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Title:  Seussical The Musical Presented By:  Stage School Australia Genre:  Musical Theatre Synopsis: Seussical The Musical is a whimsical adaptation of the beloved works of Dr. Seuss. This vibrant production celebrates iconic stories and characters, bringing together elements from Horton Hears a Who! , Green Eggs and Ham , and The Cat in the Hat . With hilarious characters, colourful costumes, and enchanting musical numbers, Seussical  promises to delight audiences of all ages. Audition Process: Self-tape submissions due: Sunday, 2 February 2025 In-person auditions: Sunday, 9 February 2025 Callback submissions due: Friday, 14 February 2025 Audition Location and Address: Brisbane State High School, Gate M5 on Ernest Street, South Brisbane Audition Requirements: Open to performers aged 10-19 years . Performers must prepare and submit a 16-bar musical theatre excerpt from the provided selections , using a neutral Australian accent. Ages 10-13:  Sing from the ‘ younger voice ’ selection. Ages 14+:  Sing from the ‘ older voice ’ selection. Self-tapes should be filmed in a medium shot (waist up) with clear audio and lighting. Perform your audition as you would on stage - it’s not a singing exam, so don’t concentrate solely on your voice. Use expression, and entertain us! Videos must be uploaded to YouTube or Vimeo (as 'Unlisted') with the performer’s full name in the description. No editing, mixing, or pitch correction allowed. Submit audition videos via email, including name, date of birth, performing experience, measurements, and video link. Audition Submission: casting@stageschool.com.au Audition Pack:   Available here Production Website:   www.seussicalmusical.com.au Production Details: Performance Dates:  15 - 17 April 2025 Performance Times: Tuesday, 15 April:  2:30pm & 7:00pm Wednesday, 16 April:  11:00am, 2:30pm & 7:00pm Thursday, 17 April:  11:00am, 2:30pm & 7:00pm Performance Location:  Draney Theatre, Marist College, Ashgrove Rehearsal Dates & Times: Friday, 21 March:  5:00pm - 9:00pm (Principals) Sunday, 23 March:  9:00am - 5:00pm (Full Company) Sunday, 30 March:  9:00am - 5:00pm (Full Company) Monday, 7 April - Friday, 11 April:  9:00am - 5:00pm (Full Company) Monday, 14 April:  11:00am - 7:00pm (Full Company - Draney Theatre) Rehearsal Location:  Brisbane State High School, Gate M5 on Ernest Street, South Brisbane Additional Information: Required Age:  10-19 years for performers Show Fee: Participation Fee:  $170 (GST inclusive) Souvenir Cast T-Shirt:  $30 (mandatory) Total Cost:  $200 Ticket Sales Commitment:  Each performer must sell at least 20 tickets  to contribute to production costs. Ticket Prices: Weekday Matinees:  $30 Evening Performances:  $35 Creative Team: Director - Robert Coates Music Director - Lucy Ross Choreography - Rebecca Djapovic Other Information: Successful auditionees will be notified via email after final auditions. Video and sound recording may be made of auditionees during auditions for internal use only. Performers are expected to attend all rehearsals and performances. Final performance (17 April) requires mandatory bump-out assistance until 9:30pm.

