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Title:  Villains Presented By:  ROCKIT Productions Genre:  Musical Theatre About the Program (ELEMENTARY & INTERMEDIATE) This production is part of our ELEMENTARY (Grade 7 & 8) and INTERMEDIATE (Grade 9) performance programs. This is a bridging course to our Senior grades, combining aspiring young professionals and students who just love the arts! Synopsis: Step into the Dark Woods, a land of magic and mystery where villains take centre stage. Discover their untold stories and see a new perspective on classic fairy tales as they race to rewrite history and create their own Happily Ever After. Audition Details: Audition Date:  Saturday, 1st February 2025 (10:00 am – 2:30 pm) Audition Time: Auditionees will be scheduled for 75-minute sessions Callbacks:  Saturday, 1st February 2025 (3:00 pm – 7:00 pm) Audition Location and Address: ROCKIT Launchpad Studios, 36 Old Cleveland Rd, Capalaba, QLD 4157 Audition Requirements: Auditions are workshop-style to ensure a fun and relaxed experience. Performance Dates: Tech Rehearsals: Saturday, 7th June 2025 Sunday, 8th June 2025 Shows: Friday, 13th June 2025 (Evening) Saturday, 14th June 2025 (Two shows) Sunday, 15th June 2025 (Two shows) Performance Location: The Launchpad Theatre, 36 Old Cleveland Rd, Capalaba, QLD 4157 Rehearsal Dates: Weekly classes: Fridays, 4:00 – 6:00 pm, starting 31st January 2025 Full-day rehearsals: 8th March, 29th March, 10th May Extended rehearsals: 23rd May, 30th May, 6th June, 13th June (4:00 – 7:30 pm) Required Age: Open to students in Grades 7–9. Production Website: ROCKIT Productions 2025 Program Other Information: Costume hire fee: $40 (additional to term fees). Discount packages and payment plans available. Technical dance class required for Intermediate students.

Title:  Curtains Presented By:  ROCKIT Productions Genre:  Musical Theatre About the Program (SENIORS) This production is part of our Elite SENIOR Program for students in Grades 10 to 12. Many of our SENIOR students are wishing to pursue a career in the arts while others are here for the love of musical theatre. If you love to sing, act and dance, this course could be right for you. Synopsis: Set against the dazzling backdrop of 1950s Broadway, Curtains  is a darkly comedic murder mystery filled with toe-tapping numbers and unexpected twists. When the leading lady of a troubled musical dies on opening night, the cast and crew become suspects. Enter Lieutenant Frank Cioffi, a detective and theatre enthusiast, who must solve the crime while ensuring the show goes on. With music by John Kander and lyrics by Fred Ebb ( Chicago , Cabaret ), this musical captures the heart of Broadway with a contemporary flair. Audition Details: Auditions:  Saturday, 25th January 2025 (10:00 am – 3:30 pm) Callbacks:  Saturday, 25th January 2025 (4:00 pm – 7:30 pm) Audition Time: Auditionees will be scheduled for 90-minute sessions Audition Location and Address: ROCKIT Launchpad Studios, 36 Old Cleveland Rd, Capalaba, QLD 4157 Audition Requirements: Auditions will be workshop-style to ensure a relaxed and fun experience, focusing on finding the best roles for each performer. Performance Dates: Tech Rehearsals: Saturday, 21st June 2025 Sunday, 22nd June 2025 Shows: Thursday, 26th June 2025 (Evening) Friday, 27th June 2025 (Evening) Saturday, 28th June 2025 (Two shows) Sunday, 29th June 2025 (Two shows) Performance Location: The Launchpad Theatre, 36 Old Cleveland Rd, Capalaba, QLD 4157 Rehearsal Dates: Weekly Classes:  Wednesdays, 5:00 – 7:30 pm, starting 29th January 2025 Full-Day Rehearsals: 15th February, 22nd March, 26th April, 17th May Extended Rehearsals: 4th June, 11th June, 18th June, 25th June (4:00 pm – 8:30 pm) Required Age: Open to students in Grades 10–12. Production Website: ROCKIT Seniors Program Other Information: Costume hire fee: $70 (additional to term fees). Technical dance class required as a prerequisite. Discount packages and payment plans available.

