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Title: Picnic at Hanging Rock Presented By: Act1 Theatre Genre: Drama / Mystery Synopsis: Based on Joan Lindsay's iconic Australian novel and adapted for the stage by Tom Wright, Picnic at Hanging Rock tells the haunting story of a group of schoolgirls and their teacher who mysteriously disappear during a Valentine's Day picnic at Hanging Rock in 1900. As those left behind search for answers, the mystery deepens, blurring the lines between reality, memory and myth in one of Australia's most enduring theatrical works. Audition Date: Saturday 1 August 2026 Audition Time: 11:00am Audition Location and Address: Act1 Theatre (Old Shire Hall), 238 Gympie Road, Strathpine QLD 4500 Audition Requirements: Prepare and perform a monologue that showcases your characterisation skills. Participate in cold readings from sections of the script. Audition Registration: Contact the production team directly for audition enquiries. Performance Dates: 2 - 18 October, 2026 Performance Location: Act1 Theatre (Old Shire Hall), 238 Gympie Road, Strathpine QLD 4500 Production Website: https://www.act1theatre.com.au/auditions Other information: This is a community theatre, non-paid production created by volunteers passionate about producing theatre of a high standard. The production is seeking performers who can: Play multiple characters with confidence and versatility. Deliver substantial monologues with conviction. Create distinct and believable characters using voice and physicality. Work collaboratively as part of a close ensemble. Commit fully to the rehearsal process. For further information contact: Michelle Whitmore (Director): 0412 395 800 Deb Hossack (Production Manager): 0431 843 887 Available Roles/Character Breakdown: The production is seeking five talented female performers to portray multiple characters throughout the play.

Jagged Little Pill Presented by NAPA Ensemble at the National Academy of Performing Arts Director, Set Design, Lighting Design: Hunter Wall Musical Director: Laila Cheqer de Souza Vocal Director: Jonathan Whitlow Choreographer: Cooper Swain Assistant Choreographer and Costumes: Kim Reynolds Sound Design: John Taylor Photography: David Reynolds Jagged Little Pill contains strong themes and depictions relating to sexual assault, substance addiction, overdose and mental distress. Slight spoilers follow. “I’m sane, but I’m overwhelmed. I’m lost, but I’m hopeful, baby.” There it is. The anthem that speaks for an entire generation of people who are technically functioning and outwardly smiling, but secretly hanging on by a thread. It also speaks for every character in Jagged Little Pill. Inspired by Alanis Morissette’s landmark 1995 album, with a Tony Award-winning book by Diablo Cody, Jagged Little Pill follows the Healy family: Mary Jane, a suburban super-mum hooked on painkillers; her emotionally absent husband, Steve; their golden-child son, Nick, buckling beneath the pressure to be perfect; and their adopted daughter, Frankie, refusing to play the role she's been cast in and fighting to be heard. Behind their annual Christmas letter sits a marriage stripped of intimacy, a fractured family, and a community more concerned with preserving appearances than confronting harm. As the overture layers Alanis’ music and lyrics, the NAPA Ensemble cast emerges in a blaze of distressed denim and defiance, and the chills hit me instantly. Elevated above them, the band plays with the passion of an arena concert. This is alt-rock and theatre colliding at full throttle! You will find that the storyline takes on a lot: queer identity, gender fluidity, systemic racism within interracial adoption, dysfunctional marriage, sexual assault and drug addiction. In less capable hands, it could simply become a checklist of social issues. But here, they have assembled the perfect cast to depict the individuals behind these issues. Caroline Taylor gives a formidable performance as Mary Jane, or MJ (get it?), a troubled mother who elicits both empathy and frustration. At first, she’s almost comically recognisable in her activewear, puffer jacket, and forced smile. Caroline makes the audience privy to the desperation that MJ keeps concealed from her husband, children and friends. It lives in her eyes, in the way she carries herself and in her frantic need to control everyone else because she cannot control herself. “Smiling” is one of the production’s earliest triumphs (and has stayed in my mind ever since). MJ’s day unfolds in reverse, retracing her steps from the supermarket to the dealer, the pharmacist and the yoga class before returning