctor, and lawyer while eluding the FBI. The musical is a high-energy tale of deception, charm, and ultimately, redemption. One of the remarkable aspects of this production is its ability to stand alone as a joyous theatrical experience, regardless of prior knowledge of the true events or having seen the acclaimed film adaptation. Right from the moment of arrival, the immersive experience began with airport-style announcements signalling the imminent start of the show. Once inside, the cast, already in character, interacted with the audience, including stewardesses performing a safety demonstration. The costumes were a standout feature, capturing the essence of the era beautifully. The set and props, extending to the painted floor design, complemented the performances well, while the authentic New York accents added an extra layer of immersion. This attention to detail set a lively and engaging tone from the outset. The soundtrack, composed by the talent behind Hairspray, delighted me with highly catchy tunes that captured the spirit of the decade. The opening number, "Live in Living Colour," set the stage ablaze with energy, showcasing the full talent of the cast. The dancers left a lasting impression too, especially in the mesmerising "Pinstripes”, the upbeat "Someone Else's Skin”, the joyous “Family Tree”, and my personal favourite “Jet Set,” which showcased the stewardesses' infectious energy and Barbie-style grins. James Bird's portrayal of Frank Abagnale Jr was stellar. With powerful vocals, undeniable charm, and a professional-worthy stage presence, he embodied the youthful yet cunning persona of Frank Jr convincingly. Samantha O'Hare, as Paula Abagnale, brought her character to life with a captivating French accent and a perfect jazzy voice, showcased beautifully in her song "Don't Be a Stranger." Jeremy Hendrick's portrayal of Frank Sr was remarkably natural, complete with the perfect accent and attitude. The standout for me was Carl Hanratty, the FBI agent played by Michael Mills, who offered a fresh interpretation of the role with likeable charm. The supporting characters, including the comedic FBI agents and Brenda's adorable parents, added charm to the production in their roles. The direction by Nicholas Joy was exemplary, ensuring that the audience's attention was captivated throughout both acts. Transitions between scenes were fast-paced and seamless, keeping the energy high without any stagnant moments. The abundance of duets in the show was a delight, with standout performances including the intoxicated and humorous "Be a Man" between Frank Sr. and Carl, the catchy “Butter Into Cream” between Franks Jr. and Sr., and the touching "Seven Wonders" duet by Brenda and Frank Jr. Leah Harford's performance as Brenda shone with powerful emotions, crystal-clear vocals, and terrific belting capabilities in her solo "Fly, Fly Away." But the standout number for me was, “Don't Break the Rules,” because it was enhanced with lighting used as helicopter searchlights and impeccable choreography. The final solo "Goodbye" was delivered by James Bird with impressive vocal prowess, while the closing duet "Stuck Together" between Carl and Frank Jr. provided a very satisfying conclusion to the show. I personally believe that this high-class production delivers on all fronts—superb performances, captivating choreography, and an unforgettable soundtrack. It's a must-see for anyone seeking a thoroughly enjoyable theatrical experience. The cast and crew have created something truly special, and I left the theatre wishing I could be part this remarkably fun production too!

