Title: Take The Stage 2026 Presented By: Elements Theatre Co. Genre: Community Performance Showcase / Variety Performance Synopsis: Take The Stage is a free community performance showcase celebrating local talent, creativity, and confidence. Open to performers of all ages and experience levels, the event welcomes singers, dancers, actors, musicians, comedians, and variety performers. Participants can perform solo, as a duo, or as part of a group. Rather than operating as a competition, Take The Stage has no judges, scores, or prizes and is designed simply as an opportunity for members of the community to perform and share their talents. Audition Date: Saturday 19 September 2026 Audition Time: From 12:00pm. Individual audition times will be allocated after registrations close. Audition Location and Address: Elements Theatre Co., 1A/131–135 Old Pacific Highway, Oxenford QLD Audition Requirements: Prepare the act you intend to perform in the final showcase if selected. Maximum performance length is 4 minutes. Solo, duo, and group performances are welcome. Acts must be family-friendly and suitable for audiences of all ages. If using music, bring your track on your phone or USB. If using props or equipment, bring these to the audition and ensure they can be set up quickly. Costumes are welcome but are not required at auditions. Wear comfortable clothing and appropriate footwear suitable for your act. Arrive 15 minutes before your allocated audition time for check-in, warm-up, and to meet the team. Performers will present their act to the coaching team and may receive questions or feedback. Applicants under 18 must provide parent/guardian details. Audition Registration: Take The Stage 2026 Registration Form Registrations close Monday 7 September 2026 at midnight. Audition Pack: Take The Stage 2026 Information Pack Performance Date: Sunday 4 October 2026 Performance Times: 3:00pm and 6:00pm Performance Location: Elements Theatre Co., 1A/131–135 Old Pacific Highway, Oxenford QLD Rehearsal Dates: Friday 2 October 2026 – Free Performance Workshop Rehearsal Times: 1:00pm–6:00pm. Successful acts will select a one-hour workshop session, with each act receiving approximately 10 minutes of one-on-one coaching within the open workshop setting. Warnings: Acts must be family-friendly and suitable for audiences of all ages. Please note the studio is located upstairs and is accessed via stairs. There is currently no wheelchair access. Those with accessibility requirements are encouraged to contact Elements Theatre Co. prior to the event. Performer Age: All ages and experience levels. Production Website: Elements Theatre Co. – Event Calendar Other information: Registration, auditions, the Performance Workshop, and the performance opportunity are all free. Successful performers will attend a free workshop on Friday 2 October to polish their act in the performance space. Coaching may cover stage presence, microphone technique, movement, timing, and audience engagement. On performance day, performers should arrive 30 minutes before their concert time, completely performance-ready with costume, hair, makeup if applicable, correct footwear, props, and accessories. General enquiries: info@elementstheatreco.com.au Available Roles: There are no set characters or theatrical roles. Applications are open to a broad range of acts, including: Singers Dancers Actors Comedians Musicians Magicians Spoken word performers Variety performers Other unique performance acts Solo performers Duos Groups

Goodbye, Eli Anderson Presented by: THAT Production Company Venue: Ipswich Civic Centre Date attended: 19 August 2026 Playwright: Grace Wilson Director: Timothy Wynn Assistant Director: Ruby Sanders Set & Costume Design: Madeleine Barlow Lighting Design: Daniel Anderson Video Design: Nevil Howell Sound Design & Composition: Morgan Francis Photography: Kenn Wylchi Content warnings: Mature themes, coarse language, mild violence, terminal illness, references to suicide, and grief. “I can't let life catch up to me." At 17 years old, Eli Anderson should be focused on senior year and whatever comes next. Instead, he’s facing terminal cancer, and a future that has been unexpectedly and unfairly cut short. Written by Grace Wilson, Goodbye, Eli Anderson won Queensland Theatre’s Young Playwrights’ Award before receiving its world premiere with THAT Production Company. Eli Anderson (Lincoln Kay) has a dark cloud hanging over him, with the same illness that took his mother now threatening his own life. His father (Hugh Parker) has gone into protective overdrive, while older brother Gabe (Angus Freer) is trying to figure out how to act around Eli when everyone knows their time together is running out. Eli doesn’t want to spend whatever time he has left being treated like he’s dying. So he takes Betty (the family’s colourful old campervan), and sets off for Uluru to make some memories of his own. Things get a lot more interesting when a teenage troublemaker, going by the oh-so-clever name “Hugh Jass”, hijacks his ride and insists on a lift to Darwin. Hello, Benji Hatchet (Jesse Frommelt). These reluctant road-trip companions quickly become something resembling brothers. Benji talks incessantly, steals things, gets bored every eight seconds, makes ridiculous decisions, and barrels through the world with the energy of an overexcited puppy who’s discovered the front gate has been left open. He becomes exactly what Eli needs. Both boys are on the run, but for very different reasons. As the story unfolds, we learn that Benji isn’t sure he even wants a future. He barely has a past to cling to either, having been essentially left alone in the universe. This younger teen is contemplating the idea of ending his own story, while Eli has had that decision made for him. Grace Wilson is clear that this isn’t really