Title:   Encore! A CIA Variety Show Presented By:  Communication in Action (CIA) Genre:  Variety Show / Musical / Performance Synopsis: Encore!  is a dynamic variety show that showcases the incredible talents of CIA students in their Semester 1 production for 2025. This exciting production celebrates the survival of live theatre in a post-pandemic world and offers something for every performer. From bold monologues and duologues for the acting enthusiasts to show-stopping solos for singers and captivating choreography for dancers, the show promises to keep everyone on their toes. With a script that draws inspiration from plays, musicals, movies, and original material tailored for CIA performers, this is a unique opportunity to shine. Each student will feature in at least two segments, and the cast will be divided into junior and senior age groups, ensuring the right mix of peers and experience. Audition Date:  Sunday, 9th February 2025 Audition Times: Option 1: 9.00 – 10.30 am (Years 2 – 6) Option 2: 10.30 am – 12.00 pm (Years 7 and up) Option 3: 12.00 – 1.30 pm (Years 2 – 6) Option 4: 1.30 – 3.00 pm (Years 7 and up) Audition Location and Address: Thomas Dixon Centre, West End, Brisbane Audition Requirements: Performers should be ready to showcase their talents in singing, acting, and/or dancing. Students will be placed in segments based on their strengths and experience. Audition Registration: Register Here Rehearsal Dates and Times: All rehearsals will take place at Thomas Dixon Centre, West End Sunday 16th February: 9.00 am – 12.00 pm: Years 2 – 6 12.00 – 3.00 pm: Years 7 and up Sunday 23rd February: 9.00 am – 12.00 pm: Years 2 – 6 12.00 – 3.00 pm: Years 7 and up Sunday 2nd March: 9.00 am – 1.00 pm: Years 2 – 6 11.00 am – 3.00 pm: Years 7 and up Sunday 9th March: 9.00 am – 1.00 pm: Years 2 – 6 11.00 am – 3.00 pm: Years 7 and up Sunday 15th March (Dress Rehearsal & Tech Run): 9.00 am – 1.00 pm: Years 2 – 6 12.00 – 5.00 pm: Years 7 and up Sunday 16th March (Performance Day): 9.00 am – 12.00 pm: All cast Performance Dates: Sunday, 16th March 2025 1.00 pm 3.30 pm Performance Location: Talbot Theatre, Thomas Dixon Centre, West End, Brisbane Cost: $350 + GST = $385 This fee covers 21+ hours of expert tuition, rehearsals, and the opportunity to perform in a professional theatre with state-of-the-art facilities. Warnings: Some segments may contain bold performances that challenge students to push their boundaries, but all material will be age-appropriate. High energy and preparation required. Required Age: Year 2 and above Production Website: Communication in Action

Title:   The Mayne Inheritance Presented By:  Bent Productions Genre:  Drama / Mystery / Historical Thriller Synopsis: The Mayne Inheritance  by Errol O'Neill tells the captivating true story of Patrick Mayne, a poor Irishman who emigrated to Australia in the 1840s and rose to become one of Brisbane’s wealthiest men. As a butcher, landowner, and councillor, he left behind a complicated legacy marked by a deathbed confession of murder. This Gothic Australian play delves into the chilling repercussions of Mayne’s actions on his family, as his descendants grapple with the haunting truth and the social consequences of their patriarch’s dark legacy. Inspired by Rosamond Siemon’s book, The Mayne Inheritance  explores themes of history, murder, and colonial society through a psychological thriller that spans generations. Audition Date:  Sunday, February 2nd, 2025 Audition Location and Address:  Paddington, Brisbane (Address to be confirmed upon registration) Audition Requirements: Details will be provided in the audition pack Ability to portray multiple characters, as each actor will play both main and smaller roles Audition Registration: Email bentproductions24@gmail.com  to request an audition pack and register for your spot Warnings:  Contains mature themes related to murder, family secrets, and psychological tension.

Title : Broadway Rising Stars Open Mic Presented By : Broadway Rising Stars Genre : Open Mic / Musical Theatre About : Broadway Rising Stars is an open platform for young talent to shine on stage! This event provides aspiring musical theatre performers (aged 17 and under) the opportunity to showcase their talent in a professional setting. This free performance experience celebrates the next generation of Broadway stars, giving young performers the chance to share their voice and passion in front of a live audience. Auditions Close:  Monday, 17 February 2025 Audition Registration: Audition Registration Form Audition Requirements: Step 1: Record Your Audition Video Perform two contrasting musical theatre songs that best showcase your voice and style. These must be the exact songs you plan to perform at the open mic. Recording Tips: A smartphone works great—just ensure clear audio and lighting. No special effects—just your voice and performance! Find a quiet, well-lit space with minimal background noise. Step 2: Upload Your Video Upload your audition video to a platform with a shareable link (Google Drive, YouTube, Vimeo, etc.). Videos do not need to be public—as long as the link is shareable. Step 3: Submit Your Audition Complete the online audition form and include your video links. Performance Date: Sunday 2nd March, 2025 at 1:00pm Performance Location: Sit Down Comedy Club, Paddington Required Age:  17 and under