Title: Thursday’s Child Presented By:  Javeenbah Theatre Company Genre:  Surreal Drama Synopsis: Tin Flute was born on a Thursday and has always felt at home in the subterranean tunnels he digs under his family’s farm. As his family struggles to survive during the Great Depression, Tin delves further into his underground world, filled with darkness and secrets. Based on Sonya Hartnett’s award-winning novel, this stage adaptation by Eva Di Cesare, Sandra Eldridge, and Tim McGarry is a surreal and moving exploration of memory, fate, and resilience against misfortune. AUDITION DETAILS: Audition Date:  Saturday, February 8th, 2025 Movement Call:  10:00 am – 11:00 am Individual Auditions From:  11:30 am onwards Location: Javeenbah Theatre Company,Cnr Stevens & Ferry Streets, Nerang Audition Requirements: All applicants must attend the movement call wearing comfortable clothing and bring water. Prepare a 1-2 minute monologue in the style of the play (Australian accents preferred). Be prepared for a possible cold-read from the script. Applicants must be aged 18 or over. Audition Registration: Audition Form Audition Pack: Download the Audition Pack Available Roles: Harper Flute  (Female Presenting, Playing Age 7-12 & 23): Spirited and brave storyteller. ‘Da’ Court Flute  (Male Presenting, Playing Age 30-40): A poor, defeated farmer. ‘Mam’ Thora Flute  (Female Presenting, Playing Age 30-40): Strong and stoic mother. Audrey Flute  (Female Presenting, Playing Age 14-19): A romantic and wilful teen. Devon Flute  (Male Presenting, Playing Age 12-17): A hopeful dreamer. Tin Flute  (Male Presenting, Playing Age 4-9): A mute boy who communicates through actions and physicality. Caffy Flute  (Puppet, Playing Age 0-4): The youngest sibling, requiring 3-4 puppeteers. Mr Vandery Cable  (Male Presenting, Playing Age 30-50): Powerful and opinionated pig farmer. Mrs Rose Murphy/Traveller  (Female Presenting, Playing Age 30-40): Forthright, kind-hearted busybody. Mr Jock Murphy/Traveller  (Male Presenting, Playing Age 30-40): Nervous yet kind-hearted farmer. Rehearsal Details: Start Date:  February 13th, 2025 Schedule: Tuesdays: 7:00 pm – 10:00 pm Thursdays: 7:00 pm – 10:00 pm Sundays: Varying times Performance Dates: May 10th – 24th, 2025 Evening Shows: 7:30 pm Matinee Shows: 2:00 pm Warnings: This production contains sensitive themes, including death, alcohol abuse, firearms, physical abuse, sexual assault, and child loss. Recommended Age:  18+ Production Website: Visit Javeenbah Theatre Other Information: All successful auditionees must become financial members of Javeenbah Theatre for $10 For questions, contact thursdayschildjbah@gmail.com  or artisticdirector@javeenbah.org.au

Title:  Jane Austen's Lady Susan Presented By:  Lockyer Regional Performing Arts (LRPA) Genre:  Dramatic Comedy, Literary Adaptation Synopsis: Jane Austen's comic novella comes to life in Rob Urbinati's witty stage adaptation. Lady Susan, a young widow, arrives unannounced at her brother-in-law’s country home, bringing her clever yet guileless daughter. Her plans to find suitors for both herself and her daughter lead to a whirlwind of schemes, unexpected rivals, and hilarity. Audition Details: Audition Dates: Saturday 22 February 2025 and Sunday 23 February 2025 Audition Time: 12:00 PM – 4:00 PM Audition Location and Address: My Care Physio & Therapy, 16 William St, Gatton, QLD Audition Requirements: Perform a cold read from provided script sides. Auditions will last approximately 15 minutes, with opportunities to ask questions about the production. Registration is required. Email grace.crichton91@gmail.com  with your name, contact details, role(s), and preferred audition slot. Audition Pack: Download Audition Pack Available Roles: Lady Susan:  30s, manipulative, attractive widow. Frederica:  Teens, clever and guileless daughter of Lady Susan. Charles Vernon:  30s, patient and obliging brother-in-law of Lady Susan. Catherine Vernon:  20s, Charles’ suspicious wife. Reginald De Courcy:  20s, Catherine’s dashing younger brother. Alicia Johnson:  Older, Lady Susan's confidante. Sir James Martin:  30s, wealthy but dimwitted bachelor. Performance Details: Performance Dates: Thursday 3 July 2025, 7:00 PM Friday 4 July 2025, 7:00 PM Saturday 5 July 2025, 1:00 PM & 7:00 PM Performance Location: Gatton Shire Hall, 52 North St, Gatton QLD Rehearsal Details: Rehearsal Dates: Saturdays from 1 March – 28 June 2025 Rehearsal Location: Anglican Church Hall, cnr Railway & Spencer St, Gatton Tech week from 29 June – 1 July 2025 Warnings: This is an unpaid community theatre production. Required Age: 16+ Crew: Non-performing roles are available, including stage crew, lighting, sound, and stage management. No prior experience is necessary. Production Website: LRPA Official Website

School of Rock  Hits All the Right Notes It was one of those classic Brisbane days where the weather couldn't make up its mind—rain, sun, maybe a bit of both, who knows? But inside the Talbot Theatre at the Thomas Dixon Centre, there was no such confusion— School of Rock by Communication in Action was a rocking hit! From Screen to Stage in Record Time This turbo-charged junior show was the culmination of months worth of preparation and a six-day holiday workshop for the majority of the cast. It brought together students from Year 2 to Year 12, all united by their shared love for music, theatre, and rocking out. Inspired by the beloved 2003 film and featuring new tunes by the legendary Andrew Lloyd Webber, the story follows Dewey Finn, a rock guitarist whose career hit the skids, only to stumble into a gig as a substitute teacher at a stuffy private school. Instead of sticking to the curriculum, Dewey uncovers the students' musical talents and whips them into a band to compete in the epic Battle of the Bands. It's a tale of rebellion, self-discovery, and transformative power of rock music.   The Adults: Bringing the Magic Together Leading the charge as Dewey Finn, Tim Carroll delivered a powerhouse performance, easily channeling Jack Black’s chaotic energy while making the role entirely his own. With electrifying energy fuelled by the young cast and killer vocals that could shatter glass (in a good way), he had the audience laughing, cheering, and (if you’re me) frantically Googling, “how high is the belt in the School of Rock opening number?” Belting an A4 over and over again is no small feat! In his performances of 'When I Climb to the Top of Mount Rock' and ' You’re in the Band ', Carroll balanced the raw rock grit with the polish of musical theatre and the unbelievable stamina of a true professional, channeling the essence of the original Dewey, Alex Brightman.   