REVIEW | The Human Centipede Parody Musical Presented by: Synergy Production Co., in collaboration with Left of Right Theatre Company and PIP Theatre Venue: PIP Theatre, Milton Date attended: 7 October 2026 (Preview) Music: Thomas Currie Book and Lyrics: Liam Hartley and Oliver Catton Director: Liam Hartley Assistant Director and Choreographer: Maureen Bowra Musical Director and Sound Designer: Nate Stevenson Production Designer: Tamzen Hunter Lighting Designer: Claire Yorston Costume Designer: Jemma Crowhurst Stage Manager: Lindsay Cooper Intimacy Coordinator: Michaela Faux Photography: Lavender Productions "There is always a light at the end of the anus." Possibly the most inspirational thing you'll hear from a musical about three people surgically sewn together, mouth to backside. I've seen a few horror parodies, but nothing quite like The Human Centipede Parody Musical. I haven't watched the original 2009 film, and I never will. I know enough. Yet here I am, willingly watching its musical adaptation and laughing at jokes that would be deeply concerning in any other setting. Don't let the source material get in the way of a good time! Written by Liam Hartley and Oliver Catton, with music by Thomas Currie, this spectacularly tasteless Australian creation returns under Hartley's direction. Since its 2023 Anywhere Festival beginnings, it's acquired a full set, projections, and a lighting rig, giving its characters considerably more theatrics to suffer through. The story follows two clueless American tourists, Lindsay (Rae Rose) and Jenny (Georg Gleeson), who fall into the hands of Dr Heiter (Beau Wykes), a sociopathic German surgeon with a friendly disposition and an appalling medical project. They're joined by Katsuro (Chris Nguyen), an equally unfortunate captive who thinks he's been invited to a party. Bless his soul. Before any unpleasantness, however, we're treated to a familiar opening scene lifted straight from The Princess Bride. Douglas Berry plays the grandfather reading to his sick grandson, played by Chris Nguyen in a dreadful wig (and playing with an actual Game Boy, btw!). This sets the tone for the theatrical thievery and obscene nonsense to follow, with performers committing to every ridiculous decision as though their dignity isn't already beyond saving. Beau Wykes plays Dr Heiter as a cheerful German sociopath, approaching his surgical ambitions with the enthusiasm of someone unveiling an exciting craft project! Come Act Two, Wykes channels Frank-N-Furter meets Beyoncé, later leading a tap break in which the human centipede taps with its hands. Yes, hands. There's only so much conventional choreography one can manage when one's face is attached to someone else's rear end... Rae Rose and Georg Gleeson look like they've wandered straight out of S Club 7's wardrobe and taken a wrong turn on holiday. As their predicament worsens, the pair throw themselves into frantic singing and physical comedy, with Gleeson's intense eyes conveying every stage of terror. Rose brings superb vocal control and musicality to 'The Centre of a Centipede'. Their group number, 'We're Fucked/We're Fine', sees them rolling around on chairs, desperately convincing themselves everything's fine when, quite demonstrably, it isn't. Chris Nguyen provides a comic counterpoint to the surrounding hysteria. His initial cluelessness is rather adorable. The trio eventually develop a peculiar companionship with an unexpectedly cute conclusion. I'm told the film takes a somewhat different approach to the ending... Meanwhile, old-fashioned noir detectives Kranz (Casey Martin) and Voller (Douglas Berry) investigate the situation, though they're more interested in narrating their actions and indulging in musical diversions. Their exaggerated Brooklyn accents (which they maintain even while singing), rapid-fire exchanges, and theatrical choreography make for a wonderfully ridiculous double act. Martin switches between detective smoulder and buffoonery easily, with a face made for black-and-white crime films, while Berry matches his energy and looks as though he's fighting for his life through the choreography. Their recurring number, 'Ain't a Second to Spare', sees the detectives repeatedly announce their lack of time while wasting an extraordinary amount of it. Just when you think they're finished, they're back for more. Musical theatre, country western, rock 'n' roll, crooning, and a kickline, naturally. (Martin going full hillbilly absolutely sent me). Choreographer Maureen Bowra has found another way to torture people in a show already dedicated to that activity. The song threatens to become the one