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Disney and Cameron Mackintosh’s Mary Poppins : A Practically Perfect Night at the Theatre 'Mary Poppins: The Broadway Musical'  soared onto the stage in November 2024 at the Twelfth Night Theatre, presented by Queensland Musical Theatre (QMT). Known for their tradition of staging a second annual show with kids involved, QMT selected this beloved family classic to showcase a lively blend of pint-sized performers and seasoned pros. As a proud superfan of this musical and Disney film, I approached this production with both high expectations and excitement. Having seen the stage show many times, I was buzzing to see how a community production would handle such a grand piece. Bringing a production as colossal as Mary Poppins to life is no easy feat, but under the direction of Deian Ping, with Nicky Griffiths overseeing the music and Julianne Burke handling the choreography, QMT presented a delightful rendition brimming with nostalgia, talent, and heart.   Casting Magic I was fortunate to attend an understudy performance with Emma Parkinson (pictured here as Queen Victoria) stepping into Mary Poppins' magical shoes, alongside Tia Godbold and Jake Allen as the mischief-makers, Jane and Michael Banks. Word on the street is that Georgia Mercer (pictured here as Mary), the principal Mary Poppins, was utterly marvellous in her portrayal, captivating audiences with her exceptional talent. However, Emma Parkinson flew in like a seasoned pro, seamlessly capturing Mary’s no-nonsense primness, quick wit, warmth, and underlying enigma. She handled the gigantic role with calm confidence and a divine vocal quality that shone in "Practically Perfect." The Banks children, Tia Godbold as Jane (shared with Alessia Monteverde) and Jake Allen as Michael (shared with Isaac Wilson), were little professionals. Their stamina and acting skills were remarkable, particularly given that they appeared in nearly every scene. They committed to being “perfectly horrid” in the early scenes to provide a delightful contrast to their eventual transformation under Mary’s guidance. Jake’s funny and sugary vocals in “The Perfect Nanny” were a treat, while Tia’s feisty take on Jane nailed the character's bratty yet vulnerable nature. They both managed to present a mix of defiance and longing; their journey from mischievous children to more understanding individuals depicted beautifully in their performances. Ray Gillmore truly embodied the character of Bert with a cockney accent and charm that captivated the audience from his opening moments "Wind's in the East, there's a mist coming in..." Ray was clearly in his element on stage, exhibiting a natural ease, incredible dancing skills, powerful vocal strength, and a friendly face that was always beaming with a warm smile. His easy rapport with the other characters was evident, as subtly guided them on their individual journeys and his friendship with Mary Poppins was endearing and believable; creating a magical connection on stage. Jamie Taljaard portrayed Winifred Banks like a pro, sprinkling warmth all over the stage. She captured Winifred’s quiet strength with subtle emotion and sincerity, which was obvious even from my vantage point at the rear of the theatre. Her solo “Being Mrs. Banks” was a tender and heartfelt exploration of her character's life as a loving mother and supportive wife; a lovely counterpoint to David McLaughlin’s stern yet evolving portrayal of George Banks. Typically known for his comedic roles, David’s portrayal of the serious Mr. Banks was a captivating change (although his goofy side does emerge in Act 2). His performance softened beautifully during the moving duet “A Man Has Dreams”, showing George’s vulnerability and growth in a genuine way. The chemistry between Taljaard and McLaughlin was palpable, illustrating the contrasting yet complementary nature of their characters. Kathryn King delivered a deliciously menacing performance as Miss Andrew, with her formidable operatic voice, wild gaze, and ferocious presence on stage making her a memorable antagonist. The duet she performed with Mary Poppins in the haunting “Brimstone and Treacle” was chillingly brilliant. The impressive vocal harmonies of both actors created a mesmerising auditory experience as the playful undertones of Mary Poppins' voice juxtaposed with the harsh, pompous tone of Miss Andrew.   Supporting characters added touches of humour and heart throughout the production. Kellie Wilson brought hilariously over-the-top drama as the housekeeper Mrs Brill. Skye Schultz captivated everyone with their bumbling antics and exaggerated expressions as Robertson Ay, the clumsy butler. James Hogan's dual roles as Admiral Boom and the Bank Chairman exuded an authoritative presence, embodying pomp and circumstance. Kristie Rabbitt’s tender performance of “Feed the Birds” was a stunning moment in the production. The choral backing combined with the orchestral swell elevated the number to breathtaking heights. Loretta Melit, leading "Supercal..." as Mrs. Corry, exhibited a confident dramatic flair that commanded attention. Jonathan Taufatofua stood out in his featured roles, leaving me wishing he had more time in the spotlight. Special mention must go to Peggoty and McGinty, the adorable dogs portraying Willoughby. Constanza Acevedo Burckhardt, handled the pups with exceptional care as Miss Lark. Whenever one of the tiny pups appeared on stage, their scene-stealing antics had us so entertained that we completely missed what anyone was saying - whoops! A Feast for the Eyes and Ears The set, designed by the duo of Gerard Livsey and Deian Ping, was a character in its own right. Constructed by an extensive team, the set unfolded like a giant storybook to transition between the Banks’ main room, nursery, and kitchen. The props and scenery offered a quintessentially British aesthetic while also serving as functional special effects. While the visual presentation was largely captivating, the scene transitions occasionally felt awkwardly long and frequent, momentarily breaking the flow of the performance. Despite this, the overall impact of the set design remained powerful, as it invited the audience to step into the world of the characters. Deian Ping led a large team dedicated to bringing the characters to life through their costumes. The attire was not only era-appropriate, but they also embraced a whimsical quality. The sheer number of costumes created for the production was extensive