Date of Attendance: 5th April 2024 8pm Cast: The Treacle Cast I had the pleasure of attending the performance of ‘Mary Poppins Junior’ presented by Brisbane Junior Theatre, and I must say, it was a delightful experience filled with youthful talent and captivating energy. The young performers were nothing short of charming and talented. Young Mary, Young Bert, and Young Miss Andrews were simply adorable, with Young Mary demonstrating a perfect accent and a stunning voice for her age. Mr. Banks was portrayed excellently by the lively Scott Tamblyn, who captured the firm yet endearing nature of the character. Mrs. Banks, portrayed by Charlotte Westaway, with her bell-like voice and graceful acting, effortlessly embodied the role of the mother. Jane and Michael, played by Scarlett Clyburn and Elijah Clyburn, were a standout duo. Their sibling dynamic added an authentic touch to their performances. Jane's sass and acting prowess were commendable, while Michael, adorned in the most adorable suit, delivered his lines brilliantly. Jacqui Trappett's portrayal of Mary was a highlight of the evening. Her voice, with its classical soprano sound and impeccable diction, gave me goosebumps multiple times. Her acting, capturing Mary's lines with charm and cheek, was equally impressive. Bert, portrayed by Alex Townsley, was outstanding. His perfect cockney accent and controlled voice truly embodied the character. This was my first experience with the Junior version of ‘Mary Poppins’ and with Brisbane Junior Theatre productions, and I was thoroughly impressed. The production maintained a fast-paced rhythm while retaining all the beloved classic songs and capturing all essential elements of the story. The set design was truly impressive and immersive. The 3-dimensional setting, combined with projections, London landscapes, movable set pieces, and curtains filled with colour-changing 'stars,' effectively transported us into the enchanting world of the London skyline. The choreography was well-executed, making optimal use of the stage for lively dance numbers, particularly during 'Step in Time’, which showcased the dancers, including acro and tapping! The technical aspects of the production were also top-notch. The clear sound from the microphones, effective use of lighting, and wonderful costumes enhanced the overall experience. The talent displayed by these young performers was exceptional. It's remarkable how well-rehearsed they were, considering they had only 4.5 days to prepare during the holiday workshop. Not a single mistake was noticeable throughout the show. The ensemble was utilised brilliantly, especially in numbers like 'Spoonful of Sugar’, 'Anything Can Happen,' and the harmonious 'Let's Go Fly a Kite’, showcasing the power of united voices. 'Supercalifragilisticexpialidocious' was a true showstopper, complete with original choreography and infectious energy. Special mentions go to Ciarna Thorn as the bird lady, whose beautiful presence and voice did justice to my favourite song, 'Feed the Birds,' and Gabby Ayoub as Mrs. Corry, demonstrating stellar dramatic acting skills. Imogen Heath's portrayal of Miss Andrews was excellent for capturing the character's terrifying demeanour perfectly, with impeccable control over her vocals. I see a future actress in Imogen! The enthusiasm of the 140 young performers (so I am told) was palpable, with each one giving 100% energy! This production was resounding success, thanks to the exceptional talent, meticulous preparation, and infectious energy of the entire cast and crew. They truly brought the magic of ‘Mary Poppins’ to life, leaving the audience tapping their feet and grinning from ear to ear. I look forward to more outstanding performances from this talented group in the future.

Crucible Productions presents an enchanting opportunity for aspiring actors! Join us for auditions of "School for Fairy Godmothers" written by Lorraine Halse & Michelle Worthington. Audition Date: Sunday, April 21st, 4pm Location: Donald Simpson Community Centre, 172 Bloomfield Street, Cleveland Ages: From 14 years old to adults, no prior experience necessary! Contact for Details: Email us at producer@crucibleproductions.com.au for more information.

For this years Senior IMPACT Ensemble, we’re looking for a powerhouse collective of approx. 8-13 young creatives (ages 15-20) who together will work collaboratively across 6 months to develop an original production for a two show performance season at The Empire’s Armitage Centre. We are devising a new Australian work for young people, in response to Shakespeare’s Romeo and Juliet, titled 'Not Another R&J.' Senior IMPACT Ensemble Details: Entry based on audition Ensemble works across each half of the year towards a public performance Participants collaborate to develop original productions Fee: $550 (covers tuition, materials, and workshops) Payment plan available; bursary applications accepted for financial hardship Auditions: April 22nd & 23rd, 4pm - 7:30pm at The Empire Theatre, Toowoomba Audition Tasks: Perform a self-devised or published monologue related to themes of Romeo and Juliet in a modern context Present a self-devised piece on the topic of forbidden love, ancient feud, or youthful rebellion Audition Pack Application Process: Application deadline: April 8th, 2024 Submit application form via email or in person to The Empire Ticketing Office Ticketing Office: 54-56 Neil St, Toowoomba Contact Information: Email: youtharts@empiretheatre.com.au About IMPACT Ensemble: Since 2011, The Empire Youth Arts’ IMPACT Ensembles have been empowering young artists to tell their stories with the same quality and care as professional theatre productions. These ensembles challenge assumptions about young people and their roles in shaping the world's future. Past productions have toured nationally and been published, with former members pursuing arts studies at leading institutions across Australia. Join the IMPACT Ensemble and be part of a creative community dedicated to making a difference through storytelling and theatre. Apply now to showcase your talent and share your voice on stage!