that never ends, and I'm not convinced the detectives would mind. Bowra's choreography makes inventive use of the physical limitations of being attached to other humans. Thankfully, costume designer Jemma Crowhurst has provided padding and knee protection for the cast's prolonged adventures on the floor. Even a mad scientist's victims deserve appropriate workplace safety considerations. Thomas Currie's score features catchy melodies, clever reprises, and outrageous lyrics. Hartley and Catton enjoy a good pun, particularly involving rear-ends, bodily functions, or unfortunate positioning. Gleeson's song 'I'll Be Right Behind You' acquires an entirely different meaning here. The Act One finale weaves earlier songs together during Lindsay's morphine-induced nightmare. Even the musical numbers end up interconnected. I also caught references to Les Misérables, Hamilton, and A Chorus Line. 'Three Heads Are Better Than One' brings sparkling showmanship to a grotesque situation. Nate Stevenson's musical direction and sound balance ensure every dreadful pun comes through clearly. Claire Yorston's lighting design is equally sharp, with precisely timed cues and bold colour changes complementing the show's over-the-top parody style. During 'Hide and Seek', I caught myself thinking, 'Oooh, lighting change!' (Yes, I'm that person.) Alongside Tamzen Hunter's set and projections, the technical design provides a fuller playground for the madness. For all its disgusting subject matter, the staging is less visually revolting than expected. One fart noise (more of a shart, really) does much of the dirty work, while the costumes leave plenty to the imagination. The actors even break the fourth wall to judge us for attending this show in the first place. I glanced around the theatre to see most audience members covering their mouths in shock. Quite the collective reflex, considering what we've paid to watch. Perhaps we're instinctively protecting ourselves from recruitment? As the show acknowledges, "As sadistic as it is, I want to know how it ends." And I did. The performers commit completely to the satire, and I became invested in these ridiculous characters despite knowing their ghastly predicament. The Human Centipede Parody Musical is gleefully stupid, unashamedly camp, and wildly inventive (and far more entertaining than an adaptation of this film has any right to be).

Title: Jesus Christ Superstar Presented By: Gold Coast Little Theatre (GCLT) Genre: Rock Opera / Musical Theatre / Biblical Drama Synopsis: Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, Jesus Christ Superstar reimagines the final week of Jesus Christ's life through the eyes of Judas Iscariot. Set against the backdrop of political unrest in Roman-occupied Judea, the musical explores the increasingly complicated relationships between Jesus, Judas, Mary Magdalene, the apostles and the Roman authorities. As Jesus' popularity grows, Judas becomes concerned about the consequences of his influence, leading to betrayal, arrest and ultimately crucifixion. Told entirely through song, this iconic rock opera features a powerful 1970s-inspired score. Audition Date: First Round: Vocal video submissions close 23 October 2026. Second Round: Thursday 29 October 2026 (in-person callbacks and dance call). Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough St, Southport Audition Requirements: The first round consists of a vocal video submission. Audition material depends on the role. Jesus, Judas and Mary Magdalene: Prepare the specified character excerpt using the supplied sheet music and backing track. Role Required Song Starting Point Jesus Gethsemane 1:43 Judas Judas' Death 0:57 Mary Magdalene I Don't Know How to Love Him 2:40 All other named roles and ensemble: Prepare a 1–2-minute excerpt of a 1970s rock or pop song in the style of the production. Instrumentalists: Applicants indicating instrumental ability must also prepare a 30–60-second demonstration of their skills, such as chord progressions, riffs, strumming or plucking. Performers may accompany themselves during their vocal audition. Audition Registration: Register via Google Forms Audition Pack: Jesus Christ Superstar Audition Information (PDF) Performance Dates: 29 January – 20 February 2027. Performance Location: Gold Coast Little Theatre, Gold Coast, Queensland. Rehearsal Dates: Begin Sunday 1 November 2026, late afternoon/evening. Christmas Break: 22 December 2026 – 3 January 2027. Rehearsals Resume / Sitzprobe: Monday 4 January 2027. Rehearsal Times: Primarily Monday and Wednesday evenings and Saturdays during the day. A full rehearsal schedule will be provided at