and impressive! In the memorable "Jolly Holiday" sequence, the vibrant outfits worn by the characters were a feast for the eyes, featuring bright patterns and playful parasols that evoked a sense of joy and wonder. Even the actors portraying the statues had to be painted in shimmering silver and wear wigs, not to mention the chimney sweeps requiring soot. The logistics of managing such a vast array of costumes, from the initial fittings to the final performance, required a high level of organisation and teamwork, showcasing the incredible effort behind the scenes. The lighting design by Tom Dodds featured an array of spectacular colours that were chosen to complement and enhance each scene. While the lighting was generally effective and contributed significantly to the overall aesthetic, there were moments when it faltered. Specifically, the use of backlighting, although intended to create dramatic effects (and stunning stage shots), often obscured the projected backdrops, rendering them virtually invisible to the audience. This oversight diminished the impact of the carefully crafted visuals that were meant to support the storytelling. Furthermore, the absence of follow spots proved to be a notable shortcoming, as it left the lead performers shrouded in darkness during pivotal moments. The sound operation managed by Josh Cathcart ensured that the balance between the orchestra and the vocal performances was effective, allowing the rich tapestry of sound to resonate beautifully throughout the venue. The orchestra, under the magical baton of Nicky Griffiths, was a driving force behind the intricate and expressive score. Their rich arrangements took the whole production to new heights, especially during emotionally charged moments like “Chim Chim Cher-ee” when Mary departs, or the exhilarating “Let's Go Fly a Kite” when Mary returns. Those familiar with this stage musical know that it predominantly consists of musical numbers or underscoring, and the orchestra never faltered. The ensemble’s vocals were consistently strong, harmonising beautifully and enveloping the theatre in warmth and joy like an enormous musical hug. Guided by Julianne Burke's choreography, each dancer embraced their roles with such passion. Almost every number in the production featured an imaginative array of prop work that added layers of visual interest; whether it was a parasol, a clipboard, a chimney sweep broom, a glowing star, or a kite soaring through the air. “Jolly Holiday” was a whimsical treat with its pastel colours, swirling skirts, and statues springing to life. “Supercalifragilisticexpialidocious” showcased the original, famously complex choreography, executed with precision and the boundless energy of a toddler on a sugar high. It was evident that the cast had dedicated countless hours to rehearsing and coordinating this intricate routine. “Step in Time,” led by tap captain Mike Lapot, was a true showstopper, brimming with thrilling tap sequences, prop work, and acrobatics. Sixteen chimney sweep dancers performed with remarkable stamina and enthusiasm, making it a clear audience favourite. The children's ensemble lit up the stage in the big production numbers, where their youthful energy, colourful costumes, and sheer cuteness were the secret ingredient to the musical's success. The closing number, “Anything Can Happen,” was bittersweet and uplifting, leaving the audience with a sense of hope and wonder as Mary Poppins soared across the stage for a final farewell. Final Thoughts Despite its considerable length, the show’s pacing felt swift, a testament to the cast and crew’s efforts to keep the audience engaged. The exceptional photography captured by Stageshots at Pif Productions captured the magic beautifully, preserving the production’s best moments. For a community production tackling one of the more complex musicals in the repertoire, this production reminded us all that “Anything can happen if you let it.” Queensland Musical Theatre’s commitment to ambitious storytelling remains strong, and their rendition of ' Mary Poppins'  was practically perfect in every way. Photo Credit: Stageshots at Pif Productions

Title : Dimboola Presented By : BATS Theatre Company Inc. Genre : Australian Comedy/Drama Synopsis : Dimboola is a classic Australian play celebrating the raucous, heartfelt, and humorous chaos of an outback wedding. Protestant Morrie McAdam marries Catholic Reen Delaney in the Mechanics' Institute Hall in Dimboola, Victoria. The two families, with all their quirks and disagreements, come together in a lively, boisterous wedding filled with drink-fueled insults, punches, and mayhem as they navigate their differences and celebrate the union of the newlyweds. Written By:  Jack Hibberd Audition Details: Audition Dates: Tuesday, 21 January 2025 Thursday, 23 January 2025 Audition Times: 7:30 PM Audition Location and Address: Buderim War Memorial Hall, Corner of Main Street & Gloucester Road, Buderim, QLD Audition Requirements: Open auditions with cold reads of the script. No pre-prepared monologues are required. Play-readings may be held the week before auditions for those interested in becoming familiar with the material. If unavailable on the audition dates, contact Director Kathy Hickson at 0400 446 197. Available Roles: Maureen Delaney (Reen): Bride. Morrie McAdam (Morrie): Groom. Darcy Delaney (Darkie): Father of the bride. April Delaney (June): Mother of the bride. Angus McAdam (Knocka): Father of the groom. Florence McAdam (Florrie): Mother of the groom. Patrick O'Shea: Parish priest. Daryl Dunn (Dangles): Best man. Shirl: Bridesmaid and town bike. Astrid McAdam: Flower girl. Horace McAdam (Horrie the Horrible): Uncle of the groom. Mavis McAdam: Aunt of the groom. Aggie McAdam: Spinster cousin to the McAdams. Bayonet: Local wit and drunk. Mutton: Local wit and drunk. Lionel Driftwood and His Piledrivers: The band. Leonardo Radish: Reporter for the Mildura Trumpet. Performance Dates: Friday, 4 April 2025: Evening Saturday, 5 April 2025: Matinee and Evening Friday, 11 April 2025: Evening Saturday, 12 April 2025: Matinee and Evening Performance Location: Buderim War Memorial Hall Rehearsal Dates: Tuesdays and Thursdays: Starting 28 January 2025. Warnings: The production includes humorous and exaggerated depictions of outback Australian culture with audience interaction. Recommended Age : 18+ Production Website:   BATS Theatre Auditions Bring a friend and your best "Give it a Go" mindset for a fun and lively production!