Opposite him, Jordan Twigg exuded elegance and authority as Rosalie Mullins, the school’s principal. Her role demanded soaring high notes for ' Horace Green ', while her heartfelt solo, 'Where Did the Rock Go?'  stood out as an emotional highlight with remarkable belting. During the 20 glorious seconds of the bridge, her performance left me completely breathless (you had to be there). It was a beautifully tender moment amidst the chaos, and as a fellow music teacher, it deeply resonated with me. The Cast: Kids with Killer Talent Saana Chang as Tomika had everyone falling head over heels as her timid wallflower character morphed into a rock star with enough swagger to rival Mick Jagger. Her a cappella rendition of 'Amazing Grace' for the band singer audition was so mesmerising that you could hear a pin drop in the theatre, leaving the audience completely spellbound. She followed it up with a heartfelt reprise of 'If Only You Would Listen' and a passionate solo feature in 'Teacher's Pet'. Mahin Singh (Zach) rocked out as the band's lead guitarist, while Henry Woodward (Freddy) kept the beats tight on drums. Xavier Loxton (Lawrence) killed it on the keys and Ariella Meehan (Katie) was effortlessly cool as the bassist. Darci Allen (Shonelle) and Emily Carrick (Marcy) rounded out the band with their beautiful backup vocals. Together, they brought the band's dynamic to life, each playing their part to perfection. The song 'If Only You Would Listen' offered a window into the personal lives of their characters. Their performance poignantly explored their struggle to satisfy their parents while feeling perpetually overworked and overlooked. The song's depth underscored the intellectual and emotional intelligence of their young characters, offering a glimpse into the pressures they faced each day. Holly Kenyon as Summer, the overachieving student turned band manager, was a whirlwind of energy. Leading the number 'Time to Play,'  she brought a level of intensity and stamina that perfectly matched her character’s bulldozer-like determination. Kenyon’s performance infused Summer with a driven, no-nonsense attitude that made her impossible to ignore. A big shoutout to Ted Hagley as Billy, the band stylist, who stole every scene he popped into! With his dramatic flair and adorably confident stage presence, he had the audience eating out of the palm of his hand. The short cameos featuring Tomika’s dads, Hamish Treweeke and Noah Byrne, were hysterical and kept the audience captivated by their antics.   Special mentions also go to Harry Morgan as Ned and Lucie La Saveant as Patty. Morgan brought a down-to-earth charm to Ned, skillfully balancing his passivity with intense bursts of rage when the moment called for it. Meanwhile, La Saveant dazzled in her solo, 'Give Up Your Dreams,' belting out notes with the power and stamina of a professional. Among a highly talented cast, certain performers undeniably stood out, giving 110% in every scene. Their unwavering commitment to their roles shone through, with expressive faces and energy that reached the very back row. While I could name names, I’ll leave it to the audience to decide their favourites—after all, this cast was brimming with talent!   'Teacher’s Pet,' was everything you’d want from a finale: loud, high-energy, lengthy, and pure fun. By the time the encore rolled around—AC/DC’s 'It’s a Long Way to the Top' —the entire theatre felt like it had transformed into a rock concert. It was the perfect send-off to a high-octane show. It is worth noting that the "band" was elevated but positioned far-upstage. While practical, it did create a large distance between them and the action/audience, though their impact on the final performance was still undeniable!   Design and Space The creative team truly outdid themselves. Directed by the legendary Tim Hill, with music direction by Stephanie Taylor and choreography by Natalia Hines, this production of School of Rock proved to be far more than just a fun summer project—it was a polished showcase of young talent, high energy, and a lot of heart. Hill’s direction ensured a fast-paced show while keeping the massive ensemble fully engaged and involved. The older teens donned their best "adulting" personas as the parents and teachers, while the younger cast played the Horace Green students. Even the smaller moments—like the Guitar Hero session or the Stevie Nicks jukebox scene—had the ensemble cast somehow involved in the action. This attention to detail brought the world of School of Rock alive and gave every performer multiple chances to appear. The themes of the show—self-expression, breaking free from societal expectations, and finding your voice—resonated beautifully, thanks to Hill’s ability to balance heartfelt moments with humour.   Stephanie Taylor's music direction kept the energy high, guiding the cast through challenging and dynamic numbers with finesse. Taylor’s work brought out the best in the cast, from the belted anthems of 'You’re in the Band' to the soulful harmonies of 'If Only You Would Listen ' to the lung-busting 'Stick It to the Man' . The music playback flowed smoothly and the tight scene transitions underscored the polished nature of the production, ensuring that every song landed with impact. Natalia Hines’s choreography was a perfect blend of youthful energy and rock-and-roll spirit, making good use of the expansive stage typically reserved for grand ballet performances. 'Stick It to the Man' stood out as a showstopper, featuring impressive acro by Saana Chang and Holly Kenyon. The playful use of hair-ography (those flying pigtails and plaits!) added extra flair to the routines. Hines crafted choreography that was both edgy and suited for the large cast, aiming to make every moment visually engaging, particularly when they were positioned downstage. Let’s take a moment to appreciate the technical side of this production. The costumes—plaid uniforms for a small army of kids—were not just impressive in quantity but in their detail. The projections were like high-tech, immersive portals, zipping the audience from one setting to another. The polished sound design guaranteed that every lyric and joke landed, with the cast delivering (unsurprisingly) excellent enunciation. The lighting maintained the large space's visual dynamism, ensuring the show's energy was felt from every corner of the venue. Having never set foot in the Talbot Theatre before, I was blown away by its stage—by its spacious stage and incredible acoustics—perfect for a production of this scale. This junior version of School of Rock crammed as much heart and talent into 90 minutes as the full-length show. The audience cheered with admiration, laughed hard (I’m sure my cackling from the third row echoed like a hyena), and left with full hearts and sore hands from clapping. As a music teacher, I was profoundly touched by the central theme of School of Rock : guiding students to discover their voice and gain the confidence to express it. Observing these young performers experience that journey on stage felt like a beautiful extension of my own work, and it was a privilege to witness their transformation into rock stars.   To the 80+ children involved, you were all absolutely fantastic! From the big soloists to the tiniest ensemble member, each and every one of you contributed to making this production of joyful triumph. Bravo to Communication in Action for giving these kids such a fantastic opportunity to shine. If you’re ever considering a holiday workshop, don’t walk— rock  your way over to Communication in Action!