Can you tell us a bit about yourself and how you got started in theatre? Kate: I never thought about theatre as a child. Music and theatre just weren’t a part of my life. But then I met my best friend in high school, who was - and still is - an incredible performer. Courtney gave me my love for theatre. We haven’t performed together for many years, but I dream of the day she and I are reunited on the stage! Did you undergo any formal or informal training to shape your performance skills? Kate: You could say that my training has been “on the job”. I was speaking with an incredible Brisbane performer recently and I was lamenting that I had not trained or studied in dancing, singing, or acting. She responded that there is no better training than performing… so I guess I’ve been lucky to do a lot of that! I just simply love of performing with my friends. We have the best hobby in the world! These days, I’m very happy to do the odd dance class, and I absolutely adore my vocal coach! We do have the best hobby! Do you have a particularly memorable, special, or challenging role from your theatre experience? Kate: It seems like every time I am cast in a new role I say, “this is my favourite one yet!” I suppose they are all my favourite, because every show has its own special moments, new connections, wonderful memories. There have been songs, or scenes or dances that have really challenged me or scared me. It sometimes makes me think, “why am I torturing myself to do this?” However, I think it is the challenge, the surmounting of fear or the surpassing of self-doubt that makes performing so wonderful. That’s why it feels so good! I believe you are working on a very exciting project at the moment? Kate: I am absolutely thrilled to play Princess Fiona in Savoyard’s Shrek, The Musical! We have just gotten underway with rehearsals, and this cast is HOT. This is my debut performance for Savoyards, and I can already see why this company has been around for many decades. It is a wonderful community of dedicated, talented people. Princess Fiona is such a fun undertaking. All the characters in this show come with their own iconic expectations, thanks the popularity of the movie. I am really looking forward to digging into the contradictions of Princess Fiona’s personality and finding the light and dark that comes with a princess/ogre combo! The show is a hoot, and I know it is going to be a lot of fun for the performers and audience alike. There is an immense amount of talent in this cast and creative team. I genuinely look forward to learning a lot during this process! (SHREK THE MUSICAL opens at the Iona Performing Arts from June 22 for a limited season). How do you prepare for a new role like Princess Fiona? Are there specific methods you follow? Kate: To prepare for a role, I do a lot of “playing pretend” in my lounge room. It is important to me to completely lose myself into a character. I don’t want the audience to see “Kate” on stage. Rather, my physicality and voice should transform. To find the right fit, I play around with how I stand, move and sound until I find something that feels like my interpretation of the character. Then I add the lines, the songs and the dancing to that. How do you approach collaboration with directors, fellow actors, and the production team? Kate: I have been so lucky to work with some of Brisbane community theatre’s best creatives and performers. It astounds me the amount of talent within our city and it’s a beautiful thing that we volunteer our time to create art together. I really love working with Directors, Music Directors and Choreographers with a clear creative vision, but who also enjoy playing around the edges. My mission is to come to every rehearsal with the material prepared and an idea or two to bring to the table. I can attest that you are a delight to perform with Kate! Could you share some highlights in your stage career that you are particularly proud of? Kate: Beyond having fun with friends, the other achievement I want to gain through my work is simply that the audience enjoys the show! Shows I am most proud of are those that audiences - big or small - were somehow emotionally moved by; whether that is absolute elation (like after The Producers) or somber reflection (like after Sweeney Todd). Sometimes it is the beautiful music that moves them (like in Oklahoma), or a touch of nostalgia (like in The Addams Family). What advice do you have for individuals aspiring to gain a role in a stage show? Kate: I am not sure I’m the right person to give advice. I am far from an expert. However, what I can say is that the only way to get more comfortable with auditioning or performing is to do it. Find opportunities to put yourself out there. In addition, be a nice, kind person and I know the Brisbane theatre community will welcome you!