Title : The Farndale Avenue Housing Estate Townswomen's Guild Dramatic Society Murder Mystery Presented By:  Thrive Productions Genre : Comedy Play Synopsis : Every drama group has experienced the horrors of what can go wrong on opening night, and the ladies of the F.A.H.E.T.G. Dramatic Society are no different—except that almost everything that could possibly happen, does! From collapsing scenery to forgotten lines and missed cues, this ambitious evening's entertainment promises chaos and laughter as the ladies tackle their whodunit, Murder at Checkmate Manor. Complete with a Film and Fashion Show, a Murder Mystery Quiz (with a prize!), and an inventive final twist, this hilarious romp is a testament to the resilience and creativity of amateur dramatics. Written By : David McGillivray & Walter Zerlin Jr Director:  Susan O'Toole Cridland Audition Date: Wednesday, 8 January 2025 Audition Time : 7:00–9:00 PM Audition Location and Address : KSP Theatre, Burpengary, Corner of Old Bay Road & Maitland Road, Burpengary QLD 4505 Audition Requirements: Cold reads of the script (no preparation required). Complete the audition registration form: Register Here Available Roles: SYLVIA (playing Inspector O'Reilly ) FELICITY (playing Pawn , a butler; Colonel King , Lady Bishop's brother-in-law) AUDREY (playing Lady Doreen Bishop , a widow; Violet Bishop , her spinster aunt; Mrs. King , the Colonel's wife; Joan Bishop , Lady Bishop's cousin) MRS. REECE (playing Clarissa Rook , Lady Bishop's sister; Régine , the French maid; Patricia Bishop , Lady Bishop's niece; Letita Bishop , her sister; Mr. Goodbody , a solicitor) THELMA (playing Daphne Bishop , Lady Bishop's daughter; Rose Bishop , her spinster aunt) THE PRODUCER Performance Dates: Friday, 4 April 2025: Evening Saturday, 5 April 2025: Matinee and Evening Friday, 11 April 2025: Evening Saturday, 12 April 2025: Matinee and Evening Performance Location: KSP Theatre, Burpengary Rehearsal Dates: Mondays & Wednesdays: 7:00–9:00 PM Saturdays: 1:00–4:00 PM

Title : The Witches Presented By : National Academy of Performing Arts (NAPA) Genre : Play Synopsis: Adapted from Roald Dahl's beloved novel, The Witches tells the story of a brave young boy and his grandmother who uncover the secret world of witches conspiring to rid the world of children. Packed with magic, comedy, and suspense, this stage adaptation is a delightful journey of courage, family, and triumph over evil. Written By:  David Wood (Adaptation), based on the novel by Roald Dahl Audition Details: Audition Date: Sunday, 16 February 2025 Audition Times: Session One (10:00–11:30 am): Actors auditioning for Boy, Bruno, and Grandmother Session Two (11:30 am–1:30 pm): Actors auditioning for all other roles (The Grand High Witch has been cast). Audition Location and Address: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Audition Requirements: Required Age: 8+ for children; 18+ for adult roles Audition pieces will be sent out upon registration. A variety of English and European accents will be used. Audition Pack:   Download Here Audition Registration:   NAPA Auditions Available Roles: Boy:  Male presenting, playing age 8–12, curious and brave orphaned child. Bruno Jenkins:  Male presenting, playing age 8–12, solid, stocky, obnoxious, and comic. Grandmother:  Female presenting, playing age 60+, loving and knowledgeable about witches. Lawyer/Hotel Doorman/Head Waiter : Male presenting, 20s+, multiple comedic roles, accents a bonus. Sailor/Doctor/Head Chef : Male presenting, late 20s+, multiple comedic roles, accents a bonus. Mr Jenkins:  Male presenting, 35–55, posh and pompous father to Bruno. Mrs Jenkins:  Female presenting, 30s–50s, prissy and doting mother to Bruno, comedic. Mixed Ensemble:  All ages, playing roles such as Nurse, Waiter, Waitress, Guests, various witches, and more. Performance Dates: 11–17 April 2025 Performance Times: School holiday matinees and evening shows Performance Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Rehearsal Dates: Commencing Sunday, 23 February 2025 Mondays and Wednesdays (evening) Sundays (daytime) Other Information: Ensemble and Witch ensemble members can elect to appear in day shows, evening shows, or both. Adult actors may be called upon as puppeteers and to operate various tricks and tech. Director: Amy Elkin