the first rehearsal. Warnings: The production depicts religious persecution, betrayal, suicide, physical violence and crucifixion, with emotionally intense themes surrounding faith, sacrifice, power and death. Creative Team: Director: Andrew Kassab Musical Director: Michelle Watkins Vocal Director / Assistant Director: Ruby Tate Production Website: Gold Coast Little Theatre Auditions Other information: Understudies will be cast for Jesus, Judas and Mary Magdalene, with dedicated performances. Intermediate guitar or bass skills are preferred, but not essential, for Jesus, Judas, Mary Magdalene and Simon. The production is also seeking instrumentalists who can sing and perform as part of the ensemble. Some ensemble performers will double as apostles and priests. Applicants should indicate any instrumental skills when registering. Audition Enquiries: JCS@gclt.com.au Available Roles/Character Breakdown: Jesus Any gender | Rock Tenor | Optional high G5 The central figure of the story and leader of the twelve apostles. Regarded by his followers as the Son of God and King of the Jews, Jesus struggles with the enormous expectations placed upon him and the consequences of his growing influence. Requires a powerful rock tenor voice capable of conveying emotional intensity and vulnerability. Intermediate guitar or bass skills preferred but not essential. Judas Iscariot Any gender | Rock Tenor One of Jesus' twelve apostles and arguably the antagonist of the musical. Judas becomes increasingly concerned about Jesus' fame, the welfare of the poor and the political consequences of his followers' devotion. A complex, conflicted character who drives much of the story. Requires a strong rock tenor capable of delivering emotionally charged material. Intermediate guitar or bass skills preferred but not essential. Mary Magdalene Female-presenting | Mezzo Belter A devoted follower of Jesus who finds herself developing romantic feelings for him. Mary provides a compassionate and stabilising presence amid the escalating conflict. Requires an actress capable of portraying grace, strength, vulnerability and compassion, alongside a strong contemporary musical theatre belt. Intermediate guitar or bass skills preferred but not essential. Pontius Pilate Any gender | Rock Baritone / Rock Alto The Roman governor of Judea who dreams of Jesus' crucifixion before finding himself responsible for determining his fate. Pilate struggles with the political and moral implications of his decisions. Requires a commanding presence and the ability to communicate internal conflict. King Herod Male-presenting | High Baritone The flamboyant King of Galilee, to whom Jesus is brought for judgment. The production describes the character as a David Bowie type, suggesting a theatrical, charismatic and larger-than-life stage presence. Requires strong character acting and confident rock vocals. Peter - Male-presenting | Tenor One of Jesus' twelve apostles. Despite his loyalty, Peter denies knowing Jesus three times on the night of his arrest in an attempt to protect himself. Requires the ability to convey loyalty, fear and remorse. Simon Any gender | High Baritone One of Jesus' twelve apostles who passionately encourages Jesus to lead his followers into battle against Roman rule. An energetic, politically motivated character requiring strong rock vocals and stage presence. Intermediate guitar or bass skills preferred but not essential. Caiaphas Male | Low Bass with Rocky Top The high priest who regards Jesus' growing influence as a threat to the nation and its stability. The production describes Caiaphas as a Mick Jagger type, suggesting a distinctive rock-inspired performance style and strong stage presence. Requires an exceptionally low bass voice with the ability to access a contrasting rock sound. Annas Male | High Baritone A priest who is persuaded by Caiaphas that Jesus represents a threat. Works alongside Caiaphas in the effort to bring Jesus before the authorities. Requires strong character acting and rock vocal ability. Ensemble Rol Seeking versatile performers with strong rock/pop vocals and confident movement skills. Ensemble members will portray a variety of characters throughout the production, with some doubling as apostles and priests. Seeking strong instrumentalists who also possess good rock/pop singing abilities. Some performers will double as apostles and priests. Preferred instruments include: Guitar Electric bass Piano Brass: trumpet and trombone Woodwind: flute and saxophone Violin Auxiliary percussion Instrumentalists must prepare a 30–60-second demonstration of their musical ability as part of their audition.