to the moment she realises she’s run out of pills. This “anatomy of my crash” reveals the exhausting momentum behind her mantra: keep on smiling, keep on moving, can’t stand still. It plays like a moody ’90s music video, with the ensemble’s choral backing swelling beautifully around Caroline’s powerful voice. She’s even more devastating in “Forgiven”, as MJ enters a church searching for relief and instead confronts all the skeletons in her closet. Caroline lifts the roof vocally, but it’s the fury beneath the prayer that makes the number so gripping. As MJ’s carefully buried trauma rises to the surface, I found myself getting misty-eyed (and my notes become progressively less legible from here). Samantha Price shines as Frankie, a fiercely principled and impulsive teenager devoted to her causes, yet somewhat careless with Jo’s heart. “All I Really Want” immediately dives into the family conflict, fuelled by years of misalignment. Her Act Two explosion in “Unprodigal Daughter” is astonishing. As her frustration finally boils over, Samantha channels every ounce of Frankie’s angst and determination into the performance while the ensemble surges around her. “Ironic” is reworked as a school writing assignment before giving way to a powerhouse duet between Frankie and Phoenix. Flynn Anderson gives Phoenix an enigmatic charm: he listens, encourages and makes Frankie feel seen in a way she rarely is at home. Yet his own family responsibilities are never too far from view. Shilo Kwocksun gives Jo a dry humour that doubles as a defence mechanism, but their pain still slips through the cracks. Frankie is both Jo’s refuge and their greatest risk. When “You Oughta Know” arrives, all that restraint finally snaps. Shilo takes complete ownership of Morissette’s most famous song. With her killer voice, mounting rage, the band and the full force of the ensemble choreography, the result is absolutely massive. It’s the sound of humiliation and grief growing too large to contain. Every sensible theatre-going instinct told me to remain seated, but in my head, I was in the mosh pit! “Hand in My Pocket”, led by Shilo, opens into some especially satisfying group harmonies, guided by vocal director Jonathan Whitlow. Later, “That I Would Be Good” unites Frankie, Jo and Phoenix in a stunning three-part vocal arrangement, with their voices blending into truly breathtaking harmonies. By that point, I was fully emotionally invested. I had stopped taking notes quite so neatly and started writing things like “WHYYY” in the margins. “If you’re flawless, then you’ll win my love.” Greyson Vaughn brings a quieter tension to Nick, carrying much of the character’s story in his physicality: hunched shoulders, a body folded inward and a face contorted as though the weight of expectation is physically pressing him down. When MJ tells him, “Sometimes I think you’re the only thing I’ve done right,” the apparent compliment lands like another responsibility he cannot afford to fail. Greyson’s solo “Perfect” gives voice to a boy who has learned that love is conditional upon achievement. Later, Greyson and Caroline meet in a series of brilliantly raw confrontations as Nick is forced to face his own complicity. “Tell me when I’m going to feel normal again.” Angelique Giuffre gives Bella an intensity that cuts through the production whenever she appears. Bella is mocked, doubted and reduced to an accusation, but Angelique keeps reclaiming her as a person. Her featured moments are vocally charged, with anger audible in the tremor of her voice. “Predator” is particularly harrowing. The choreography uses bedsheets, lifts and fractured movement to revisit the past without spelling it out too literally. Around Angelique, the lighting and shifting white flats create a nightmarish world, while an eerie operatic soprano line cuts through from above. Angelique and Caroline both give the material the weight and care it demands. Jonathan Whitlow lets Steve’s emotional distance slowly crack open. The split staging of “So Unsexy” keeps their disconnection visually alive, while “Mary Jane” beautifully captures the grief of a husband realising how much the person beside him has concealed. In the marriage counselling scenes, Jonathan and Caroline capture how awkward and realistic it is when two people who have spent years dodging difficult conversations finally try to talk. “Not the Doctor” refuses the fantasy that one session can repair years of avoidance, but it allows them to begin speaking honestly. “Head over Feet” juxtaposes Frankie and Phoenix’s new connection with Steve and MJ’s faltering marriage, creating an epic four-part