Title : The Curious Incident of the Dog in the Night-Time Presented By : National Academy of Performing Arts (NAPA) Genre : Play Synopsis: Adapted by Simon Stephens from Mark Haddon's novel, this powerful story follows Christopher Boone, a neurodivergent teen with an extraordinary brain, as he embarks on a journey to solve the mystery of a neighbour's murdered dog, uncovering secrets about his family along the way. Written By:  Simon Stephens (Adaptation), based on the novel by Mark Haddon Audition Details: Date : Sunday, 5 January 2025 Times : Session One (4-5pm): Actors auditioning for Christopher, Siobhan, Ed, and Judy Session Two (5:30-7:30pm): Actors auditioning for multiple role tracks Location and Address: NAPA Studios,3 Stevenson Court, Burleigh Heads, Queensland Audition Requirements: Actors must be aged 18 or older. Cold read auditions with script extracts available for perusal from 3:30 pm. All actors must speak in an English accent (the play is set in Swindon, Wiltshire). Unfortunately, actors unavailable during the final week of rehearsals or for any shows will not be considered. Audition Registration:   NAPA Auditions Audition Pack:   Download Here Available Roles: Lead Roles: Christopher Boone:  Male presenting, playing age 15/16, neurodivergent teen boy. Siobhan:  Female presenting, mid-20s to mid-30s, Christopher's positive and warm teacher. Ed Boone:  Male presenting, late 30s to 50s, Christopher's exasperated but caring father. Judy:  Female presenting, late 30s to 50s, Christopher's struggling yet loving mother. Multiple Role Tracks: Actor One:  Mrs Alexander/Posh Woman/Voice Six (Female presenting, late 50s+). Actor Two:  Mrs Shears/Mrs Gascoyne/Voice One/Woman on Train/Woman on Heath/Shopkeeper (Female presenting, 30s to 40s). Actor Three:  Policeman 1/Mr Thompson/Voice Three/Drunk Two/Man With Socks/Man on Phone/London Policeman (Male presenting, 20s to 40s). Actor Four:  No. 40/Voice Five/Lady in Street/Information/Punk Girl (Female presenting, 20s to 30s). Actor Five:  Roger Shears/Duty Sergeant/Voice Two/Mr Wise/Man Behind Counter/Drunk One/Reverend Peters (Male presenting, 40s to 50s). Performance Dates: 7-16 March 2025 Performance Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads, Queensland Rehearsal Dates: Commencing Monday, 13 January 2025 - Mondays, Wednesdays, and Sundays from 6:00 pm Creative Team: Director: Amy Elkin Assistant Director: Jacy Lewis

Title : Charlie and the Chocolate Factory Presented By : Redcliffe Musical Theatre Genre : Musical Theatre Synopsis : Step into a world of pure imagination with Charlie and the Chocolate Factory! Based on Roald Dahl’s beloved novel, this magical musical features a mix of original songs by Marc Shaiman and Scott Wittman (Hairspray), along with classics from the 1971 film such as "Pure Imagination" and "Candy Man." Follow young Charlie Bucket and four other lucky ticket winners on a fantastical journey through Willy Wonka’s mysterious factory. With chocolate rivers, nutty squirrels, and curious Oompa-Loompas, this production is a delightful adventure for the whole family. Audition Details: Dates and Times: Thursday 9th January, 12:00 PM – 5:00 PM (preference for JUNIOR cast) Saturday 11th January, 9:00 AM – 5:00 PM Monday 13th January, 5:00 PM – 9:00 PM Location: Theatre 102 at 1 02 Anzac Ave, Redcliffe Call-Backs: Saturday 18th January (Time TBA) Audition Requirements: Lead or Featured Roles: One minute of a musical theatre song in keeping with your chosen character. Willy Wonka