About "We Will Rock You" Based on the music of Queen, "We Will Rock You" is set in a futuristic, corporate world 300 years from now. The story follows Galileo, a young outsider who dreams of breaking free from societal constraints. Encountering the Bohemians, rebels searching for lost instruments, Galileo embarks on a journey to restore live music while facing the tyranny of the Killer Queen. The Creative Team Directors: Madi Lee & Nicole Kaminski Choreographer: Madi Lee Musical Director: Nate Stevenson Key Production Dates Auditions: April 27th in Warana. Address will be sent on audition confirmation Callbacks: April 28th Rehearsal Period: Sep 16th - 28th (Full-time 10am-5pm) + 4 x Saturdays for ensemble Tech: October 1st - October 3rd Performances: October 4th - 5th (Possibly 6th too) Audition Requirements Dance Call: Ensemble roles are non-singing. Please wear appropriate dance attire and shoes. If you are only wanting to be considered for a principal, you are not needed at the dance call. Individual Vocal Calls: Prepare an audition cut from "We Will Rock You" for the character you're interested in. Additionally, prepare an audition cut of a song in the style of the show. Bring backing tracks; you'll be able to connect to the sound system on the day (no pianist available). If you would like to be considered for only ensemble, please just prepare 2 x contrasting songs in the style of the show. Individual Call Backs: Material will be provided for your callback session. How to Audition To secure an audition, email coastaltheatrecollective@gmail.com with your headshot and CV. Self-tape auditions available upon request. Applications close April 24th at 6pm. If you play any instruments, please let us know in your application. Age Requirements Principals, Teen Queens, Bohemians, Super Yuppies, Police: 18+ years Gaga Ensemble (Dancers): 16+ years Character Breakdowns Principals Galileo ($1500) - Stage age 18. Male identifying. A misfit student who hears strange voices and songs, unaware he's the Bohemians' prophesied leader. Scaramouche ($1000) - Stage age 18. Female identifying. A sharp-witted misfit who joins Galileo in a quest against the system. Killer Queen ($1000) - Stage age 30+. Any gender. A ruthless businessperson leading the suppression of live music. Khashoggi ($1000) - Stage age 30+. Any gender. Works for Killer Queen, eliminating creative musical thoughts. Brit ($1000) - Stage age 20's. Male identifying. A Bohemian searching for the secrets of live music. Oz ($1000) - Stage age 20's. Female identifying. Brit's partner and truest friend, who leads Galileo and Scaramouche to the Bohemians. Ensemble Teen Queens ($500 each) - 4 x female identifying. Strong dancers and vocalists, living in a world of consumerism and downloadable music. Bohemians Ensemble ($500 each) - Any gender. Rebels fighting against Global Soft's suppression of music, taking names of past musical heroes. Gaga Kids/Chorus - Very strong dancers, any gender. Living in a world of consumerism and downloadable music. (Note, anyone 18+ in the dance ensemble will also be in the Secret Police and Super Yuppies numbers) About CTC Coastal Theatre Collective is dedicated to producing live theatrical experiences on the Sunshine Coast, Australia. At Coastal Theatre Collective, we vehemently oppose all forms of racism and discrimination. We recognise and actively address systemic barriers within the performing arts industry, striving for inclusivity and representation of all races, genders, and abilities. We stand in solidarity with IBPOC, CALD, and LGBTQIA+ members of our community, working towards a more diverse and equitable industry.

About Guys and Dolls: Guys and Dolls is a musical romantic comedy set in the Manhattan of Damon Runyon’s short stories. It tells the story of Nathan Detroit, a con-man trying to find a new venue for his illegal crap game, and Sky Masterson, a high-rolling gambler. When Nathan bets Sky that he can’t take a puritanical missionary, Sergeant Sarah Brown, on a date to Havana, Cuba, the stage is set for a series of romantic and comedic escapades. Featuring iconic tunes like “Sit Down, You’re Rocking the Boat” and “Luck Be a Lady,” Guys and Dolls promises to captivate audiences with its blend of humour, romance, and toe-tapping music. Key Dates: Auditions: Sunday, May 19th at the Old Ipswich Courthouse Rehearsals: Commence Sunday, June 9th at various locations including Old Ipswich Courthouse and DLDC Studios in Mansfield, Brisbane Tech Week: Begins September 1st with nightly rehearsals leading up to opening night Performances: September 7th to 15th at Ipswich Civic Centre Creative Team: Director: Robbie Parkin Music Director: Peter Laughton Choreographer: Simon Lind Audition Requirements: 5 to 10-minute PRIVATE INDIVIDUAL AUDITIONS will be required to show vocal and performance skills at which you will present your song/s and maybe be asked to do a short cold read. Please prepare TWO CONTRASTING SONGS (approximately 32 bars of each) Songs are NOT to be from Guys and Dolls Songs will be performed to your Backing tracks. NO ACCOMPANIST PROVIDED. Headshot required. For identification purposes only. Will not be returned. Audition bookings online only. Complete all details in full and upload CV or a list of previous performance history. Please make sure that ALL unavailable dates are listed. As well as the above all auditionees are required to participate in the group dance audition. These dance auditions will accommodate experienced/trained dances as well as non-dancing performers. Please wear suitable clothing and shoes. Characters: Sarah Brown: Soprano (Stage age 18 – 35) Nathan Detroit: Baritone (Stage age 35 – 50) Adelaide: Mezzo (Stage age 30 - 45) Sky Masterson: Baritone (Stage age 25 – 40) Nicely-Nicely Johnson: Tenor (Stage age 30 to 55) Benny Southstreet: Baritone (Stage age 30 – 55) Rusty Charlie: Baritone (Stage age 30 – 55) Arvide Abernathy: Baritone (Stage age 60+) Lt. Brannigan: Non-singing role (Stage age 35+) General Matilda Cartwright: Non-singing role (Stage age 50+) Various Ensemble Roles: Gamblers, Hot Box Dancers, Mission Band, Broadway Characters, Sightseers, Cuban Dancers Audition Pack: Download Here Book Audition: Register Here Website: IMTC

About Limelight 2024: Date and Time: May 19th, 2024, from 2:00 PM to 5:00 PM Location: Moreton Bay Region Organisers: Introspect Theatre Company Inc. in collaboration with Anywhere Festival Moreton Bay Event Overview: Limelight 2024 is an annual event celebrating artistic talent in the Moreton Bay Region. Solo and group acts in Acting, Visual Art, Song, and Dance are invited to showcase their skills on stage. Each act is given six minutes to enchant the audience, with a dedicated art exhibition area for visual artists. The event culminates with performers competing for the prestigious Limelight trophy. Designed as a family-friendly event, Limelight 2024 provides a platform for emerging and established talents to shine. It celebrates artistic expression and offers a spotlight for artists of all ages. Features: Art Exhibition: Visual artists have the opportunity to display their work in a dedicated exhibition area. Raffle Tickets: Patrons can participate in raffles to win prizes from local businesses and cast votes for their favourite acts using voting tokens. Specialty Judges: Each category has a specialty judge, adding excitement to the competition. Application Details: Applications Open: January 29th, 2024 Applications Close: March 31st, 2024 Application Form: Apply Now Benefits for Artists: Limelight offers emerging artists a chance to showcase their talents, network with fellow creatives, and connect with the local arts community. It provides a platform for artists to gain exposure and recognition.

About Backbone Ensemble: Backbone Ensemble is a transformative 30-week program aimed at nurturing the performance-making skills of young artists aged 18-30. We're looking to hear from emerging artists from any performance discipline. Led by experienced facilitators Stephen Quinn and Fen Carter, this immersive program offers skill-building workshops, collaborative devising sessions, and a culminating performance at Backbone Festival 2024. Location: Seven Hills Hub, 28 Tallowwood Street, Seven Hills 4170 Dates: Tuesdays, April 16th - November 5th, with additional sessions around Backbone Festival (October 11th - 26th, 2024) Time: Weekly sessions from 6:00 PM to 9:00 PM Cost: $300 (Payment plans and scholarships available) Application Deadline: Tuesday, April 2nd, 2024 Audition Process: Complete the Registration Form: Fill out the application form by the deadline. Attend Audition Session: Tuesday, April 9th, 6:00 PM - 8:00 PM Prepare Your Audition: A short monologue (<2 mins.) by a writer other than yourself. A unique showcase piece (<2 mins.) demonstrating your talent or skill. Notification of Outcomes: Applicants will be informed of outcomes by Friday, April 12th, 2024. Additional Information: For more details about Backbone Ensemble and the audition process, visit our website: Backbone Ensemble Info Contact: For inquiries or alternative application methods (e.g., video submission), reach out to us at info@backbone.org.au. Don't miss this opportunity to elevate your performance skills and collaborate with fellow emerging artists. Apply now to be part of Backbone Ensemble 2024!