Title: Annie JR. Presented By: RMT Youth and ROAR Academy Genre: Musical Theatre / Family / Comedy-Drama Synopsis: Based on the beloved comic strip Little Orphan Annie and adapted from the Tony Award-winning Broadway musical, Annie JR. follows a spirited young orphan determined to find the parents who abandoned her on the doorstep of a New York City orphanage. Set during the Great Depression of the 1930s, Annie's optimism and determination help her navigate life under the cruel Miss Hannigan. When she is invited to spend Christmas with billionaire Oliver Warbucks, her life takes an unexpected turn. With help from Warbucks, his secretary Grace Farrell and her loyal canine companion Sandy, Annie discovers that family can be found in the most unexpected places. Audition Date: Saturday 17 October 2026 Audition Time: Three audition sessions available. Each session is limited to 25 auditionees. 10:00am–12:00pm 12:30pm–2:30pm 3:00pm–5:00pm Audition Location and Address: Redcliffe Showgrounds, Bicentennial Room, Scarborough Road, Redcliffe Audition Requirements: Auditionees should prepare the song associated with their preferred character or role category. Auditionees should also be prepared to participate in a dance audition Audition Registration: Register for your preferred audition session through the ROAR Academy Annie JR. webpage. Audition Pack: Annie JR. Audition Pack (PDF) Role Audition Song Annie Tomorrow Other Orphans It's the Hard Knock Life Grace Farrell I Think I'm Gonna Like It Here Rooster Hannigan / Lily St. Regis Easy Street Miss Hannigan Little Girls Older Ensemble NYC Performance Dates: Saturday 6 February 2027 Sunday 7 February 2027 Performance Times: 11:00am and 3:00pm on both days (four performances). Performance Location: Redcliffe Entertainment Centre (REC), Redcliffe QLD. Rehearsal Dates: November: Thursdays 5, 12, 19 and 26 November 2026 December: 14–16 December 2026 January: 20–22, 28 and 30 January 2027 February: 2, 4 and 5 February 2027 Rehearsal Location: All rehearsals take place at the Redcliffe Showgrounds, Bicentennial Pavilion, except the final dress rehearsal on 5 February, which takes place at the Redcliffe Entertainment Centre. Performer Age: ROAR Academy caters to young performers aged 5–18. Specific character playing ages are listed below. Other information: Optional Audition Preparation Workshops: Saturday 10 October 2026 at Redcliffe Showgrounds: 10:30am–12:30pm or 1:00pm–3:00pm These workshops cover vocal preparation and the audition dance routine. Cost: $50, deducted from the production workshop fee if the performer accepts a role in Annie JR. Production Participation Fee: Early Bird: $325 if paid in full by 1 November 2026. Standard Fee: $395, due by 1 December 2026. Instalment Option: Three payments of $140, due 1 November, 1 December and 1 January (total $420). The fee includes costumes, script and score, show shirt, pizza party and an after-show party at the Showgrounds following the final performance, including a visit from an ice cream van. ROAR Academy encourages culturally diverse casting. Performers do not need to physically resemble traditional portrayals of the characters, provided they can communicate the character's personality and intentions. Enquiries: Madeleine Johns — 0488 103 759 Available Roles/Character Breakdown Annie Female character | Playing age: 11 A tough, streetwise orphan who is also surprisingly vulnerable. Independent, resourceful, spirited and occasionally aggressive, Annie longs to find a family who will love her. Despite her difficult circumstances, she remains compassionate and optimistic. Requires strong singing and acting abilities, with the confidence to carry the production. Oliver Warbucks Male character | Performer age sought: 15–18 A wealthy, middle-aged billionaire who initially appears confident, authoritative and businesslike. His relationship with Annie gradually reveals a warmer, more affectionate side as he becomes completely charmed by her personality. Requires maturity and a commanding stage presence. Miss Hannigan Female character | Mature character role The cruel, flamboyant director of the orphanage. Manipulative, selfish and convinced of her own