and Charlie Bucket auditionees must prepare a second contrasting song. Ensemble: Any musical theatre song showcasing your vocal range and ability. Video Submissions: Initial video submissions are accepted; shortlisted candidates must attend an in-person callback. Audition Registration Audition Pack Rehearsal Schedule: Rehearsals Start: Monday 20th January 2025 Regular Schedule: Mondays and Wednesdays (Evenings) Sundays (Mornings) Tech Week: Commencing Monday 17th March 2025 Special Note: Ensemble members are only required for Sunday rehearsals until 10th February. Performance Details: Venue: Redcliffe Entertainment Centre Season: Friday 21st March, 7:30 PM Saturday 22nd March, 2:00 PM & 7:30 PM Sunday 23rd March, 2:00 PM Friday 28th March, 7:30 PM Saturday 29th March, 2:00 PM & 7:30 PM Sunday 30th March, 2:00 PM Available Roles: Willy Wonka: Mysterious, charismatic, with a dark edge. British accent preferred. Vocal Range: A2 – G4 Playing Age: 28+ Charlie Bucket: Sweet and hopeful. British accent required. Vocal Range: G#3 – F5 (unbroken voice) Playing Age: 9–12 Grandpa Joe: Impish, kind, and full of energy. British accent required. Vocal Range: G#2 – G4 Playing Age: 60+ Augustus Gloop: Overactive and food-obsessed. German accent required. Vocal Range: Bb3 – G5 Playing Age: 10–14 (up to 18 considered) Mrs. Gloop: Augustus’s Wagnerian mother. German accent required. Vocal Range: Bb3 – D5 Playing Age: 38+ Veruca Salt: Vicious and spoiled. British/European accent preferred. Vocal Range: Ab4 – Db5 Playing Age: 10–14 (up to 18 considered) Mr. Salt: Veruca’s doting father. British/European accent preferred. Vocal Range: Ab2 – Ab4 Playing Age: 38+ Violet Beauregarde: Confident and full of attitude. American accent required. Vocal Range: C#4 – F#5 Playing Age: 10–14 (up to 18 considered) Mr. Beauregarde : Violet’s ineffectual father. American accent required. Vocal Range: F#3 – G4 Playing Age: 38+ Mike Teavee: Energetic and wild. American accent required. Vocal Range: G3 – Bb4 Playing Age: 10–14 (up to 18 considered) Mrs. Teavee: Overwhelmed and on edge. American accent required. Vocal Range: G3 – Eb5 Playing Age: 38+ Ensemble Roles: Oompa-Loompas (must be under 150cm tall), TV Reporters, and Crowd Members. Additional featured roles include Grandparents, Mrs. Green, and Jerry. Additional Information: Membership fee required to participate: Adult: $30, Concession/Junior: $25, Family: $70 Show Fee: Covers rehearsal materials, costumes, and other expenses: Lead and Adult Cast: $100 Junior Ensemble: $50 Creative Team: Producer/Director:  Madeleine Johns Music Director:  Rhonda Davidson-Irwin Assistant Director:  Sandra Harman Production Manager:  Kelli Marriott For more details, view the full Audition Pack  or visit Redcliffe Musical Theatre's Website . Contact: Madeleine Johns Phone: 0488 103 759 Email:  info@redcliffemusicaltheatre.com

Title:   Cinderella and the Glass Slipper Presented By:  KSP Theatre Genre:  Pantomime Synopsis: Cinderella transforms from a domestic servant to a princess with a little help from her fairy godmother. This classic story features plenty of humour, magic, and whimsical characters. Audition Date:  Tuesday 7th January 2025 Audition Time:  7pm - 9pm Audition Location and Address:  KSP Theatre, Cnr Old Bay Rd & Maitland Rd, Burpengary Audition Requirements: Cold read from the script Small group choreography audition Prepare a 1-minute vocal (singing) audition piece Rehearsal Dates: Sunday 4pm-8pm Tuesday 7pm-9pm Thursday 7pm-9pm First Rehearsal (Script Read-Through): Tuesday, 17th December 2024 at 7pm Performance Dates: March 2025 Ages:  10+ Available Roles: Prince Charming   Dandini   Baron Stoneybroke   Baroness   Erica & Ernestine   Cinderella Buttons Fairy Godmother   King & Queen   Town Crier Major Domo Pegasus   Ladies & Gentlemen of the Chorus   Director:  Margaret Watson For more information and to register, contact KSP Theatre.