number that places two relationships at very different stages side by side. Hunter Wall directs with urgency. Nothing remains still for long: scenes bleed into songs, furniture shifts in plain sight and the ensemble circles the principals like persistent thoughts. That motion is central to Cooper Swain’s choreography. The dancers don’t simply appear for the musical numbers and disappear when the dialogue returns; they embody the urges, shame, temptation, memory and panic the characters cannot express aloud. The style is contemporary, muscular and appropriately jagged. Sharp angles give way to suspended tableaux as bodies climb, collapse and catch one another. The choreography demands enormous strength, precision and endurance. Somehow, they can all sing while doing it too! Hunter Wall’s set uses tall moveable flats to shape the space, support fluid transitions and create moments of theatrical magic as they conceal and reveal bodies. The raised stage offers strong sightlines from any seat. Plus, a full swing set becomes a playground, meeting place and structure to dangle from as relationships grow increasingly precarious. Hunter’s lighting guides the eye cleanly through the busy physical world, while an LED outline of a house frames the family at the centre of it all. Under Laila Cheqer de Souza’s musical direction, the band drives the production with the force of a live rock concert. John Taylor’s sound design ensures the microphones remain perfectly clear against that power (By the way, it gets LOUD). Kim Reynolds’ costumes and hair design draw from grunge, punk and rock without trapping the show in one era. The ’90s influence is clear, but this remains a modern world of smartphones, screenshots and viral judgement. The ensemble is essential to this world. At times, they are classmates, parents or protesters; elsewhere, they become a collective conscience, a physical manifestation of emotion or a swarm of voices pressing in on a character. I cannot name every ensemble member individually, but please know I saw you, applauded you and spent several numbers concerned about your necks (you were really throwing those things around!). Elysium Hipwood’s dance solo during “Uninvited” definitely deserves a shoutout, giving physical form to MJ’s collapse as the production grows heavier and louder around them both. “You can’t undo what’s already been done.” True, but the musical still asks what we do next. The rally sequence in “No” is the emotional peak. Its longer refrain asks the question much more directly: “What part of NO do you not understand?” Bella’s private trauma becomes public resistance. The voices build and the anger is no longer isolated inside one person. Everyone moves downstage, right into our faces, removing any comfortable distance between the audience and what is being said. I'm not ashamed to say that it had me in tears, along with what appeared to be nearly every other woman in the audience. As the show moves towards “You Learn”, it offers bittersweet optimism rather than miraculous recovery. Relationships are not restored to their original forms; they are rebuilt with greater honesty, understanding and connection. Repeated hand gestures resembling signed language accompany the finale, giving the song a communal tenderness as though each lesson is being passed from one person to another. Jagged Little Pill is a jukebox musical, yet it’s not a catalogue of Alanis Morissette hits strung between convenient plot points. The album was released on 13 June 1995, the same year I was born (so naturally, I am claiming a personal connection). I did not experience it as the cultural earthquake it was for an earlier generation, but its impact has travelled. The songs belong to these characters because Morissette’s writing already gives voice to everything they are struggling to say. There are many more songs and snippets I have left unmentioned. You don't need to arrive as an Alanis Morissette fan... give this cast a couple of hours and they will take care of that. By the final bows, I felt wrung out, fired up, and deeply grateful to have been in the room. I certainly walked out ready to scream-sing the entire album on the drive home. This is bold, confronting and beautifully controlled work from a cast with extraordinary potential. As my first NAPA production, it exceeded every expectation I had. I would see it again in a heartbeat, and frankly, every performance deserves a full house. For all its anger and noise, Jagged Little Pill lands on an obvious truth: it does not promise that everything can be fixed. It simply asks us to stop pretending nothing is wrong.