glamour, Miss Hannigan can switch instantly between genuine nastiness and exaggerated affection when it suits her. Requires a strong comedic actress with excellent timing, a mature singing voice and the ability to create a larger-than-life character. Grace Farrell Female character | Older youth role Oliver Warbucks' elegant and capable private secretary. Calm, composed, well-dressed and compassionate, Grace becomes an important source of kindness and stability in Annie's life. Requires a strong singer with a more traditional or legitimate musical theatre vocal style. Rooster Hannigan Male character | Older youth role | Brooklyn accent Miss Hannigan's scheming brother. Flashy, confident and dishonest, Rooster moves with the swagger of a gangster and works closely with his girlfriend Lily to swindle Warbucks. Requires strong comedic acting, a wide vocal range and excellent chemistry with Lily. Lily St. Regis Female character | Older youth role | Brooklyn accent Rooster's glamorous but dim-witted girlfriend. Lily is obsessed with appearances, wealth and personal gain. A confident comedic performer is needed, with a strong singing voice and the ability to play off Rooster's schemes. Molly Female character | Playing age: 6 The youngest and smallest orphan. Easily frightened and vulnerable, Molly looks to Annie for comfort and motherly reassurance. Kate Female character | Playing age: 7 One of the youngest orphans, second only to Molly in size. A member of the mischievous orphanage group. Tessie Female character | Playing age: 10 The most emotional orphan, quick to laugh, cry or become overwhelmed. Known for her repeated exclamation, "Oh, my goodness!" Pepper Female character | Playing age: 12 The toughest orphan. Outspoken, strong-willed and defensive, Pepper stands up for herself and the other girls. July Female character | Playing age: 13 The quietest orphan. A more reserved member of the group. Duffy Female character | Playing age: 13 The tallest and most mature orphan, often displaying an older, more confident presence. Supporting and Featured Roles Bundles McCloskey - The orphanage laundry man who enjoys flirting with Miss Hannigan. A character acting role. Apple Seller / Dog Catcher - Small featured roles with dialogue alongside Annie. No solo singing required. Sandy - Annie's lovable stray dog. This production is auditioning a performer to portray Sandy rather than using a live dog. Lieutenant Ward - A police officer who encounters Annie. A featured cameo with dialogue but no solo singing. Drake - Oliver Warbucks' English butler and head servant. Ideally, the performer should be tall or strong enough to carry Annie. Cecille and Annette - French maids employed at the Warbucks mansion. Strong singing ability required, with dance skills an advantage. Mrs. Greer - The head housekeeper at the Warbucks mansion. Part of the mansion staff ensemble. Mrs. Pugh - The Warbucks household cook. Her surname is pronounced "Pew." Star-to-Be - A glamorous aspiring Broadway star with a featured solo in "NYC". A strong singing and performance opportunity. Usherettes - Featured performers with small vocal solos in "NYC". Bert Healy - The charismatic host of the Oxydent radio show. A natural scene-stealer who loves being the centre of attention. Requires a big voice, comic confidence and strong stage presence. Bert Healy's Girls - Three radio show singers who perform close vocal harmonies. Strong ensemble singing and blending required. Radio Announcer - A featured speaking role requiring a polished, professional announcer's voice and manner. Sound Effects Man - A comedic radio performer responsible for operating old-fashioned sound effects props. May be combined with the Radio Announcer role. President Franklin D. Roosevelt - The President of the United States. Requires a performer who can convincingly portray an older, authoritative character, use a wheelchair onstage and imitate Roosevelt's distinctive voice and mannerisms. Louis Howe - President Roosevelt's trusted assistant. A featured supporting role. Ensemble - Additional performers will portray orphans, New Yorkers, tourists, servants, radio performers and other featured characters throughout the production.