a play about cancer, but about men who love each other and struggle to say it aloud. Her writing places Eli in a cruel limbo between childhood and adulthood. Benji represents the adolescence he can still touch (full of play, impulsiveness, petty crime, and mischief), while to me, Gabe feels like everything waiting on the other side of seventeen: responsibility, family, memory, and adulthood. Eli sits between them, knowing he may never quite reach Gabe’s side. Thankfully, Wilson doesn’t let that sadness swallow the play. This is still an Aussie road trip, with plenty of joy along the way. The show takes us back to a time when cassettes were king, disposable cameras were the Instagram of the day, and a Refidex was your trusty GPS. For just a dollar, the pub jukebox could become your own disco inferno. At one point, there’s even talk of becoming pen pals, because keeping track of your random road-trip buddy was a much bigger logistical challenge before social media. The boys play cricket at a far less touristy Uluru, evade the cops like pros, and soak up the exhilarating thrill of being young and up to no good. Lincoln Kay plays Eli with a finely balanced mix of anger, fear, humour, stubbornness, and vulnerability. He never becomes simply “the sick kid” in the play. Kay’s quieter work packs just as much of a punch, with Eli’s vivid dreams and moments of make-believe reminding us how young he still is. His monologue addressed to his mum beneath the stars was met with audible sniffles in the audience. Only someone who has faced Eli’s circumstances could truly know how he feels or understand his reasoning from inside his head. Still, I found myself empathizing fiercely with him, even when his choices seemed irrational to those who cared about him. As Gabe puts it, “He doesn’t want to be coddled, he wants to be capable.” Jesse Frommelt is enormously endearing as Benji, whose relentless, chaotic energy could easily become exhausting in less capable hands. Instead, every bit of his performance feels truthful, especially when an intense confrontation with Eli completely changes the atmosphere. I went from tensing up to tearing up within the same scene as Frommelt’s emotional work landed with startling force. The impact of having young actors who actually match the characters’ ages is huge. Their awkwardness, bravado, silliness, affection, and sudden bursts of emotional intensity feel completely real - never like adults trying to imitate teenagers. Angus Freer brings a different kind of pain to Gabe. He’s facing the reality that his little brother will die before him, and there’s nothing he can do to fix it. Freer captures Gabe’s position between protecting Eli and respecting him. He understands something their father struggles to accept: keeping Eli alive isn’t the same as letting him truly live. His exchanges with Hugh Parker as their father are particularly intense. Dad’s overbearing nature can be frustrating, but having already lost his wife to cancer, his fear is painfully understandable. Together, Freer and Parker capture the emotional limbo of anticipatory grief, cherishing Eli while he’s still with them and already wondering what they might regret afterwards. Timothy Wynn’s direction allows all that emotional weight to sit comfortably alongside the pace, humour, and momentum of the road trip. Madeleine Barlow’s set drops us straight into regional Australia, with corrugated tin, road imagery, and Betty herself dominating the space. A genuine campervan is an ambitious centrepiece, but Betty more than earns her place. She rotates and shifts throughout the trip to give us different perspectives, with the backstage team deserving their own shoutout for repeatedly manoeuvring the thing around! Morgan Francis's sound design gives Betty plenty of sputters, groans, and engine noises, helping sell the idea that she’s actually getting them somewhere. The music of their era becomes another bonding language for the boys. I also loved the striped motif across Barlow’s design. Stripes appear on the walls, across Betty’s paintwork, and throughout the boys’ costumes, tying the whole visual world together. Nevil Howell’s video work is very clever too, with projections of scenery and road signage, plus live footage allowing us to watch Eli and Benji from inside the van. The projections expand beyond the stage during Eli’s imaginative sequences, while Daniel Anderson’s lighting finds beauty in the landscape, particularly beneath the stars and at dawn over Uluru. Out there, Eli can disappear from his father’s protection and feel completely alive, while the enormity of the world reminds us how much of it he’ll never get to see. Out on the road, these boys finally get something they haven’t really had before... Space to muck around. Space to fight. Space to be frightened. And, eventually, enough space to speak. Grace Wilson wrote the first version of Goodbye, Eli Anderson as a teenager, and perhaps that’s why its young characters are allowed to be so contradictory. They can be brave and terrified, selfish and generous, hilarious and devastating within moments of each other. Nobody suddenly becomes eloquent just because this awful thing has happened. These are boys trying to find words for experiences they were never taught how to discuss. Sometimes they manage it. Sometimes all they can do is sit beside each other in a battered van, put on a cassette, and keep driving. Funny, poignant, and scrappy, Goodbye, Eli Anderson introduces a distinctive young Australian voice in Grace Wilson, brought to life by the gifted young performers entrusted with her work. It brought plenty of joy and tears, and left a fairly substantial lump in my throat. Grace Wilson may have written a story about a boy running out of time, but I suspect this play itself has a long life ahead of it.