Title : Joseph and the Amazing Technicolor Dreamcoat Presented By:  Spotlight Theatrical Company Genre : Musical Synopsis : A vibrant, family-friendly musical by Andrew Lloyd Webber and Tim Rice, Joseph and the Amazing Technicolor Dreamcoat retells the biblical story of Joseph, his “coat of many colors,” and his journey from betrayal to triumph. Featuring an eclectic mix of musical styles—including country-western, calypso, rock ‘n’ roll, and pop—this beloved production brings ancient Egypt to life through iconic songs like Any Dream Will Do and Close Every Door. With humour, heart, and dazzling spectacle, Joseph is a timeless tale of perseverance, forgiveness, and the power of dreams! Audition Details: Audition Dates: Saturday, 8 February 2025 (10:00 AM - 5:00 PM) Sunday, 9 February 2025 (10:00 AM - 5:00 PM / Callbacks) Audition Registration Deadline:  Monday, 3 February 2025 (Midnight) Audition Pack: Available here Audition Registration: Audition Registration Form Audition Contact:   joseph.spotlight.25@gmail.com Audition Requirements: Adults (16+) Dance Call (Mandatory for all, except Jacob) – Saturday, 8 February (10:00 AM - 12:00 PM) Singing Auditions  – Saturday afternoon / Sunday, 9 February (You will be assigned a time) Callbacks  – Sunday, 9 February (Afternoon) (If needed, please note availability issues in your registration form) Song Preparation: Prepare one song (max 2 minutes) in the style of the show. Bring a backing track on a phone or tablet (no a cappella). Additional song requirements apply for Joseph, Narrator, Pharaoh, and selected roles (Details in the audition pack). Bring a performance CV or a document outlining experience. Children’s Choir (Ages 8-14) Video auditions only (Due by Midnight, Monday 3rd February). Must learn provided choreography and submit a recording. Must be available for rehearsals and performances. Costumes to be provided by cast members (white sneakers, blue jeans, assigned solid-colour top). Available Roles: Narrator  – Mezzo-Soprano (belt up to E). Must have strong comedic timing and stage presence. Joseph  – Baritone/Tenor. Charismatic, charming, strong vocal lead. Pharaoh  – Charismatic, comedic, Elvis-style performance. Jacob/Potiphar  – Mature male, able to sing. The Brothers (11 roles)  – Strong singers, various vocal styles. The Wives (8 roles)  – Strong dancers & singers. Mrs. Potiphar  – Tall, sultry, confident. Apache Dancer  – Strong in partner work (adagio). Performance Dates: 8 May - 31 May 2025 Performance Location: Halpin Auditorium, Spotlight Theatre, Gold Coast Rehearsal Dates: Rehearsals Begin: Tuesday, 18 February 2025 Rehearsal Days: Tuesdays, Thursdays, Sundays (Schedule subject to change) Warnings: This production contains stage combat, comedic elements, and high-energy choreography. Required Age:  8+ (for children’s roles) Creative Team: Director & Vocal Director: David Valks Choreographers: Jackson Kook & Lucy Martin Creative Producer: Joshua McCann-Thomson Stage Manager: Jacqui Goodliffe Production Website:   Spotlight Theatre Auditions Other Information: All cast & crew must purchase a Spotlight membership. Full rehearsal attendance required. (Three undisclosed absences may result in removal from the production.)

Title : Andrew Lloyd Webber On Stage Presented By : Paterson Productions Genre:  Concert / Musical Theatre Synopsis : Step into the world of Andrew Lloyd Webber in this spectacular concert event, celebrating one of musical theatre’s most iconic composers. Featuring a powerful cast of singers and a live orchestra, this unforgettable performance brings to life timeless classics from The Phantom of the Opera, Cats, Evita, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, and more. Whether it’s the haunting strains of "Music of the Night" or the uplifting "Any Dream Will Do," this concert is a journey through Webber’s legendary musicals. Audition Details: Audition Date : Saturday, 1 February 2025 Audition Registration Deadline:  Friday, 31 January 2025 (9:00 PM) Audition Registration: Audition Registration Form Audition Location and Address: Twelfth Night Theatre, 4 Cintra Rd, Bowen Hills, QLD Audition Contact :  info@patersonproductions.com Audition Requirements: Prepare two contrasting excerpts of Andrew Lloyd Webber songs (max 90 seconds each). Songs should showcase different vocal styles and character interpretations. Use a backing track, cued to the correct start point (Bluetooth available). Note : In-person auditions only. If unavailable on 1 February, email info@patersonproductions.com  to discuss alternative options. Available Roles: Principal Soloist:  Strong vocalists/actors for solos and duets. Ensemble Performers:  Strong singers who can harmonise and perform in group numbers. Children’s Ensemble (Ages 7-18):  Young performers who can sing and move well. Other Information: Performance Dates: 9th - 11th May 2025 Performance Location :Twelfth Night Theatre, Bowen Hills Rehearsal Dates: April - May 2025 (Weeknights & Weekends based on availability) Tech & Dress Rehearsals: Week of Monday, 5 May (Mandatory) Children’s Ensemble rehearsals may occur during school holidays. Required Age:  7+ Creative Team: Director:  Samantha Paterson Musical Director/Conductor:  Michael Keen Production Website:   Paterson Productions This is a non-remunerated production.