Upcoming Performances 15 Oct 2026 THEATRE: USB - Come Down Collective, Backbone Festival Season: October 15th - 16th, 2026 Read More 15 Oct 2026 THEATRE: Constellations - All Entertainment Season: October 15th - November 21st, 2026 Read More 15 Oct 2026 CABARET: A Night at the Musicals - Brisbane Powerhouse Season: October 15th - 17th, 2026 Read More 15 Oct 2026 THEATRE: Suzie Sex Binge - Backbone Festival Season: October 15th - 17th, 2026 Read More 13 Oct 2026 DRAG CABARET: Fountain lakes Y2K - Events Centre, Empire Theatre, HOTA Season: October 13th - 17th, 2026 Read More 13 Oct 2026 THEATRE: Small Mouth Sounds - Queensland Theatre, Counterpilot Season: October 13th - November 1st, 2026 Read More 10 Oct 2026 THEATRE: Our Dog Comet - Definitely Good, Backbone Festival Season: October 10th - 17th, 2026 Read More 10 Oct 2026 THEATRE: The Ratture! - Backbone Festival Season: October 10th - 17th, 2026 Read More 10 Oct 2026 THEATRE: One Person One Acts - Javeenbah Theatre Company Season: October 10th - 24th, 2026 Read More 9 Oct 2026 MUSICAL: Fiddler on the Roof - QPAC Season: October 9th - 25th, 2026 Read More 7 Oct 2026 MUSICAL: The Human Centipede Parody Musical - Synergy Productions, PIP Theatre Season: October 7th - 17th, 2026 Read More 3 Oct 2026 THEATRE: Hemingway - Backbone Festival Season: October 3rd - 17th, 2026 Read More 2 Oct 2026 PLAY READING: New Classics - theatrePUNK co., Backbone Festival Season: October 2nd - 17th, 2026 Read More 2 Oct 2026 THEATRE: Picnic at Hanging Rock - Act1 Theatre Season: October 2nd - 18th, 2026 Read More 2 Oct 2026 BALLET: Bespoke - Queensland Ballet Season: October 2nd - 17th, 2026 Read More 30 Sept 2026 MUSICAL: Menopause the Musical - Twelfth Night Theatre Season: September 30th - October 25th, 2026 Read More 30 Sept 2026 MUSICAL: Pride and Prejudice (sort of) - Woodward Productions, QPAC Season: September 30th - October 18th, 2026 Read More 27 Sept 2026 CABARET: Les Femmes - Strut & Fret, West End Electric Season: September 27th + November 8th, 2026 Read More 19 Sept 2026 IMMERSIVE THEATRE: Edgar Allan Poe Speakeasy - Fever Season: September 19th - January 16th, 2026 Read More 19 Sept 2026 BALLET: The Magic of Ballet - Brisbane Ballet Season: September 19th - October 17th, 2026 Read More 16 Sept 2026 MUSICAL: Anastasia - QPAC, Opera Queensland, Crossroads Live Australia Season: September 16th - October 18th, 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

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

< Back THEATRE: Suzie Sex Binge - Backbone Festival 15 Oct 2026 Season: October 15th - 17th, 2026 Title: Suzie Sex Binge Presented By: Backbone Festival 2026 Genre: Cabaret / Comedy / Contemporary Performance Synopsis: Suzie has always been the one ending relationships, until she suddenly finds herself dumped. Armed with a Narrator turned dating coach, questionable early-2000s dating advice and diet culture's promises of self-improvement, she sets out to win her ex back at any cost. Part satire, part romantic comedy and part clown show, Suzie Sex Binge explores female sexuality, emotional repression and the pressure to appear desirable when all you really want is connection. Performance Dates: 15–17 October 2026 Performance Times: Thursday 15 October – 8:00pm Friday 16 October – 6:30pm Saturday 17 October – 8:30pm Performance Location and Address: Seven Hills Hub, 28 Tallowwood Street, Seven Hills QLD 4170 Thursday & Saturday – Ron Hurley Theatre Friday – The Workshop Space Ticket Costs: General Admission $30 | Concession $20 Ticket Link: https://backbone.org.au/2026-backbone-festival/p/suzie-sex-binge-october-15th Warnings: Sexual references, loud noises, audience interaction and fruit. Duration: 60 minutes Cast: Madeline Armit (Suzie) Creative Team: Hollie Bryan – Director | Madeline Armit & Adrian Diery – Sound Designers Previous Next