Title: The Addams Family: Young@Part Presented By: Second Star Youth Theatre Genre: Youth Musical / Musical Comedy Synopsis: America’s darkest and kookiest family comes to life in a musical about love, family, honesty, and growing up. Wednesday Addams, the ultimate princess of darkness, has grown up and fallen in love with Lucas Beinecke, a sweet, smart young man from a respectable and decidedly “normal” family. There’s just one problem: her parents have never met him. Wednesday confides in her father and asks him to keep her relationship a secret from Morticia, forcing Gomez to do something he has never done before: lie to his beloved wife. Everything comes to a head when the Addams family hosts Lucas and his parents for dinner, bringing two very different families together for one unforgettable night. Audition Date: Sunday 13 September 2026 Audition Time: 1:00pm–5:00pm Audition Location and Address: Faith Works Norman Park, 177 Bennetts Road, Norman Park QLD Audition Self-Tape (if applicable): Video auditions are available for performers unable to attend the in-person audition workshop. Register as normal and indicate your unavailability on the registration form; instructions for submitting a video audition will then be provided. Audition Requirements: Auditions will be conducted as an iTheatrics-style group workshop. No prepared audition material is required. During the workshop, performers will learn material from the show and then have the opportunity to perform what they have learned for the creative team and their fellow auditionees. The workshop is designed to assess not only singing, dancing, and acting, but also how performers connect with others, respond to direction, and learn new material. All performers who audition are guaranteed a place in the cast. Auditions are used to determine individual casting rather than whether a performer will participate in the production. Audition Registration: Registrations are open now and places are filled on a first-come, first-served basis. There is no fee to register for the audition, although the participation fee must be paid in full before audition day. Audition Pack: All audition and production information is available on the production page: The Addams Family: Young@Part Audition Information Performance Dates: Saturday 3 October 2026 Performance Times: 3:00pm and 6:00pm Performance Location: Marjorie Godfrey Theatre, Cavendish Road State High School, Holland Park QLD Rehearsal Dates: Monday 28 September – Friday 2 October 2026 Rehearsal Times: 9:00am–4:00pm daily Performer Age: 10–18 years old, as of 3 October 2026. Creative Team: Director & Musical Director – Lauren McNamara Choreographer – Isabella Maric Production Website: Second Star Youth Theatre – The Addams Family Other information: Participation costs $450 per performer, including GST. The fee contributes towards rights and royalties, creative and technical professionals, venue hire, sets, props, costumes, marketing, and other production costs. Each participant receives a script, production T-shirt, dinner on performance day, an audition workshop, and the full week of tuition and rehearsals. The majority of costumes will be supplied by Second Star Youth Theatre, with costume hire included in the participation fee. Performers may be asked to provide basic items such as footwear, stage blacks, dress pants, or a white T-shirt. After casting, performers receiving lead and featured roles are expected to learn dialogue and lyrics before the intensive rehearsal week. Scripts, rehearsal tracks, and accompaniment tracks will be supplied. Performers of all genders may be considered for all roles, regardless of the character’s original gender representation. Character names and pronouns in the script will remain unchanged. Enquiries: lauren@secondstaryouththeatre.com.au Available Roles/Character Breakdown: Gomez Addams - A suave and passionate father of Spanish descent who adores his wife and children and takes enormous pride in being an Addams. Gomez finds himself caught between Wednesday and Morticia when Wednesday asks him to keep her secret. Requires strong comedic timing and dancing