Christmas came alive at Coorparoo with JDProCo’s ' Home for Christmas' , a heartwarming annual tradition now in its fifth spectacular year. This festive celebration, presented in partnership with Honour Productions, felt like a musical Christmas card to the community, stuffed with soulful crooning, jazzy jingles, and enough joyful energy to power Santa's sleigh!   The show opened with an enchanting a cappella rendition of ' That’s Christmas to Me' , immediately setting a cozy, nostalgic tone. Producer and performer Josh Daveta took the reins with ' Santa Claus is Coming to Town' , backed by the sensational 13-piece band, The Sequins. Their polished and cohesive sound dazzled all night long, with each solo showcasing the incredible talent of every musician! The first act was a vibrant fusion of jazz and pop hits. Josh shook things up with a mashup of ' Man with the Bag'  and ' Orange Coloured Sky' , Ava Valentine took us on a dazzling ' Sleigh Ride', and Ella Macrokanis and Cassie Wadeand gave us a Postmodern Jukebox-style ' Last Christmas'  duet. Cassie Wade’s melisma-filled ' I’ll Be Home for Christmas'  kept the jazzy momentum alive. Josh’s ' You’re a Mean One, Mr. Grinch'  was a cheeky standout, full of personality and charm—definitely one of my top picks! Meanwhile, the tear-jerking ' I Miss You Most at Christmas Time' was dedicated to anyone feeling a bit lonesome, adding a heartfelt touch to the otherwise jolly jamboree. The iconic Asabi Goodman infused ' Christmas Time Is Here' with a soulful richness, her deep tones enveloping the room in warmth. Angela Fabian, a vocal powerhouse, added incredible depth and soul to the evening. The instant ' The Christmas Song' began, I couldn't help but let out a verbal mmm —her voice was pure velvet. Her connection with the pianist was a transcendent moment, as if their very souls were in harmonious conversation. Act Two turned up the energy to "party mode," morphing into a gospel celebration that could make even the grumpiest Scrooge tap his feet. Ava and Josh’s mashup of ' Little Drummer Boy'  and ' Angels We Have Heard on High'  was so enchanting, I swear I felt like I was levitating out of my seat, before launching into a rousing, unique-style ' O Come All Ye Faithful' . Angela Fabian returned with a breathtaking rendition of ' Mary Did You Know' , pouring raw emotion into every note, while Josh’s yassified ' The First Noel'  sparkled with theatrical flair. The Queensland Show Choir lit up the stage with their kazoo-infused ' Holly Jolly Christmas ', and the group number ' Joy to the World ' filled the theatre with an unstoppable festive spirit. And when ' Joyful, Joyful'  kicked off—the version from Sister Act  —the room erupted in energy as the crowd joined in with joyful abandon. Angela's stunning rendition of ' O Holy Night' , combined with a soulful saxophone solo, had me absolutely melting in my seat! The finale of ' All I Want for Christmas Is You' , featuring Josh dazzling as a sparkling Christmas tree angel, wrapped up the evening with a big, festive bow! The crowd couldn’t get enough, erupting into cheers after every number. The energy in the room felt like a warm embrace. And the show wasn't just about the incredible music—it was a sensory feast. The lighting and sound design set a highly professional standard, creating a extravagant, festive atmosphere. Meanwhile, Santa’s little helpers were on a mission to spread joy (and cavities) by launching candy into the crowd like sugary confetti. What a delicious surprise that was!   'Home for Christmas'  was everything you’d want in a holiday show—heartfelt, homely, and overflowing with talent. It combined timeless carols, contemporary twists, and gospel brilliance in the most delightful way. JDProCo, I'm begging you to release a Christmas album—I need this festive magic all year long!