About the Production: Inscape Assembly is searching for Brisbane-based artists over the age of 18 to make up the cast and crew of our upcoming production, 'GUILTY, a new Original Cabaret'. We highly encourage artists from diverse backgrounds and minority groups to apply and want to make clear that Inscape Assembly is a safe and supportive space for all. Due to the nature of the production, this opportunity will likely be unpaid. This compelling production delves into the lives of four young women, examining their intersecting journeys after a tumultuous night out. Grounded in real stories collected from women spanning ages 19 to 72, "GUILTY" challenges societal norms, highlighting the urgent need for change in a world rife with double standards and indifference towards the female experience. Available Roles: Jane: Once effervescent, now embittered; early to mid-twenties. Florence: A plus-size influencer with a past shrouded in turmoil; mid to late twenties. Myrtle: Timid and constrained, breaking free from the shackles of purity culture; early to mid-twenties. Ethan/Noah: The epitome of regular guys, also taking on ensemble roles. Content Advisory: This play contains coarse language, mature themes, descriptions of sexual assault and sexual harassment and references to; slut-shaming, fatphobia and body-shaming, homophobia, stalking, grooming, sexism and misogyny. Audition Details: Dates: April 11th - 13th, 2024 Location: Northside Studio, Banyo, (11 Buchanan Road Banyo, 4014) Preparation: All female presenting roles are required to sing so please prepare two contrasting songs (1 minute each), one in the style of musical theatre and one in the style of pop. As well as this you will need to prepare the monologue(s) for the character(s) you are applying for, found HERE. You will need to learn a short dance piece to the song 'Rumour Has It'. Please find the example video HERE and the instruction video for the dance HERE. You do not need to have extensive dance experience. MALE PRESENTING ROLES: Please prepare the two audition pieces provided, found HERE. We are casting both singers and non singers for the male presenting roles. If you have the ability to sing please prepare one musical theatre song (1 minute). If you do not wish to audition for a singing part please indicate this on your application form. Online Auditions: Submission Deadline: April 11th, 2024 For online auditions please prepare the piece’s listed above and submit them in a self taped format. Please also book a Zoom call during one of our available audition times for discussion and a redirection of your monologue. Callbacks: Date: April 14th Rehearsal Schedule, Beginning April 27th Tuesdays 6:30PM - 9:30PM at Visable Ink Youth Hub, Fortitude Valley. Saturdays 11:30AM - 5:30PM at The Bloodhound Bar, Fortitude Valley. Performances: 26th July - 3rd August, 2024 Audition Form Book Audition Slot Audition Pack Audition Panel: Director / Writer - Madeleine Assistant Director / Choreographer - Jaide Camilleri Writer / Production Designer - Scarlett Hughes About Inscape Assembly: Inscape Assembly is an independent theatre collective founded and managed by Madeleine Keeble, Haley Meekan, and David Wotherspoon. We delve into what theatre can be, making it more accessible for both audience members and artists.

Can you tell us a bit about yourself and how you got started in theatre? Kirra: Hi! My name is Kirra Lang, and I’ve been performing for 17 years(!!). I started at the age of 7 playing an orphan in my school’s production of Annie. I believe my grade one teacher was the instigator for this; she saw me performing at a school assembly and recommended to my parents that I audition for the school musical the next year, and I did! I had the time of my life, and decided then and there that this is what I wanted to do for the rest of my life. This is what I wanted to grow up to be. Did you undergo any formal or informal training? How did it shape your skills? Kirra: Yes I did! I got accepted into the Classical Voice and Opera Studies program at Queensland Conservatorium Griffith University back in 2017. Those three years getting my Bachelor of Music were filled with so much self exploration, personal growth, complete loss of self confidence, and then a beautiful rebirth shortly after. The classical technique that I gained whilst studying there has become completely invaluable and has become my foundation, not just as a singer, but as a performer in general. “Informal” training includes speech and drama courses, studying dance through curriculum and extra-curricular activities, private vocal lessons, musical theatre classes, and screen acting courses through the Warehouse Workshop. I’ve probably forgotten a bunch, but you get the gist! How do you prepare for a new role? Are there specific methods you follow? Kirra: Unfortunately my dramaturgy isn’t really up to scratch, so I can’t draw on any particular ‘method’, but I do have my own techniques to help me prepare for a role. The biggest is - and this happens accidentally - becoming absolutely and helplessly obsessed with my character and the show. My partner can definitely attest that my free time is swallowed up completely with research: watching all available bootlegs, soundtracks, essays, and analyses. I assign some free space in a journal to really flesh out my character and her place in the story; her backstory, bleeding into her motivations, etc. I also analyse the script and map out each individual scene with objectives. If it’s a period piece, I also love to research about the era. After all of this, I start playing with physicality, and usually asking someone to give me feedback, and go from there! Wow that's outstanding dedication! Can you share a particularly memorable, special, or challenging project from your