Guest Writer: Sophie Mason During a particularly rainy weekend, the sun definitely came out in Warner for Brisbane Musical Theatre’s production of ' Annie .' Featuring performers young, old and even the dog variety, ‘ Annie ’ tells the story of a young orphan and her journey to rise above her circumstances. Annie and her friends are under the thumb of the tyrannical Miss Hannigan (Meg Kiddle). However, when billionaire Oliver Warbucks (Andrew Dark) invites Annie to his home, her situation is quickly transformed. ‘ Annie ’ is a story of hope, optimism and believing that even the darkest clouds will clear. Hosted at Emerge Church, the simple yet effective technical elements effectively centred the audience’s attention and shifted time and place throughout the production. Backgrounds were projected onto the back wall of the stage and worked wonders in adding atmosphere and context. A particular highlight was the New York City sunset which created silhouettes of the bridge and basted the beggars in a warm light as if they were on the streets of New York. Lighting design by Spencer Mitchell, firmly supported the locations of each scene and mimicked the colours within the backgrounds. Actors were well lit at all times and the use of the spotlight - operated by Jhaelein Le Moyne - ensured that the audience’s eye was led to the action on stage. Set design and construction by Jose De Andrade and Jesse Bradford ensured scenes transitioned swiftly and effectively. There were enough elements on stage to delineate time and place, however, not too many to create lengthy change overs. Double sided trusses and small tables and props were all on wheels to seamlessly get items on and off the stage. Stage manager Sara Reynolds Thomas and her team were a well oiled machine and pulled off every set change with ease - a feat often not achieved on opening night performances! Costuming by Sandie Mitchell and Andrea Halter was detailed and generally historically accurate. The class divide was clearly delineated with costuming, with the ensemble transforming from beggars on the street to the well-polished servants of Daddy Warbucks. The comedic caricatures of Miss Hannigan, Rooster (Jesse Bradford) and Lily St Regis (Tamsyn Doyle) were reflected in their clothing. From the bejeweled Miss Hannigan to the larger-than-life stylings of Rooster and Lily, all characters were well represented. Direction by Jack Bradford and Jose De Andrade was considered and effective. For a production that’s known for its show-stopper numbers, it was lovely to see moments of tenderness throughout the production. Mark Beillby nailed the iconic Annie soundtrack with his nine-piece orchestra. It was a powerful moment to hear the iconic song ‘Tomorrow’ with such strong backing. All songs were elevated under the direction of Bielby with ensemble vocals having layered harmonies and all leads solid in their vocal tracks and dynamics. Sound by Stephen and Neil Moodie was well-balanced and clear. Choreography by Jada Parsons was perfectly tailored to the skill level of those  in the cast and allowed everyone to shine. A particular highlight was ‘You’re Never Fully Dressed Without a Smile’ where the orphans broke out their tap shoes and were able to show off the incredible talents in the youth ensemble. Whoever said never work with children or animals clearly hadn’t seen this production of ‘ Annie ’! The orphans were switched on and in character at all times with gorgeous vocals and acting choices to boot. It was so lovely to see the rapport that has clearly been built amongst this group of young stars. There were great moments of comedy, particularly during the scenes where the orphans are interacting with Miss Hannigan. Olivia Cowdrey as Molly was particularly magnetic and brought the perfect level of sass, heart and humour to the role. Many of the adult ensemble doubled as named characters within the production. Highlights included Kiana Tann’s flawless vocals as the Star to Be, Kaelan Tann’s shoe tap routine, Robyn Lupton’s exchanges at the white house and Mark Westaway as the ever-present and always helpful Drake. The adult ensemble worked well as a group to bring dimension to the production. A highlight was the gritty number, 'We’d Like to Thank You, Herbert Hoover.' Their dynamic energy and sharp character work was a joy to watch. Stuart Fisher delivered a standout performance as both the booming President Roosevelt and the charismatic Bert Healy. His ability to distinctly separate the two characters through nuanced characterisation was impressive, and his comedic timing added depth and humour to each role. Jesse Bradford as Rooster and Tamsyn Doyle as Lily St. Regis brought charm and mischief to their roles as two-thirds of the greedy trio, rounded out by Meg Kiddle's commanding and hilariously brash Miss Hannigan. These three comedic powerhouses blended sharp physical comedy with their vocal performances, creating a dynamic portrayal of the bumbling villains. Samantha Hancock was perfectly cast as Grace Farrell, bringing crystal-clear vocals and beautiful balance of gentleness and strength to the role. It was a delight to watch her relationships with both Annie and Warbucks blossom on stage. Playing alongside her, Andrew Dark delivered a captivating performance as Daddy Warbucks, combining powerful yet tender vocals with touching vulnerability. His portrayal conveyed the emotional journey of a man grappling with the complexities of his newfound relationship with Annie. Saana Chang Saana Chang delivered a magnetic and charismatic performance as Annie (shared with Asher Tweddell), captivating the audience with her charm and natural stage presence. She infused the role with humour and warmth, and hit the iconic high notes with ease. Her interactions with Sandy the dog, played by Saffie the golden retriever, were particularly heartwarming and definitely melted more than a few hearts in the audience. Chang brought a fresh vibrancy to the iconic character and easily connected with others on stage. Asher Tweddell The heartwarming message of love, resilience, and hope shone brightly in Brisbane Musical Theatre’s first production of 2025. ‘ Annie ’ reminded audiences of the power of optimism and the importance of family—whether chosen or found.