ability. A Spanish accent is a plus. Morticia Addams - The beautiful, mysterious, confident, and dryly witty head of the Addams family. Morticia values family tradition and becomes increasingly suspicious when she realises Gomez is hiding something from her. A strong mover; tango skills are a bonus. Wednesday Addams - The gothic eldest Addams child, balancing her loyalty to her wonderfully strange family with her love for a “normal” boy. Wednesday is compassionate, stubborn, determined, and strong-willed. Requires a strong belt. Pugsley Addams - The youngest Addams child, who has always enjoyed being tortured by his big sister. With Wednesday now focused on her new boyfriend, Pugsley struggles to understand his changing place within the family. Charming and funny, ideally with an unchanged singing voice. Uncle Fester - The lovable, childish, enthusiastic, and incorrigible narrator of the story. Requires excellent comedic timing and a tenor voice. Grandma - Fun, feisty, quirky, and wonderfully wacky, Grandma always has another trick up her sleeve. She is wise, eccentric, occasionally crass, and requires strong comedic timing and physicality. Lurch - The Addams family’s imposing butler and a man of very few words. Much of Lurch’s storytelling comes through grunts, moans, facial expressions, and slow, deliberate physicality. Requires excellent non-verbal acting ability and typically suits a rich bass voice. Lucas Beinecke - Wednesday’s sweet, optimistic, “boy-next-door” boyfriend who intends to marry her. Lucas struggles to navigate the enormous differences between his conventional family and the macabre Addams clan. Requires a strong singer and scene partner. Mal Beinecke - Lucas’s uptight and cynical father and Alice’s rather cold husband. Mal is immediately sceptical of the bizarre Addams family and horrified by the possibility that they may soon become his relatives. Alice Beinecke - Lucas’s mother and Mal’s wife. Alice initially presents herself as reserved, composed, and devoted to her family, even frequently speaking in rhyme. Dinner with the Addams family eventually unleashes a very different side of her personality. Requires a strong comedic actor with a strong belt. The Ancestors - The Addams ancestors from many different historical eras form the show’s ensemble and help tell the story after emerging from the family crypt. The Ancestors feature extensively throughout the production in both singing and dancing, with additional featured opportunities available for ensemble performers.

Upcoming Performances 3 Sept 2026 THEATRE: One Act Play Season - Nambour Lind Lane Theatre Inc Season: September 3rd - 5th, 2026 Read More 3 Sept 2026 MUSICAL THEATRE: Sister Act - Toowoomba Choral Society Season: September 3rd - 5th, 2026 Read More 3 Sept 2026 CIRCUS/CABARET: Late Night Vice - The West End Electric Season: September 3rd - October 11th, 2026 Read More 3 Sept 2026 THEATRE: Mama Does Derby - Brisbane Festival, Brisbane Powerhouse Season: September 3rd - 5th, 2026 Read More 3 Sept 2026 MUSICAL: Bring It On - NAPA (NAPA Youth - Broadway Extension) Season: September 3rd - 6th, 2026 Read More 3 Sept 2026 MUSICAL THEATRE: The Choir of Man - Brisbane Festival Season: September 3rd - 26th, 2026 Read More 2 Sept 2026 THEATRE: Koreaboo - La Boite Theatre Season: September 2nd - 19th, 2026 Read More 1 Sept 2026 THEATRE: Strong is the New Pretty - Queensland Theatre, QPAC Season: September 1st - 19th, 2026 Read More 28 Aug 2026 THEATRE: Death of a Salesman - QPAC Season: August 28th - September 6th, 2026 Read More 28 Aug 2026 THEATRE: My Sunny Boy - Spotlight Theatre Season: August 28th - September 12th, 2026 Read More 28 Aug 2026 THEATRE: An Ideal Husband - St Luke's Theatre Society Season: August 28th - September 12th, 2026 Read More 28 Aug 2026 THEATRE: The Unfortunates - Staged Theatre Company Season: August 28th - September 5th, 2026 Read More 27 Aug 2026 THEATRE: Ode to a Lost Love - Cornerstone Theatre Season: August 27th - September 5th, 2026 Read More 26 Aug 2026 THEATRE: Dead Bat on the Night Shift - Observatory Theatre, PIP Theatre Season: August 26th - September 5th, 2026 Read More 31 July 2026 MUSICAL: The Book of Mormon - QPAC, Jones Theatrical Group Season: July 31st - October 4th, 2026 Read More 31 July 2026 BURLESQUE: Unlaced - The Bootleg Lounge Season: July 31st - September 26th, 2026 Read More 9 May 2026 MUSICAL: Hey Felicia - The Sit Down Comedy Club Season: May 9th - November 7th, 2026 Read More 14 Feb 2026 MAGIC: Theatre of Magic - Empire Theatre Season: February 14th - December 5th, 2026 Read More 9 Feb 2026 PLAY READING: Playground - 7th Floor Theatre, PIP Theatre Season: Monthly from February 9th, 2026 Read More