theatre career so far? Kirra: Honestly, I consider every show I’ve done to be special, but my absolute favourites include: -- Christine from Lynch & Paterson’s Phantom of the Opera - the magnitude of the role and the fact it was completely sung through made it super challenging but insanely fun! -- Cinderella from Redcliffe Musical Theatre’s Into the Woods - my first Sondheim show with the most lovely people, so an extremely special moment for me. -- And the show I’m working on at the moment - Queensland Musical Theatre’s My Fair Lady, as playing Eliza has actually become a dream come true! Congratulations! Tell us about My Fair Lady and anything else you are working on at the moment. Kirra: What a great segue! I’m working on two shows currently, the first being A Night at the Musicals, a showcase full of musical theatre favourites playing at the Ron Hurley theatre on the 26th & 27th of April. I’m very honoured to have been given the opportunity to perform with such established performers, I feel very very lucky! The second is My Fair Lady, playing at Twelfth Night Theatre from the 14th to the 23rd of June. A special moment as it’s Queensland Musical Theatre’s 40th Anniversary, and the reprise of the inaugural musical is incredibly meaningful for my partner and his family, who happen to be the founders of the company. I hope I do them proud!! Are there specific types of roles or theatre genres you find most rewarding or challenging? Kirra: This is such a fun question! Maybe I’m a masochist but I really enjoy dark characters. Troubled, sad, angry, lost.. all of that good stuff. It makes characters so much more interesting, and I’ve always found it very satisfying and borderline therapeutic portraying negative emotions on stage. I also love a good pre-2000’s piece, preferably singing-heavy with a good script! *Chefs kiss* How do you approach collaboration with directors, fellow actors, and the production team? Can you share a positive collaboration experience that stood out to you? Kirra: I think the active collaboration between the cast and the creative team turns a good production into a spectacular one. I strongly believe that if there’s a mutual respect between the two, creativity thrives and that’s where magic happens! In terms of collaborating with fellow actors, I tend to meet up outside of rehearsals to go deeper with our characters to discuss and play, and that extra bit of work pays off every time! A positive experience that immediately stands out to me is the collaboration that happened in Lynch & Paterson’s Oklahoma!, where the synergy between director Tony Campbell, MD Lucas Lynch, choreographer Julianne Burke, and the cast was incredibly strong. It makes a difference when your creative team have a unified vision; the entire cast becomes that much stronger because of it. I couldn't agree more. Do you have some highlights or achievements in your stage career that you are particularly proud of? Kirra: I remember being extremely proud of myself when I got Edith in Lynch & Paterson’s Pirates of Penzance. It was the first time in the theatre scene that I got to go for something using my operatic technique. The company had a really good rep and I had been rejected for Les Mis the year before, so I remember being absolutely ecstatic when I was cast - my own personal milestone! It started a beautiful journey with so many new friends, it’s definitely a highlight for me. Another special highlight is running on stage for the bows in Phantom; having all of my friends and family in the audience cheering will always make me emotional. It’s really why I perform, I want to make my community proud! I think back on that particular moment all the time. Speaking of which, my final highlight was getting to perform with my partner in Phantom and Oklahoma!. I’ve never been able to do that before, and it made my heart so so happy to experience my favourite thing with my favourite person! Are there specific goals or roles you aspire to achieve in the future? Kirra: I think I’ve actually performed a lot of the dream roles I’d planned out for myself, which I’m very grateful for! My biggest ones were Maria in Sound of Music, Christine in Phantom and Cinderella in Into the Woods. Two roles that would mean a lot to me to play would be Joanna in Sweeney Todd and Belle in Beauty and the Beast. Joanna because Sweeney Todd has the most beautifully haunting music and Sondheim is my favourite musical theatre composer, and Belle as it’s always been my favourite Disney movie and my Dad’s favourite show as well. There are also lots of dance-heavy musicals that I would LOVE to be a part of, like Cats and A Chorus Line, because it just looks so FUN! I’ll keep working on my dance skills so hopefully I can be cast one day haha. Me too, my friend! Can you give any advice for individuals aspiring to gain a role in a stage show? Kirra: Always find the joy in what you’re doing. The times when I’ve been the most proud of my performances have been when I’ve had the most fun, whether that is from researching and building the character, interacting and collaborating with friends, or the actual performance itself. The joy and passion will spill out of you, and the audience will pick up on it straight away. Another piece of advice is to have the confidence to “fail”. It’s a pitfall that deters a lot of people from giving it their all, and it also hinders growth. I have failed so, so many times at what I do, and I’m so grateful for each of those failures as it’s ultimately made me into a better performer. I now know what works/what doesn’t work/what I need to work on. It’s really beneficial to have a trusted circle of friends that can give you honest feedback, and “fail” as many times as you can! The more “fails” you have, the closer you are to the magic... the success!