Title:  Legally Blonde JR Presented By:  Second Star Youth Theatre Genre:  Musical Theatre Synopsis: Based on the award-winning Broadway musical and the smash-hit motion picture, Legally Blonde JR.  is a fabulously fun journey of self-empowerment and expanding horizons. The show follows Elle Woods as she tackles stereotypes, snobbery, and scandal in pursuit of her dreams. When Elle's high school boyfriend, Warner, dumps her for not being "serious" enough, she takes matters into her own hands and follows him to Harvard Law. Along the way, with help from classmate Emmett, hairdresser Paulette, and her Delta Nu sisters, Elle realises that law may be her natural calling after all. Audition Date:  Saturday 22 and/or Sunday 23 March (Afternoon) Audition Location and Address: Faith Works Uniting Church, 177 Bennetts Road, Norman Park Audition Self-Tape Due (if applicable):  If unavailable for auditions, video submissions will be accepted. Indicate unavailability on the registration form. Audition Requirements: Auditions will be conducted as a workshop using the iTheatrics method. Participants will learn an ensemble song from the show and perform for the creative team and fellow castmates. No preparation required—just come along, be yourself, and give it your best shot! Audition Registration:   Register Here Audition Pack:   Download Here Available Roles: Elle Woods  – Confident, bubbly, and intelligent, Elle proves that she's more than just a blonde sorority girl. A triple-threat performer role. Gender:  Female. Vocal range:  F#3 - C#5 Emmett Forrest  – Hardworking and determined law student who believes in Elle and falls for her. Gender:  Male. Vocal range:  B2 - A4 Paulette Buonafonte  – Outspoken and warm-hearted hair salon owner, Elle’s close friend. Gender:  Female. Vocal range:  A3 - A5 Warner Huntington III  – Elle’s ex-boyfriend, good-looking and charming but self-absorbed. Gender:  Male. Vocal range:  Eb3 - Ab4 Vivienne Kensington  – Uptight and serious law student who initially looks down on Elle but later supports her. Gender:  Female. Vocal range:  A3 - F5 Brooke Wyndham  – Energetic fitness queen on trial for her husband’s murder, Elle’s sorority alum. Gender:  Female. Vocal range:  A3 - G5 Professor Callahan  – Ruthless and manipulative law professor. Gender:  Male Margot, Serena, Pilar  – Elle’s energetic and loyal best friends and sorority sisters. Gender:  Female. Vocal range:  C#5 - F#3 Featured Roles: Kate  – Delta Nu sister. Winthrop, Lowell, Pforzheimer  – Harvard admissions officers. Aaron, Sundeep, Enid  – Law students. Whitney  – Law student. Dewey  – Paulette’s ex-boyfriend. Chutney Wyndham  – Brooke’s stepdaughter. Kyle  – UPS delivery man. Kiki  – Salon colorist. Grandmaster Chad  – College party boy. Ensemble Roles: Waiters, Delta Nu sorority sisters, Frat Boys, Greek Chorus, Law Students, Prison Inmates, Salon employees/clients, and more. Every performer will be featured on stage! Note : Genders listed pertain to the gender identity of the character, and performers of all genders may be considered for all roles. Performance Dates:  Saturday 12 April 2025 Performance Times:  3:00 PM & 6:00 PM Performance Location: Marjorie Godfrey Theatre, Cavendish Road State High School Cnr Cavendish Rd & Holland Rd, Holland Park Rehearsal Dates:  Monday 7 – Friday 11 April 2025 Rehearsal Times:  9:00 AM – 4:00 PM daily Rehearsal Location:  Faith Works Uniting Church, 177 Bennetts Road, Norman Park Other Information: Required Age:  10-18 years (as of 12 April 2025) Creative Team: Director/Music Director:  Lauren McNamara Choreographer:  Isabella Maric Warnings:  This show acknowledges themes of prejudice, sexism, and sexual harassment. Rated PG. Participation Fee: $320 per participant (inc. GST). Participation includes rights, royalties, creative and technical professionals, venue hire, sets, props, costumes, marketing, and more. Each participant will receive a script, production t-shirt, and dinner on performance day. All who audition will be cast in the show. Participants may be asked to provide some costume pieces from their wardrobe.