In December, Making A Scene Productions presented a contemporary adaptation of Shakespeare's ' Romeo and Juliet ' with ' Wherefore Art Thou Romeo? ' at BackDock Arts in Fortitude Valley. This version downplayed the age-old family feud to focus on the rapid and intense romance between the star-crossed lovers. Notably, this adaptation reimagined Romeo and Juliet as a queer love story, with both roles portrayed by women. They chose to retain Shakespeare’s original language (except for Romeo's pronouns) but trimmed the script down significantly; preserving the poetic essence while ensuring understanding through acting choices, emotion, and stage direction. Director Jack Winrow mentioned to me that nearly half of the play was cut, streamlining the narrative for modern audiences (and we’re grateful for that!). Co-directed by Brianna Wilkie, with sound design by Andrew Oxford and lighting design by John Roze, this production provided a captivating spin on the classic tragedy. Monica Behrenbruch took on the role of Romeo, while Rutika Nagarkar played Juliet. Their on-stage chemistry was undeniable, bringing an authentic passion to the romance. As the audience entered, Behrenbruch’s Romeo was already on stage, brooding over a breakup like a true drama queen, instantly pulling us into her world of love woes. A particularly memorable scene occurred when Romeo recounts the dream where Juliet kisses Romeo back to life, which then transitions into the poignant moment where Romeo learns of Juliet’s tragic fate. Behrenbruch acted with a palpable intensity that captured the unbearable pain of loss and the futility of her existence without her beloved, spiralling into the unhinged determination to take her own life. Nagarkar’s Juliet made an immediate impression with her excellent projection, a crucial skill when you're shouting sweet nothings in Shakespearean style. She embodied the whirlwind excitement and impatience of a teenager in love, making her portrayal feel both age-appropriate for the character and deeply relatable to anyone who has ever experienced the intensity of first love. The famous balcony scene was beautifully executed, with a striking use of backlighting enhancing the romantic atmosphere. One of the show-stealers was Azz Buckley-Oldfield as Mercutio, delivering scenes with charisma and theatrical flair. Their interpretation was packed with wit and energy to make Mercutio the life of the party. In contrast, Matthew Ianna’s portrayal of Tybalt served as the perfect foil to Mercutio’s vivacity. Their interactions crackled with tension, and the fight scene was impressively choreographed. The intensity of Mercutio’s death scene was palpable—so much so that some of their dying lines were lost in the dramatic weight of the moment. However, it was Behrenbruch's raw grief that followed that made the loss feel even more profound. The audience could practically feel Romeo's heartbreak as Mercutio succumbed to their injuries; a profound turning point that shifted the tone of the play entirely. Ally Wilson brought unexpected humour to Friar Laurence, especially in the scene where Romeo, overwhelmed by banishment, spiralled into a dramatic panic attack. Wilson's comedic timing and expressive reactions offered a refreshing counterbalance to Romeo's intense emotional turmoil. As Romeo flailed about in her emotional chaos, Wilson’s depiction of Friar Laurence as a somewhat bewildered yet well-intentioned character invited the audience to find humour amid the tragedy. Joel Dow perfectly captured Paris's exaggerated arrogance, highlighting Juliet's increasing discomfort as Paris persistently pursued her, oblivious to her disinterest. Edwina Saunders as Rosaline added an intriguing layer to the story. Her two-faced nature was played to perfection, making her later grief over Juliet’s death(s) feel surprisingly real, despite her earlier behaviour. Isabella Kirkwood was remarkable, having to step into the role of Lady Capulet faster than you can say "the show must go on." With only a few days to prepare, and occasionally sneaking peeks at the script, she gave a commanding performance as Juliet’s overbearing mother, handling Shakespeare’s tongue-twisting language with incredible assurance. The confrontation between Juliet and Capulet was a standout moment, showcasing the intense emotions between the two characters in a gripping scene. The show featured strong blocking and effective use of space, ensuring that the action remained visually engaging throughout. The modernisation of the setting was reinforced through costume and music choices. The characters were dressed in casual wear that fit the contemporary aesthetic, which helped bridge the gap between the classic narrative and modern sensibilities, allowing viewers to connect with the characters on a more personal level. While most of the pacing was tight and well-executed, one scene felt overly drawn out—the prolonged grief shared between Capulet and Rosaline over Juliet’s body. The emotional sorrow of the scene was palpable, but its length diminished its impact as it seemed to linger for an extended period, causing a noticeable shift in the audience's engagement. The use of fake blood in the final scene was both shocking and effective. The visceral imagery of the blood made the consequences of the characters' actions starkly clear to the audience. The cast delivered an incredible performance, especially considering how many scenes required solo work, demanding immense emotional depth from the actors. ' Wherefore Art Thou Romeo?'  was a fresh, heartfelt, and beautifully modernised adaptation of ' Romeo and Juliet' , demonstrating that Shakespeare’s themes of love and loss remain just as impactful today.