< Back THEATRE: One Act Play Season - Nambour Lind Lane Theatre Inc 3 Sept 2026 Season: September 3rd - 5th, 2026 Title: MisAdventure or Knot Presented By: Nambour Lind Lane Theatre Inc. Genre(s): One-act plays - Comedy and Murder Mystery Synopsis: Enjoy three one-act plays in a single performance, with two comedies wrapped around a classic murder mystery: Albert by Richard Harris – A farce about an Englishman, an Italian and a Finn who meet in a sitting room but cannot speak a word of each other’s languages. Trifles by Susan Glaspell – A murder mystery set in the farmhouse of John and Minnie Wright, the day after John is found strangled in his bed and Minnie is arrested. *It’s Hit to Be 70 by Sheila Oliver – A hilarious new story proving that age is only a number and growing up is overrated. Performance Dates: 3–5 September 2026 Performance Times: Thursday 3 September – 7:30 pm Friday 4 September – 7:30 pm Saturday 5 September – 2:00 pm and 7:30 pm Performance Location and Address: The Lind Theatre, 16 Mitchell Street, Nambour QLD 4560 Ticket Costs: Adult/15+ – $27 Concession – $25 Lind Theatre members – $22 Groups of 10 or more – $22 per person A TryBooking service fee may also apply. Ticket Link: Book tickets through TryBooking Warnings: No specific content warnings have been published. The program includes a murder mystery involving strangulation, death and an arrest. Recommended Age: Ages 15+ Duration: Each play may vary in duration Creative Team: Albert Writer – Richard Harris Director – Lisa Blair Rehearsal Director – Lea-Anne Grevett Trifles Writer – Susan Glaspell Director – Glenda Campi *It’s Hit to Be 70 Writer – Sheila Oliver Director – Kathy Hickson Production Website: The Lind Theatre – What’s On Other information: The production presents three separate one-act plays in one sitting. For booking enquiries or group reservations, contact The Lind Theatre on 1300 732 764 or email info@lindlane.com.au . Patrons who are unwell are asked to remain home and contact the theatre to discuss their booking. Previous Next

Discover the latest in Brisbane theatre auditions and reviews on Stage Buzz Brisbane. Your go-to source for all things theatre in the Queensland capital. WELCOME TO STAGE BUZZ BRISBANE This dynamic hub for South-East Queensland thespians is your go-to source for audition updates, performance reviews, and engaging content that celebrates the vibrant local theatre scene. From spotlighting talented actors to providing valuable tips, it's a community-driven platform that brings the magic of the stage to the forefront, fostering connection and celebration among theatre enthusiasts in the region. NICE TO MEET YOU Embrace the enchanting world of South-East Queensland's theatre scene right here on Stage Buzz Brisbane! We're your go-to hub for all things theatrical: upcoming performances adult audition alerts youth auditions performance reviews exclusive spotlight interviews with local talents rehearsal/performance venue database Whether you're a seasoned thespian or a passionate supporter of the arts, join us on this exciting journey as we celebrate the magic that unfolds on our local stages. At Stage Buzz Brisbane, we believe every production deserves its moment in the spotlight. If you know of any upcoming productions or hidden gems that have slipped under the radar, don't hesitate to reach out and share your insights or let us know about the productions that deserve extra applause. Together, let's shine a light on the vibrant and thriving community theatre culture in South-East Queensland. Let the curtains rise, and let the show begin! Contact