Title : Ride the Cyclone Presented By : Vox Theatre Arts & Phoenix Ensemble After Dark Genre : Musical Synopsis : In this hilarious and exhilarating story, the lives of six teenagers from a Canadian chamber choir are cut short in a freak accident aboard a roller coaster. When they awake in limbo, a mechanical fortune teller invites each to tell a story to win a prize like no other—the chance to return to life. Bursting with witty, memorable songs and featuring some of the most compelling characters in modern musical theatre, this remarkable show makes a uniquely uplifting and deeply funny case for what makes a life worth living. This bold, genre-spanning production will debut as the Queensland premiere. Audition Details Audition Date: Submissions Due:  Friday, 21 February 2025 (by 5pm) In-Person Auditions:  Saturday 22 & Sunday 23 February 2025 Dance Call: Saturday 22nd February at 11:30 AM or Sunday 23rd February at 10:30 AM Callback Workshop: Tuesday, 25 February 2025 Audition Locations: 29 Cremin Street, Upper Mount Gravatt Phoenix Ensemble, Beenleigh Showgrounds Note : Video auditions are not currently available but may be opened if in-person spaces reach capacity. Audition Requirements: All auditions are by appointment only; auditionees MUST register for an individual private session and a group dance call. Prepare two contrasting songs in the style of the show that showcase your vocal ability (16-32 bars / 30-60 seconds each). No songs from the show. Prepare the monologue(s) provided in the audition pack for your chosen character(s). If auditioning for multiple characters, select contrasting styles that highlight their traits: Jane: One coloratura and one contemporary ballad (soprano focus) Ocean: One pop style and one musical theatre style demonstrating melisma, pop techniques, and mixed belt (mezzo focus) Constance: One pop style and one musical theatre style (alto/mezzo focus) Mischa: One R&B/rap style and one musical theatre ballad (baritone/tenor focus) Ricky: One pop upbeat and one ballad (musical theatre or pop) demonstrating "Bowie" elements (tenor focus) Noel: One musical theatre upbeat and one jazz/pop musical theatre ballad with tenor/high tenor elements (tenor focus) No piano accompaniment will be provided. Bring a backing track on a device with Bluetooth or AUX connectivity (bring an adapter if needed). All auditionees must participate in a group dance call. Choreography will be taught on the day and presented in small groups. Arrive warmed up both vocally and physically. Audition Registration & Pack Audition Registration :  Click Here Audition Pack:  Download Here For assistance or questions, contact: info@voxtheatrearts.com Key Dates: Callbacks : Tuesday, 25 February 2025 Offers & Outcomes:  Wednesday 26 & Thursday 27 February 2025 First Rehearsal:  Sunday, 2 March 2025 Rehearsal Schedule: Tuesdays: 7:00pm – 10:00pm Thursdays: 7:00pm – 10:00pm Sundays: 10:00am – 2:00pm Photoshoot 1:  Sunday, 9 March 2025 Photoshoot 2:  Sunday, 16 March 2025 Start of Tech Process:  Saturday, 24 May 2025 (Full cast & crew required; additional rehearsals may be scheduled during this period) Performance Dates: Friday, 6 June - Saturday, 14 June 2025 at Phoenix Ensemble Additional Information Required Age:  18+ (All performers must be 18 by performance dates) Content Notes:  Contains mature themes, onstage intimacy, and strong language. Casting Policy:  Vox Theatre Arts encourages applications from performers of all cultural, ethnic, and linguistic backgrounds, gender identities, sexual orientations, abilities, and neurodivergences. While character gender identities are fixed, we advocate for non-traditional casting. Production Website:  Vox Theatre Arts Auditions Available Roles Ocean O’Connell Rosenberg Vocal Range: Soprano (B3–E5) Presenting Gender: Female The "Most Successful Girl in Town"—a brilliant go-getter (or chronic over-achiever, depending on who you ask). Noel Gruber Vocal Range: Baritone/Tenor (G2–G4) Presenting Gender: Male The "Most Romantic Boy in Town," longing for a life of glamour beyond Saskatchewan. Note: Onstage kiss with Mischa. Mischa Bachinski Vocal Range: Baritone/Rap (A2–G4) Presenting Gender: Male The "Angriest Boy in Town," a Ukrainian adoptee with a reputation for angry outbursts. Note: Onstage kiss with Noel. Ricky Potts Vocal Range: Tenor (A2–A4) Presenting Gender: Male The "Most Imaginative Boy in Town," coping with childhood trauma through an elaborate fantasy world. Constance Blackwood Vocal Range: Mezzo-Soprano (G3–E5) Presenting Gender: Female The "Nicest Girl in Town," whose affection for her hometown puts her at odds with her peers. Jane Doe Vocal Range: Soprano (C4–E6) Presenting Gender: Female A mysterious, emotionless, deeply eerie headless girl who appears in limbo. The Amazing Karnak Vocal Range: Spoken Presenting Gender: Any This role has been pre-cast. Swing (Femme) Vocal Range: Mezzo-Soprano (G3–E5) Presenting Gender: Female Covers Ocean, Constance, and Jane with guaranteed performances and booth singing. Swing (Masc) Vocal Range: Tenor (G2–A4) Presenting Gender: Male Covers Noel, Mischa, and Ricky with guaranteed performances and booth singing.

“I’m 31, queer, and still a hot mess.” You know a show is going to be good when it already has a pun in the title. Australian Open , presented by 7th Floor Theatre at the PIP Theatre, is a sharp-witted, fast-paced comedy that volleys love, relationships, and politics with hilarious precision. Playwright Angus Cameron has expressed that Australian Open  is a story worth telling because there simply isn’t enough queer joy in theatre—and this production certainly delivers on that front. Under the skilled direction of Hayden Burke, the show bursts to life with witty dialogue, dynamic characters, a playful exploration of modern societal politics, and plenty of queer celebration.   