Brisbane Junior Theatre knocked it out of the park once again with their January production of ' Annie Jr. ' I had the privilege of attending the final performance of the ' Tomorrow' Cast, and what a treat it was! As always, BJT’s casting structure ensures that each young performer has their moment to shine, with two alternating casts giving multiple kids the opportunity to take on leading roles while also supporting each other in the ensemble. One standout performer who remained in his role across all performances was Oscar Fisher as Oliver Warbucks, and it’s easy to see why. He was a natural in the role, commanding the stage with confidence, boasting an accent that could convince a New Yorker, and delivering strong vocals, particularly in ' NYC '. His portrayal evolved wonderfully from the stern billionaire to a warm and caring father figure. His duet with Annie, ' I Don’t Need Anything But You ', was absolutely heartwarming. Speaking of Annie, Esther Valance was nothing short of phenomenal in the title role. Her vocal ability at such a young age was jaw-dropping, with incredible strength, control, and range. She carried many songs, but ' Tomorrow' —sung entirely solo—was a real showstopper. Beyond her voice, Esther truly embodied Annie’s optimism, warmth, and resilience. She even brought real tears to her emotional scenes, which had me misty-eyed right along with her. Carla Barton was a force to be reckoned with as Miss Hannigan, a true master of comedic mayhem. She nailed the trifecta of hilarity: impeccable comedic timing, exaggerated exasperation, and a sleazy charm, making the character both hilarious and villainous. Her accent, movements, and delivery made even the lines I know by heart feel fresh. She commanded the stage with ease and showed absolutely no fear in her performance. Alex Townsley was wonderfully sly as the scheming Rooster, while Neve Isles captured Lily's ditsy charm with flair. Together, they brought electric energy to Act 2, turning 'Easy Street'  into a fun showstopper. Their dynamic with Carla Barton as Miss Hannigan was packed with witty banter that kept my eyes darting between them to catch all the hilarity. James Tweddell was a standout as Bert Healy, bursting onto the stage in Act 2 with incredible charisma, great vocals, and some seriously impressive tap-dancing skills. He was a ball of talent, energy, and attitude, proving himself to be a young star in the making. Charlotte Westaway brought elegance and poise to Grace Farrell, balancing warmth with an authoritative presence. She carried herself with a refined grace that perfectly suited the role. Meanwhile, Henry Gow-Gates was an absolute delight as Drake, looking every bit the part in his dapper mini tuxedo. I particularly loved his comedic timing and playful character choices. The orphan ensemble was a powerhouse of personality, attitude, and boundless energy, with over 20 little girls bringing the stage to life. The lead orphans were exceptionally well-cast for their roles. 'Hard Knock Life' was a high-impact opening number, featuring Jada Parsons' dynamic choreography, which made brilliant use of the space and levels. Other standout dance moments included the polished and playful staging of 'I Think I’m Gonna Like It Here' and the infectious joy of 'Never Fully Dressed Without a Smile.' The orphans' harmonies in 'Maybe' were particularly touching, showcasing their impressive vocal ability and heartfelt delivery. The set design was cleverly crafted, with large pieces that moved around unnoticed between scenes, never disrupting the momentum of the show. The costumes were equally well thought out, particularly the orphans’ layered, patched-up denim, which captured the scrappy, Depression-era aesthetic. Naturally, Annie’s iconic red dress and wig made their appearance, while the Warbucks Mansion staff looked impeccably polished. And, of course, no ' Annie'  review would be complete without mentioning Saffie, the golden retriever playing Sandy, who earned rapturous applause simply for gracing the stage with her presence. Some things in theatre are just universal truths—dogs will always steal the show! The audience was packed and incredibly supportive, with cheers and applause ringing out for every big moment. I was particularly loud from my spot in the second row—how could I not be when these kids were delivering such a fantastic performance? The professionalism, energy, and sheer talent on display made it hard to believe that this entire production was put together in just five days. And the magic isn’t over yet! Many of the parents of these talented young performers are now taking the stage in the full adult production of ' Annie ' by Brisbane Musical Theatre, running from Thursday, January 9th to Saturday, January 11th. If this junior version was anything to go by, the full-length production is bound to be incredible. Don’t miss out— tickets are available here