Title: Breath of Spring Presented By: Growl Theatre Genre: Comedy Synopsis: Set in London in the late 1950s, Breath of Spring is a delightful British comedy of manners with a mischievous twist. Dame Beatrice Appleby is a generous woman whose dwindling finances have forced her to take in a colourful collection of lodgers. When her maid Lily presents her with a luxurious mink stole as a thank-you gift, Beatrice suspects it has been stolen from a neighbour. Horrified but intrigued, Beatrice and her eccentric household devise a plan to secretly return it. After their first mission proves unexpectedly successful, the group decides to continue their Robin Hood-style exploits, anonymously stealing and returning fur garments while supporting worthy causes. As the schemes become increasingly elaborate, laughter, mistaken identities and unexpected camaraderie abound—until Scotland Yard begins to investigate. Audition Date: Saturday 1 August 2026 Audition Time: 1:30pm Audition Location and Address: Windsor School of Arts Hall, 381 Lutwyche Road, Windsor QLD 4030 Audition Requirements: Complete the audition registration form. Email a headshot and acting CV to production@growltheatre.org.au. Prepare a comic audition piece (maximum two minutes). Participate in cold readings from the script. Callbacks (if required) will be held Sunday 2 August at 6:30pm. Audition Registration: https://docs.google.com/forms/d/e/1FAIpQLScfLu6AD7SIJzuxVIQzZaubMwNpwGiy5CtPx3AH5xx04TZ9dA/viewform?usp=send_form Audition Pack: https://growltheatre.org.au/wp-content/uploads/2026/06/Audition-Notice-Breath-of-Spring.pdf Performance Dates: 6–15 November 2026 Performance Times: Friday 6 November – 7:30pm Saturday 7 November – 2:00pm & 7:30pm Sunday 8 November – 2:00pm Friday 13 November – 7:30pm Saturday 14 November – 2:00pm & 7:30pm Sunday 15 November – 2:00pm Performance Location: Windsor School of Arts Hall, 381 Lutwyche Road, Windsor QLD 4030 Rehearsal Dates: Read-through & Costume Fittings: Monday 24 August Thursday 27 August Rehearsals commence Sunday 30 August and continue through 5 November 2026. Critical rehearsals: 25 October – 5 November 2026 Bump Out: Sunday 22 November (10:00am) Rehearsal Times: Mondays & Thursdays: 6:30pm–9:30pm Sundays: 1:30pm–5:00pm Warnings: This production requires cast members to handle and wear real fur garments as they are central to the plot. English accents are required for all characters. Cast members should be available for all performances and critical rehearsals. Successful cast members will need to supply some personal costume items (e.g. socks, stockings, gloves) and basic stage makeup. Performer Age: Adults 18+ Creative Team: Director – Dale Murison Production Website: https://growltheatre.org.au/2026-season-breath-of-spring/ Other information: Cast diversity is encouraged while remaining true to the period and setting. Police roles appear only in the final scene and will likely double as Stage Manager/Assistant Stage Manager. Successful cast members must become financial members of Growl Theatre ($30 annual membership for 2026). If you have rehearsal conflicts, these should be disclosed during registration. Available Roles/Character Breakdown: Dame Beatrice Appleby ("Bea") (Playing Age: 60s–70s) A lively, eccentric and generous woman with a strong sense of social justice. Despite financial struggles, she remains optimistic and becomes the unlikely leader of the group's criminal escapades. Alice, Lady Miller (Playing Age: 60s–70s) Beatrice's elegant and upper-class friend. Stylish, sociable and quietly flirtatious despite her modest financial circumstances. Brigadier Albert Rayne ("Bertie") (Playing Age: 60s–70s) A retired military officer and one of Beatrice's lodgers. Organised, disciplined and determined to approach every scheme with military precision. Miss Nanette Parry ("Nan") (Playing Age: 40s–50s) A practical, cheerful lodger and elocution teacher with a commanding voice and talent for accents. Often the voice of reason amongst the chaos. Lily Thompson (Playing Age: 30s) Beatrice's maid. Streetwise, witty and reformed, with a mischievous streak and a slight Cockney accent. Miss Elizabeth Hatfield ("Hattie") (Playing Age: 40s–50s) A nervous and delicate lodger whose anxious disposition provides plenty of comic contrast. Detective Sergeant Pape (30+) A Scotland Yard detective who appears during the final scene. Police Constable Kemp (Any adult age) A police officer appearing in the final scene. Likely to double as Stage Manager or Assistant Stage Manager.