The story centres on Felix, a 31-year-old navigating life in an open queer relationship with Lucas, the world’s third-ranked tennis player. As Lucas prepares for the Australian Open, the couple gets tangled up in their family’s messy, often hilarious dynamics. Felix and his sister Annabelle meddle in their parents' marriage, while Lucas and Felix endure an awkward interrogation and pressure for marriage from Felix’s parents, Belinda and Peter. This leads to Belinda and Peter rethinking their own marriage. The dialogue is fast-paced, filled with sharp observations about love, commitment, and the complexity of modern relationships—all with a hearty dose of Aussie humour. It's a rare and refreshing treat to see a play set in Brisbane, making it feel all the more authentic and relatable. I was lucky enough to catch the alternate cast on the night I attended, and if the primary cast is even half as brilliant, audiences are in for a treat. This stellar ensemble featured Dean Noffke as Felix, Hayden Parsons as Lucas, David Scholes as Peter, Ellen Hardisty as Belinda, and Amanda Devlin as Annabelle. Each actor brought a unique and compelling energy to the production, creating a wonderfully cohesive and hilarious performance. Particularly notable is the chemistry between the characters, and how the five actors play off one another in their one-on-one moments. Some standout moments include the discussion between Felix and Belinda as she expresses an interest to climb Everest, the intimate conversation between Peter and Lucas at the tennis centre, and the late-night conversation between married Belinda and Peter that feels incredibly real. But my personal favourite was the father-son scene between Felix and Peter at The Beat nightclub—a funny, awkward, and surprisingly heartfelt exchange.   The performances are fantastic across the board. Dean Noffke brings warmth and humour to Felix’s insecurities (and surprisingly he isn't portrayed as the bottom in the relationship). Hayden Parsons nails Lucas’s somewhat-cocky-yet-charming sports star persona, with electric and endearing chemistry between him and Noffke. Ellen Hardisty steals the show as Belinda, delivering all the best quips with impeccable comedic timing, while David Scholes adds unexpected depth to Peter as the plot develops. Amanda Devlin as Annabelle is a comedic powerhouse, her meddlesome demeanour and perfectly timed bombastic side-eyes making her a delight to watch. Annabelle kicks off the show as a TEDx speaker, living in Switzerland, and a scientist with an introductory talk on gravity (or something like that—it’s a bit over my head, but it doesn’t really matter). But once she’s back in Australia, she quickly transforms into the classic little sister again—full of mischief and attitude. And her costumes are consistently fabulous.   A standout moment is the Christmas family scene, where rapid-fire dialogue flies across the stage with the precision of a high-speed tennis rally. Another highlight is the dramatic escalation between Peter and Belinda, which veers into unexpected territory—let’s just say that what’s under Peter’s silk robe is not what you’d expect. The script is packed with brilliant dialogue. A favourite recurring theme of mine: “Have you ever been to Perth?” Beat . “Ew, no.” The comedy flows seamlessly, keeping the packed-out audience laughing from start to finish.   The production design is a standout, with every element working together to enhance the story. Claire Yorston’s lighting, Ziggy Enoch’s sound and visuals, Tye Shepherd’s vibrant costumes, and the inventive set design by Hayden Burke and Jennifer Ashlan all come together beautifully. The costumes, in particular, are gay in the best way—colourful, vibrant, and comfortable, adding an extra layer of flair to the production. One delightful detail? The tennis-themed decor: overhead lights shaped like tennis balls, and a hanging tennis net doubling as a lighting screen for setting transitions. Whether we’re in Tenerife, Newstead, Felons Brewery, or the Australian Open itself, the setting changes are communicated well. Another fun touch? Drinking glasses pinned to the curtains, all of which are eventually used in the show.   By the end, Australian Open  lands a perfect shot with a satisfying and heartwarming conclusion. It plays out like an Aussie rom-com/family sitcom, filled with charm, chaos, and an abundance of laughs. This is the kind of theatre that makes you glad you showed up—fun, fresh, and brimming with personality. Don’t miss the chance to catch this gem before it disappears off the court. Tickets Available Here

Title:  Lady Macbeth Uncut Presented By:  VOX Productions Genre:  Drama Synopsis: Lady Macbeth has had a bad rap down through the years—known as the 'fiend-like queen' and a byword for evil manipulation. Inspired by the real Lady Macbeth (Gruoch), Lady Macbeth  (written by Catriona Clancy) seeks to redress this, telling the story from Lady Macbeth's point of view. The play sheds new light on her motivation to seize the throne and builds empathy for a powerful woman striving for control over her life. The 'Witches' get a complete reboot as well, and together they challenge the structures and prejudices that seek to hold them back. Audition Details: Audition Date:  Saturday, 22nd February, 2025 Audition Time:  1:00 PM – 3:00 PM Audition Location and Address: Lavalla Centre – Marian Room, 58 Fernberg Rd, Paddington QLD 4064 Audition Requirements: All characters must be able to deliver and sustain an authentic natural English accent. All characters have a stage playing age of 35 years and above. Audition Registration: Register for auditions by completing the form: Audition Registration Form If you encounter issues with the form, email nicky@nickywvoices.com for assistance. Audition Pack:   Audition Pack Audition Process: Part One: 1:00 PM – 1:45 PM Group audition session. Present one of two supplied speeches (1-minute) upon registration. Cold read between two allocated characters. Part Two: 2:00 PM – 3:00 PM (Callbacks) Selected individuals will be asked to stay for a callback session. Cold reads with other actors from the callback group (no preparation needed). Available Roles: Lady Macbeth (Gruoch):  A powerful, intelligent woman driven by grief and ambition. Manipulative yet deeply human, she struggles with guilt as she pursues the throne. Lady Macduff:  A devoted mother and symbol of innocence. Her tragic fate highlights the brutal consequences of power struggles. Macbeth:  A warrior-turned-tyrant, torn between ambition and morality. The Three Witches:  Reimagined as strong, worldly women who challenge fate and society. Banquo:  Macbeth’s loyal friend, later a ghostly figure haunting him. Duncan:  The noble King of Scotland, whose murder sets everything in motion. Macduff:  A fierce opponent to Macbeth, driven by vengeance and justice. Malcolm:  Duncan’s son, who matures into a wise and just leader. Fleance:  Banquo’s young son, a symbol of future hope. Lennox, Ross & Other Nobles:  Scottish thanes caught in the shifting tides of power. Performance Dates: PIP Theatre: Thursday, 4th September – 7:00 PM (Preview Night) Friday, 5th September – 7:00 PM Saturday, 6th September – 2:00 PM & 7:00 PM Sunday, 7th September – 12:00 PM Sandgate Theatre: Friday, 12th September – 7:00 PM Saturday, 13th September – 2:00 PM & 7:00 PM Rehearsal Dates: Table Read 1 & Intro to Shakespeare’s Language:  Saturday, 1st March (12:00 PM – 3:00 PM) Table Read 2 & Script Analysis:  Saturday, 29th March (12:00 PM – 3:00 PM) Line Learning:  April – May (Actors expected to be 80% off-book by first rehearsal in June) Full Rehearsals:  Sundays from 1st June – 31st August (12:00 PM – 4:00 PM) Final Rehearsals & Tech Week: Wednesday, 3rd September – Full Dress & Tech Thursday, 4th September – Final Dress & Tech (if needed) Other Information: Costumes will be provided. Actors must bring basic blacks. Successful cast members will be notified by 5:00 PM on Sunday, 23rd February. Cast members must confirm acceptance within one hour of receiving the offer (via text and email). Facebook event page for audition