Title:  The Importance of Being Earnest  Presented By:  Passion Productions Genre:  Comedy Synopsis: Oscar Wilde’s The Importance of Being Earnest is a farcical comedy of manners, exploring the tangled affairs of two young men leading double lives to evade societal obligations. Set in the Victorian "age of surfaces," the play follows Jack Worthing and Algernon Moncrieff as they navigate romance, mistaken identities, and the absurdities of high society. With wit, charm, and timeless humour, Wilde's play is a masterpiece of satire and social commentary. Audition Details: Date : Saturday, 25th January 2025 Time : 11am - 8pm. Group auditions will run for 50 minutes per session. Location : QUT Kelvin Grove, Z Block, Brisbane CBD Audition Requirements: Prepared Sides:  Choose the character you’re auditioning for and prepare their sides from the Audition Pack . Cold Reads:  Be prepared for potential cold reads during your session. Registration: Registrations are essential. Book your audition slot here . Available Roles: John (Jack) Worthing: A bachelor leading a double life as “Ernest” in the city and “Jack” in the country. Serious and sincere, yet tangled in his own deceptions. Algernon Moncrieff: A wealthy, carefree socialite who lives for pleasure and disguises himself as Jack's brother "Ernest" in the country. Lady Bracknell: A formidable matriarch enforcing Victorian social and class barriers with wit and unyielding standards. The Honorable Gwendolen Fairfax: Lady Bracknell's sophisticated daughter, who values style over sincerity but rebels against her mother’s expectations. Cecily Cardew: Jack's romantic and imaginative ward, longing for adventure and captivated by Algernon. Miss Prism: Cecily's moralistic governess with a secret past and a fondness for the local vicar. Rev. Canon Chasuble, D.D.: A clergyman with conventional views and a not-so-hidden affection for Miss Prism. Lane and Merriman: Servants to Algernon and Jack, adding understated wit to the chaos around them. Rehearsals and Performances: Rehearsals: Start: 11th March 2025 Schedule: Tuesdays, Thursdays, and Sundays (6:00 PM – 10:00 PM) Location: QUT Kelvin Grove, Z Block Season: Saturdays and Sundays, 17th May – 1st June 2025 Venue: QUT Kelvin Grove Additional Information: This is a community theatre production: no payment will be made to cast members. Passion Productions encourages diversity and inclusion. Performers of all identities, backgrounds, and abilities are welcome to audition. Cast members will be expected to promote the show actively on social media and commit to the Passion Productions Code of Conduct. Website :  Passion Productions Auditions Audition Pack:   Download Here For questions, contact Prue Robb at 0418 537 036 or email info@passionproductions.com.au .

The Queensland Shakespeare Ensemble’s 2024 production of Julius Caesar  transformed the Bard’s iconic political tragedy into a high-octane theatrical event. Performed at the newly refurbished Avalon Theatre at UQ, the show’s unique approach combined Shakespearean drama with modern sports culture to tell a timeless tale of ambition, betrayal, and political upheaval. After an unfortunate (and entirely out-of-the-company’s-hands) 30-minute delay, the audience was transported to an ancient Rome reimagined as a sports arena. The set, designed by Brigitte Bennett, cleverly utilised a sports-field-inspired layout that blurred the lines between ancient Rome and contemporary competition. The inclusion of a thongophone —a PVC pipe xylophone—was an unexpected delight, with cast members taking turns to create live music. This unique instrument added a layer of creativity that set the production apart from traditional interpretations and underscored the raw tension of the unfolding drama. The costumes, designed by Harmony Barath, echoed the sports theme with team-style uniforms and war paint, contrasting with the plastic weaponry used as props. Director Rob Pensalfini brought the story to life with energy and the small cast of 11 deftly managed multiple roles, using slight costume changes to signify their transformations. While the Australian accents may not have been to everyone’s taste, they undeniably offered a spin on the classic, grounding the story in a way that felt immediately relevant. Rebecca Murphy’s portrayal of Cassius was particularly riveting—her fiery projection and piercing gaze captured the character’s manipulative brilliance. Her back-and-forth with Liliana Macarone as Brutus created some of the play’s most compelling moments, particularly during their heated debates about loyalty and honour. Macarone brought an aching humanity to Brutus, her delivery of the character’s moral struggles leaving a lasting impression. The standout performance came from Frances Marrington as Mark Antony. Her portrayal of Antony’s grief and cunning manipulation was captivating. The funeral speech scene, in which Antony incites the Roman citizens against the conspirators, was a masterclass in dramatic tension and emotional delivery. Marrington’s ability to navigate Antony’s two-faced nature—mourning Caesar while slyly stoking the flames of rebellion—was exhilarating and layered. Lillian Duggan commanded the stage as Julius Caesar, embodying the leader’s charisma and hubris with haunted intensity. Leah Mustard as Portia delivered a heartfelt performance, particularly in her impassioned plea to understand her husband Brutus' inner turmoil. Mikala Crawley’s Calpurnia was equally compelling, her pleas laced with urgency and dread as she begged Caesar to heed her warnings. Riley Anderson stood out in the ensemble as one of the Roman citizens by adding humour and modern relevance. The cast’s commitment to Shakespeare’s dense language was commendable, and their ability to convey meaning through context, props, and tone made the story accessible even when the dialogue grew complex. The clever use of a screen at the back of the stage helped to orient the audience, displaying maps, timelines, and character details styled like sports team stats. Thematically, Julius Caesar  felt eerily timely, with its exploration of political power plays and mob mentality echoing issues in our own world. This was a bold and imaginative production that balanced innovation with respect for Shakespeare’s work, offering a wonderful experience for both seasoned Shakespeare fans and newcomers alike. With their 2025 season already in the works, anticipation is high for what the Queensland Shakespeare Ensemble will tackle next!