Title: Divorce Party Presented By:  Gold Coast Little Theatre Genre:  Comedy-Drama Synopsis: When Lila signs her divorce papers, all she wants is a quiet night in—but her longtime friend Kimberley has other plans. She gathers the former bridesmaids for a surprise divorce party, despite their having barely seen each other for fifteen years. As cocktails flow, old tensions resurface, and the night spirals into chaos. Secrets are revealed, friendships are tested, and Lila is forced to confront her past before she can embrace her future. This fast-paced, girls' night out comedy explores themes of identity, friendship, and starting over. Written & Directed By:  Michelle Macwhirter Audition Details: Audition Date: Saturday, 11 January 2025 (by appointment) Video auditions also accepted (must be submitted by Friday, 10 January 2025) Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough Street, Southport, QLD Audition Registration: Audition Registration Form Audition Pack: Available here Audition Contact:   hello@michellemacwhirter.com Audition Requirements: Complete the audition registration form by Friday, 10 January at 9 PM Cold reads from the script (audition pieces available at GCLT Auditions ) Video audition option available (submit link via email) If auditioning for Lady, please also submit a video of you singing or prepare a short a cappella song for your in-person audition. Accents: Australian (or actor’s natural accent). Ages are flexible — audition if interested! Available Roles: Female Roles: Lila  – The divorcée. Vulnerable, fragile, downtrodden, but trying to keep it together. Works in risk assessment. Mother of twin sons. (30s-40s) Kimberley  – The neurotic planner. Organised but controlling. Married to Tilly. Owns pugs. (30s-40s) Lady  – The loveable diva. A famous singer with a rock/pop/indie style (actor's choice). Singing ability required. (30s-40s) Gemma  – The rebel. Happily single, rough around the edges, straight-talker. Now a paramedic. Broad Aussie accent.  (30s-40s) Peaches  – The innocent. A kindy teacher, sweet and secretly engaged. A Tupperware lady. Not supposed to drink. (20s-30s) Male Roles (1 or 2 actors to play multiple characters): James  – Likable Airbnb owner, recent divorcee. Zimon  – Fortune teller with a dodgy accent. Freddie  – Drug dealer and ring-in stripper (who doesn’t actually strip). Drunk Man  – Unwanted guest at the rooftop bar. Performance Dates: Friday, 28 March 2025 – Saturday, 12 April 2025 at Gold Coast Little Theatre Rehearsal Dates: Rehearsals Begin:  Tuesday, 14 January 2025 Rehearsal Days:  Tuesday & Thursday (7 PM), Sunday (AM) Final Rehearsal Event:  "A Night with Divorce Party" – Saturday, 8 March 2025, 5 PM Warnings: This production features adult themes, humour, and alcohol references. Required Age:  18+ Creative Team: Director:  Michelle Macwhirter Assistant Director:  Michelle Watkins Production Website:   GCLT Auditions Other Information: All cast members must become financial members of GCLT ($20 fee).

At the PIP Theatre 2024 Toucan Club Festival, Lucy Lucia unleashed a deeply relatable and hilarious one-woman show titled ' Ickoholics Anonymous' that hit home for anyone who's ever felt the sting of secondhand embarrassment or the full-body cringe of the ick. Armed with a sharp wit, a killer voice, and a PowerPoint presentation, Lucy took her audience on a 45-minute rollercoaster ride through the seven stages of the ick, blending comedy, music, and storytelling into a thoroughly engaging performance.   From the moment Lucy stepped onto the stage, she owned it. With just a projector, minimal props, and her dynamic presence, she guided us through her "IA meeting" (Ickoholics Anonymous, naturally), recounting her supposed "soulmate" encounter at a café. Her storytelling engaged effortlessly, her script a perfect mix of humour, self-awareness, and a Aussie charm.   Although I’m straddling the line between Gen Y and Gen Z, I related to everything . Lucy captured the universal experiences of obsessive crushes, Harry Styles fandom, and cringe-worthy moments like when a man scampers after runaway ping-pong ball. Personally, I’ve been on both sides of the "ick"—I caused one when I fell off a handrail while trying to impress my crush by sliding down it, and I’ve also felt it while watching a boy attempt to rollerblade. Lucy's sharp commentary on Aussie culture—complete with ibis/condom antics and a spot-on depiction of the Fortitude Valley train station—had the audience cackling. And who hasn't winced at a text with tragic punctuation like “your so beautiful”?   