The collaborative effort between Redcliffe Musical Theatre and Roar Academy in presenting "Joseph and the Amazing Technicolor Dreamcoat" resulted in a vibrant and captivating theatrical experience that left audiences thoroughly entertained. In the performance I saw, Tylah-Jay Foster and Mia Hunt as the narrators set the tone with their powerful voices that immediately captured attention, guiding us through the biblical tale of Joseph. One of the undeniable highlights of the production was the portrayal of Joseph’s brothers, with standout performances in musical numbers like 'One More Angel in Heaven', 'Those Canaan Days', and 'Benjamin Calypso'. Anthony Van Stam, Erickson Ilustre, and Tyler Mackay shone in their respective solos, infusing each performance with exceptional infectious energy and vocal prowess. The brothers’ commitment to exaggerated performances and comedic flair contributed significantly to my enjoyment and to the overall success of the production. Benjamin Oxley's portrayal of Joseph was applaudable, embodying the character's dreamy demeanour and inner strength beautifully. While a robe and wig would have further solidified Joseph's Egyptian persona, Oxley's performance resonated well with me. Paul Cant's portrayal of Jacob was wonderful, infusing the character with warmth and gravitas in his limited scenes. Vocal performances throughout the show were of a consistently high standard, with 'Close Every Door' leaving a particularly powerful impression, enhanced by the charming children ensemble. While the music direction was commendable, clearer enunciation of lyrics could have enhanced the audience's understanding and appreciation of the fully sung-through show. Costuming played a significant role in enhancing the visual spectacle of the production, with Joseph's iconic coat stealing the spotlight. The children ensemble, adorned in a kaleidoscope of colours, created a visually stunning backdrop for the performance of ‘Joseph’s Coat.’ The set design effectively transported the audience to the a regal Egyptian era, with the towering staircase lending a sense of grandeur to the stage. Due to its simplicity, the set provided ample space for the large cast to manoeuvre, allowing for complex dance numbers. Choreography, particularly in the lively hoedown of 'One More Angel in Heaven', showcased precision and energy under the skilful direction of Jada Parsons. I have to mention Sienna Randall's standout performance. She infused each dance movement with constant energy and had a terrific ability to embody her characters through facial expressions; drawing the audience's attention towards her in each group number. While the dancers displayed impressive technical skill, there was a noticeable lack of expressive facial performances today. Despite this, the overall choreography contributed to the dynamic energy of the production. The incorporation of small comedic moments, (the corn, the bedroom scene, the fly buzzing around, the plush lamb), added depth and more humour to the production, showcasing the director’s attention to detail and the cast’s comedic talent. The addition of Pharaoh dressed as Elvis added a whimsical touch. Although technical issues with the microphone briefly detracted from some of their comedic moments, the cast's quick thinking ensured that the show went on without missing a beat. Despite facing some other technical challenges, including soundtrack issues and awkward blocking, the cast displayed resilience and professionalism. Navigating the challenges of bringing an Andrew Lloyd Webber production to the amateur stage is no easy feat, yet the cast rose to the occasion and embraced the campy comedy and iconic music of the show, delivering wonderful vocal performances. The Megamix finale had the audience grooving in their seats, showcasing the cast's high energy with song-after-song-after-song; it honestly looked exhausting! 'Go Go Joseph' was a standout moment that left a lasting impression, with its infectious melody and lively choreography energising the audience and leaving me humming the tune long after the show ended. Overall, the production succeeded in delivering a lively and enjoyable performance, leaving the audience thoroughly entertained.