Title:   Little Women Musical Presented By:  Phoenix Ensemble Genre:  Musical Theatre Synopsis: Based on Louisa May Alcott’s classic novel, Little Women  tells the story of the March sisters—Jo, Meg, Beth, and Amy—navigating life, love, and loss during the American Civil War. Jo March, a determined writer, recounts their adventures through fantasy and reality, creating a tale of ambition, heartache, and sisterhood. This beautiful Broadway musical features emotional depth, captivating music, and the enduring themes of family and resilience. Audition Dates & Times: Individual Auditions: Friday, 17th January 2024 (6:00 PM – 9:30 PM) Saturday, 18th January 2024 (9:15 AM – 12:45 PM | 2:00 PM – 5:30 PM) Sunday, 19th January 2024 (11:00 AM – 12:45 PM | 2:00 PM – 5:30 PM at alternate venue TBC) Dance Call: Sunday, 19th January 2024 (9:00 AM – 10:45 AM at alternate venue TBC) Callbacks:  Saturday, 25th January 2024 (10:00 AM – 4:00 PM) Audition Location: Phoenix Ensemble Theatre, Beenleigh Showgrounds, James Street, Beenleigh QLD 4207 Audition Requirements: Singing:  Prepare two contrasting 30-45 second songs  similar to the genre but not from the show . Backing tracks must be brought on USB, device, or as a YouTube link. Acting:  Prepare a monologue or duologue  (30 seconds – 2 minutes) in a General American accent. You may bring your own or use one from the Audition Monologues Pack . Dance:  Jo, Meg, Beth, Amy, and Laurie auditionees must attend the group dance call  (comfortable clothing and footwear required). Callbacks:  Auditionees will receive scene work or songs to prepare. Audition Registration: Book your audition slot at Phoenix Ensemble Auditions . Available Roles: Jo March   (Lead, Mezzo-Soprano, E3–A5) The headstrong, confident writer with boundless energy and ambition. Requires strong acting, physicality, and vocal ability. Meg March   (Soprano, A#3–Gb5) The sensible eldest sister longing for a romantic, traditional life. Beth March   (Soprano, A3–G5) The heart of the family—gentle, kind, and full of optimism. Amy March   (Mezzo-Soprano, A#3–Gb5) The youngest March sister—youthful, ambitious, and determined to succeed. Marmee March   (Mezzo-Soprano, Eb3–Eb5) The strong, compassionate matriarch holding the family together through hardship. Aunt March / Mrs Kirk   (Alto, E3–F5) The wealthy and opinionated aunt, with moments of hidden warmth. Mrs. Kirk runs the boarding house. Laurie Laurence   (Tenor, Bb2–Bb4) The charming and energetic boy-next-door who shares a deep bond with Jo. Mr Laurence   (Baritone, D3–E4) Laurie’s grandfather, softened by the kindness of the March sisters. Mr John Brooke   (Baritone, C#3–F#4) Laurie’s tutor and Meg’s love interest. Professor Bhaer   (Baritone, G2–F#4) A reserved German professor who mentors Jo and challenges her writing. Rehearsal Schedule: Commences:  Sunday, 9th February 2024 Days/Times: Mondays & Wednesdays: 7:00 PM – 10:00 PM Sundays: 1:00 PM – 6:00 PM Tech Period:  Monday, 13th April – Final rehearsals through Easter. Important:  Jo March will require a minimum of 70% attendance  throughout the rehearsal period. Performance Dates: Season:  2nd May – 25th May 2024 Performance Times: Friday evenings Saturday matinees & evenings Additional Notes: Minimum audition age: 16 years . All performers must obtain a valid Blue Card  and become financial members of Phoenix Ensemble ($10). Intimacy and combat scenes will be choreographed by a professional intimacy coordinator and fight choreographer for safety. Production Team: Director:  Tammy Sarah Linde Musical Director:  Kym Brown Choreographer:  Hannah Macri Associate Director:  Luke O’Hagan Production Website: Phoenix Ensemble Auditions Audition Pack:   Download Here Audition Monologues:   View Here For additional questions or changes to your booking, contact auditions@phoenixensemble.com.au

By Don DeLillo Directed by Michael Futcher Ad Astra Theatre, Brisbane Ad Astra Theatre wrapped up their year with a powerful and thought-provoking production of Love Lies Bleeding . It left this audience member grappling with questions about life, suffering, and the responsibilities we hold for loved ones. Presented in the intimacy of Ad Astra’s studio theatre, the play drew audiences into its gripping debate with raw emotional intensity, compelling performances, and a script that demanded both intellect and empathy. Don DeLillo’s Love Lies Bleeding  explores the complex intersections of life, death, and moral dilemmas that arise when we attempt to prolong the inevitable. Under Michael Futcher’s masterful direction, the five-person cast wove a hauntingly poetic narrative, blending sharp dialogue, devastating truths, and moments of dark humour. The plot centres on Alex Macklin, a celebrated artist left in a persistent vegetative state after a second major stroke, as his fourth wife, Lia (Carla Haynes), his second wife, Toinette (Helen Howard), and his son, Sean (Spencer Cliff), wrestle with the decision to end Alex’s life. The performances were exceptional, capturing the emotional complexity of each character. Spencer Cliff portrayed Sean with an awkwardness that evolved into poignant depth. Playing the conflicted son, Cliff took us on a journey—from clinically explaining “terminal sedation” to delivering a gut-wrenching speech to his father. His shaky hands, visible perspiration, and inability to look at his father perfectly conveyed guilt and fear in a deeply human and tender way. Helen Howard’s