The humour hit all the right notes, from her impersonation of her mum to the brilliantly real “delulu hours,” where Lucy described those late-night spirals of Pinterest scrolling, outfit planning, and cringy texts. The use of a projector to display texts, phone screens, and PowerPoint slides added an interactive layer that kept the audience locked in.   While singing wasn’t the main focus of the show, Lucy’s voice was an absolute treat. Whether it was belting out snippets from Wicked , Hairspray , Mulan , or Taylor Swift, or serenading us on the guitar in full “Ken-mode,” her musical interludes were delightful bonuses that complemented her comedy. She made sure every element of her props and costuming was intentional. The lighting and sound were perfectly timed for dramatic and comedic effect and her use of the stage was purposeful and dynamic.   The audience was incredibly supportive, joining in with laughter, cringing, and singing. Lucy's playful charm made everything feel authentic, as if she wasn't just performing for us. By the end, I was so engaged in her journey that her stories felt like my own experiences. Word has it that Lucy is as kind, humble, and down-to-earth as she seems on stage. While I didn’t get to stick around to say hi (I had a date with my cats and my couch), her warmth and authenticity shone through every moment of her performance.   Ickoholics Anonymous  was a refreshing, laugh-out-loud exploration of romance's cringiest moments. Lucy’s comedic brilliance, relatable content, and endearing personality made it an unforgettable highlight of the festival. I’ll be keeping an eye out for whatever she does next—this is a performer who’s going places!

Presented by the Blue Roo Theatre Company and the Queensland Multicultural Centre, Midnight at the Cemetery  was a delightfully eerie and entertaining original production devised and performed by Blue Roo’s inclusive ensemble. This hilarious melodrama invited the audience into a moonlit cemetery, brimming with spooky charm and eccentric characters, for a memorable night of theatrical fun. The story, written by Sarah Jackson and the Blue Roo ensemble, explored themes of trust, scepticism, and the timeless lesson that “if something seems too good to be true, it probably is.” Directed by Lachlan Driscoll, Oriel Halpin (mentored), and James Loakes (mentored), the production celebrated collaboration and inclusion, bringing together a diverse cast of performers who shone in their roles. We were warmly introduced to the company and given a glimpse into the unique accessibility features of the show. With Auslan interpretation provided by Deaf Connect, audio description by Vivien Whittle, and dialogue projected on the back wall, every effort was made to ensure the production was inclusive and engaging for all. The cast of eight brought immense energy and charm to the stage. Benjamin Cox as Mystic Zoltan-the scam artist, opened the show with a lively back-and-forth alongside Stephanie Collas as Kelsey. Ben Halpin’s Mr Grumbles-the grave digger, had wonderful comedic timing, while Sarah Johnson’s Not Igor and James Loakes’ Doctor Twizzle made a wonderfully dynamic duo. Sarah’s understated delivery was a perfect contrast to her zinger lines, and James’ exaggerated expressions, especially during a moment of terror when he cried out for his mummy, had the audience in stitches. Matt Southgate as Nick oozed attitude, practically rolling his eyes in every scene, while Cameron East as the Mummy brought a delightfully spooky charm. Brigid Coote as Mrs Twizzle kept appearing and making everyone laugh with her adorable offering of tea. The choreography by Maureen Bowra was showcased beautifully in the ensemble’s energetic performance of “Monster Mash,” which was a definite crowd-pleaser. The costumes, designed by Catherine McNaught, were both spooky and detailed. What stood out most was the cast’s camaraderie and enthusiasm. Despite the challenges of memorising lines, blocking, and staying in character, the performers excelled, occasionally leaning on improvisation and gentle prompting in a way that felt seamless. The humour and joy radiating from the stage were infectious, and the audience responded with cheers and laughter. The Q&A session following the performance offered a heartwarming glimpse into the cast’s experiences. They spoke about how performing has boosted their confidence, improved their social skills, and allowed them to thrive as a team. One performer shared how theatre had even helped her with their stutter, highlighting the transformative power of the arts. Blue Roo Theatre Company continues to provide life-changing opportunities for performers with disabilities, fostering creativity, confidence, and connection. This talented ensemble will be back in 2025 with theatre programs in Paddington and Kingaroy, and I, for one, can’t wait to see what they create next! Photo Credit: Creative Futures Photography