Title : Love, Loss and What I Wore Presented By : Tugun Theatre Company Genre : Comedic Play Synopsis : Written by the fabulous Nora and Delia Ephron (writers of You’ve Got Mail and Sleepless in Seattle), Love, Loss and What I Wore is a funny and poignant journey into women’s relationship with clothes, accessories, memories, and mothers. All women (and men) will laugh and relate to this show! Director : Judy Neumann Audition Details: Audition Date:  Sunday 9th February 2025 Audition Time : 6:45 PM Audition Location and Address:  Tugun Village Community Centre, 414 Coolangatta Road, Tugun 4224 Audition Requirements: Standard American accent preferred (though not required for all characters). Auditionees should be ready for a cold read from the script. The production features over 20 different characters, all played by a cast of five women. Strong ensemble acting and comedic timing are key. Performance Dates : May 9th – May 31st, 2025 Performance Times: Evening Shows: Fridays & Saturdays at 7:30 PM, plus Thursday 29th May at 7:30 PM Matinee Shows: Saturdays 10th, 17th & 24th May at 2:00 PM Audition Registration : To express interest in auditioning, visit Tugun Theatre’s Audition Page . For any further questions, contact Judy Neumann at director.tuguntheatre@outlook.com . Production Website :  www.tuguntheatre.org

A Dance Theatre Exploration of Human Evolution In this infinite cosmos, our world is a small but beautiful fragment. We humans are said to represent a mere 14 seconds of its condensed cosmic existence. We humans have expanded and reinvented ourselves at a startling rate—exploring the mystical, building the impossible, and taking the greatest leaps of faith to arrive at this point. Phluxus2 Dance Collective’s ' The Next 14 Seconds'  was a mesmerising, thought-provoking collision of dance, theatre, sound, and visual artistry that delved into the essence of human existence. Performed at QPAC’s Cremorne Theatre, this avant-garde piece challenged audiences to reflect on our rapid evolution and what we’re sacrificing along the way. The choreography, crafted by the award-winning Nerida Matthaei, transitioned between fluid, organic motion and jagged, erratic sequences, to reflect the beauty and chaos of human development. The Physical Language of Storytelling The five dancers—Jade Brider, Hsin-Ju Ely, Georgia Peirce, Asher Bowen Saunders, and Jacob Watton—were a force of nature on stage. Their physicality and athleticism were both fluid and primal, embodying the evolution of humankind through an intricate blend of contemporary and experimental movement. The choreography was complex and demanding, often requiring them to climb over each other like a human jungle gym, manipulate each other’s limbs like ragdolls, or puppet one another in animalistic sequences. One particularly compelling moment saw the dancers engage in seizure-like convulsions—an intense, almost violent representation of struggle and transformation. The sheer endurance required to sustain these levels of movement for a continuous 60 minutes, without a single water break, was nothing short of astounding. A Breath, A Beginning Sound was crucial in establishing the atmosphere right from the start of the performance. The dancers' deliberate audible gasps, layered with subtle pulsing sounds, and their distinctly individual movements, created a sense of isolation. During the first ten minutes, there was no accompanying music, so the dancers relied solely on each other's rhythm and energy to keep time. This raw, unfiltered beginning established an intimate connection between each performer and the audience, pulling us into their world of movement and expression. A Multisensory Experience The soundscape evolved as the performance unfolded—jingling coins, crashing waves, humming voices, and haunting laughter. At one point, the female dancers lifted and carried Watton across the stage as he laughed maniacally, a surreal and striking moment that felt both absurd and profound. Lighting design by Keith Clark enhanced the show’s sci-fi aesthetic. Sharp, futuristic beams of light guided the audience’s gaze, directing focus within otherwise chaotic scenes. Costume design by Lisa Fa’alafi added yet another dimension to the storytelling. The dancers began in thick, layered garments, peeling away each piece as the performance progressed. This slow removal revealed a final costume: bodysuits covered in scribbled lines and shapes, as if they had been drawn into existence. As they introduced matching fabrics and secured them to hooks for elevation into the space, the stage became an evolving canvas. This interplay of materials, along with the dancers' lifts and contortions, reinforced the concept of interconnectedness-how we shape and are shaped by the world around us. Unexpected, Unpredictable, Unforgettable What made ' The Next 14 Seconds'  so exhilarating was its unpredictability. Just when you thought you understood the direction, the performance shifted. One moment it will be deeply contemplative, the next it is chaotic and nonsensical. There was an undeniable humour woven throughout—the exaggerated facial expressions and mimed sequences frequently elicited giggles from the audience. As the performers drew the audience into their world, they extended the experience beyond the stage. They made eye contact, guided our movements, and even pulled some audience members onto the stage. The final affirmations—starting with “I,” then “You,” then “We”—fostered an intense sense of unity, culminating in the entire theatre joining hands like we were at a kumbaya campfire. This surprising ending transformed the audience from passive observers into active participants in the performance’s message. 'The Next 14 Seconds'  is not a conventional dance performance—it is a visceral, immersive experience that challenges perceptions of movement, theatre, and human existence itself. While the abstract storytelling may leave some feeling lost, the talent displayed on stage and the sensory impact are undeniably compelling. This is dance theatre at its boldest—an exploration of our identity, our past, and our potential future. Photography by Jade Ellis