Toinette started off with some biting wit, but as the story went on, you could really see her vulnerability and grief come through. Playing Alex’s second and longest wife, she portrayed a woman navigating the painful terrain between duty and heartbreak. One scene that really hit home was a flashback where Toinette and Alex looked back on their 11 years together. Carla Haynes shone as Lia, embodying patience and tenderness even in the face of immense pressure and sadness. Her portrayal as Alex’s fourth (and current) wife struck a balance between unshakable devotion and emotional unravelling, with her caring nature teetering on the edge of obsession. Her final scene with Alex was a real tearjerker, as her endurance and love were pushed to their limits. Greg Gesch excelled in his portrayal of Alex in a vegetative state through his physical acting. His eerily controlled stillness—accentuated by intentional slow blinks and subtle movements—commanded the stage, expressing a deep sense of fragility. In the flashbacks, John Stibbard infused Alex with vitality, heightening the tragedy of his decline. It becomes clear that Alex was not always an ideal father or husband, but he was intriguing and passionate as a person. The production’s design elements elevated its impact. Ada Lukin’s minimalist set featured real sand and a broken wooden structure, placing the audience in the isolation of the desert. Sparse furniture, including Alex as a constant presence in his chair with his IV drip, grounded the story in the stark reality of Alex’s condition. Madelyne Leite’s lighting skilfully shifted between the cool blues and warm oranges of memory and present, while the sound design—with gentle winds, crickets, and haunting piano tunes—pulled the audience into the play’s reflective mood. The play’s structure, with its interspersed flashbacks and flash-forwards, kept things moving and packed an emotional punch. The scenes were sharp and impactful, like chapters in a short story, with each glimpse into the characters’ lives adding more depth, e.g. A flashback to Alex recovering after his first stroke or a flash-forward to Sean’s funeral speech. The ethical debates surrounding life and death were compelling and multifaceted. Lia’s insistence on Alex’s right to continue living clashed with Sean and Toinette’s desire to release Alex—and themselves—from the suffocating burden of his continued existence. Their arguments were selfish yet achingly human, leaving the audience to wrestle with the morality of their own perspectives. By the final flash-forward, the aftermath of their decision was revealed. Lia’s funeral speech, delivered with stoic anger, reflected her profound sense of failure and heartbreak, leaving the audience in stunned silence. The intimacy of Ad Astra’s space truly amplified the play’s emotional resonance for me. The intimacy of the space magnified every performance detail, from Spencer’s beads of sweat to Carla’s tense jaw and Greg’s haunting stillness. The climactic moment, when Sean administers morphine to Alex, was agonisingly tense. Sean’s fumbling hands and Toinette's unravelling guilt created unbearable suspense as Alex’s breathing slowed. Greg Gesch’s extraordinary breath control made that moment viscerally real. Ad Astra’s bold choice to stage ' Love Lies Bleeding'  is praiseworthy and it ignited conversations about end-of-life ethics and our privilege of witnessing such raw live theatre. ' Love Lies Bleeding'  was not an easy watch, but it was a remarkable exploration of mortality and morality. With Futcher’s sensitive direction and an outstanding cast, this production brought DeLillo’s words to life in a way that was as thought-provoking as it was deeply moving.

' Winona ', presented at PIP Theatre as part of the MELT Festival 2024, is an experimental and intriguing theatre piece that defies easy explanation, but that’s part of its charm. Written by and starring Ebony Rattle, the show explores the messy realities of life, relationships, and identity through the lens of two characters: Special K (played by Ebony Rattle) and Billie (played by Stella Robinson). Over the course of an hour, we were taken on a whirlwind journey through their undefinable relationship, which is equal parts romantic, chaotic, tender, and turbulent. The performance held my attention for the entire hour, especially impressive since it involved just two performers. Rattle and Robinson displayed a genuine chemistry, bouncing easily between various scenes. The show had a raw yet well-rehearsed quality. While I couldn't personally relate to some themes, such as the exploration of queerness or the struggles with depression, I could still value the authenticity and human element in the storytelling. The show had an unconventional structure, with abrupt changes in thoughts and themes, similar to the chaotic mind of a neurodiverse person. This disorientation was effective, reflecting the unpredictability of the characters' lives. While the props and costumes seemed odd at first, they were purposefully used and never felt out of place. What impressed me the most was the ambition in Rattle's writing. Winona is more than just a story; it's a statement. The themes are heavy, yet they are handled with a mix of humour and depth that maintains the audience's interest. It felt like a piece made for those who have wrestled with mental health challenges or identity questions—a deeply personal yet universal exploration.