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

Upcoming Performances 28 July 2026 BALLET: Dracula - QPAC, BIG Live Season: July 28th - August 2nd, 2026 Read More 27 July 2026 IMPROV THEATRE: Dropout Improv - Live Nation, QPAC Season: July 27th, 2026 Read More 26 July 2026 MUSICAL REVUE: Phantom: A Tribute to Michael Crawford - HOTA Season: July 26th, 2026 Read More 25 July 2026 YOUTH DANCE: Wonder - Sharon Alback Dance Centre Season: July 25th, 2026 Read More 25 July 2026 THEATRE: 21 Hearts - Theatre 180, The Events Centre Season: July 25th, 2026 Read More 25 July 2026 YOUTH MUSICAL: Esther the Musical - Northpine Adventist College Season: July 25th - August 2nd, 2026 Read More 25 July 2026 BURLESQUE: CaBBaret Goes to the Movies - BBSOP Season: July 25th, 2026 Read More 25 July 2026 VARIETY THEATRE: QSE Turns 25: All the World's a Stage Gala - Queensland Shakespeare Ensemble Season: July 25th, 2026 Read More 25 July 2026 THEATRE: Daffodil - Ipswich Little Theatre Season: July 25th, 2026 Read More 24 July 2026 THEATRE: The Cemetery Club - 6 Mangrove Productions Season: July 24th - 25th, 2026 Read More 24 July 2026 THEATRE: Bittersweet Madness - Alessandra Theatre Company Season: July 24th - 25th, 2026 Read More 24 July 2026 BURLESQUE: Vanguard Burlesque - Leftys Music Hall Season: July 24th, 2026 Read More 24 July 2026 DANCE THEATRE: Testing Site - Studio1 Season: July 24th - 25th, 2026 Read More 24 July 2026 THEATRE: The Importance of Being Earnest - Maleny Players Season: July 24th - August 2nd, 2026 Read More 23 July 2026 THEATRE: Night Night - HOTA Season: July 23rd - 26th, 2026 Read More 23 July 2026 YOUTH MUSICAL: Footloose - Ipswich Civic Centre, St Mary’s College, St Edmund’s College Season: July 23rd - 25th, 2026 Read More 23 July 2026 CHILDREN'S THEATRE: Permission Granted - QPAC Season: July 23rd - 25th, 2026 Read More 23 July 2026 THEATRE: Works in Chaos 2.0 - Salad Days Collective, PIP Theatre Season: July 23rd - 24th, 2026 Read More 22 July 2026 THEATRE: Coping With Winter - The J Noosa, Noosa Alive Festival Season: July 22nd - 23rd, 2026 Read More 22 July 2026 MUSICAL REVUE: The Great Gershwins - RPAC Season: July 22nd, 2026 Read More 18 July 2026 INTERACTIVE CABARET: A Villainous Sing-Along - Javeenbah Theatre Company Season: July 18th, 2026 Read More 18 July 2026 CHILDREN'S THEATRE: Emma Memma's Jungle Picnic - Live Nation, Empire Theatre, Princess Theatre Season: July 18th - 19th, 2026 Read More 17 July 2026 THEATRE: A Vicar of Dibley Christmas: The Second Coming - MATES Theatre Genesis Season: July 17th - 26th, 2026 Read More 17 July 2026 PHYSICAL THEATRE: Arterial - Na Djinang Circus Season: July 17th, 2026 Read More 17 July 2026 THEATRE: Home, I'm Darling - Swich Up Productions Season: July 17th - 25th, 2026 Read More 17 July 2026 BALLET: Queensland Ballet in Noosa - The J Noosa, Noosa Alive Festival, QLD Ballet Season: July 17th - 18th, 2026 Read More 17 July 2026 THEATRE: A Week in Serenity - Zamia Theatre Season: July 17th - August 1st, 2026 Read More 17 July 2026 YOUTH MUSICAL REVUE: Magical Musicals - Roar Academy Season: July 17th - 19th, 2026 Read More 16 July 2026 YOUTH VARIETY: Creative Generation - Brisbane Convention & Exhibition Centre Season: July 16th - 18th, 2026 Read More 16 July 2026 MUSICAL: That's Enough! - The Merryatric Players, The Events Centre Season: July 16th - 17th, 2026 Read More 16 July 2026 INTERACTIVE THEATRE: Onstage Dating - HOTA Season: July 16th - 18th, 2026 Read More 16 July 2026 OPERA: Carlos Bárcenas & John Woods: Alma Latina! - Opera Queensland and Redland Performing Arts Centre (RPAC) Season: July 16th - 18th, 2026 Read More 16 July 2026 CABARET: Initial Consult - PIP Theatre Season: July 16th - 17th, 2026 Read More 16 July 2026 PLAY READINGS: Scripted Shenanigans - YeahNah Theatre Season: July 16th, 2026 Read More 15 July 2026 DANCE: Three: McCartney / Ritchie-Jones / Bray - Australasian Dance Collective Season: July 15th - 18th, 2026 Read More 15 July 2026 THEATRE: Saplings - QPAC, Australian Theatre for Young People (ATYP) Season: July 15th - 18th, 2026 Read More 15 July 2026 THEATRE: Micro Theatre - Things That Happen Season: July 15th - 22nd, 2026 Read More 14 July 2026 THEATRE FESTIVAL: Brisbane Improv Festival - Big Fork Theatre Season: July 14th - 18th, 2026 Read More 11 July 2026 THEATRE: Drowning Ophelia - Centenary Theatre Group Season: July 11th - August 2nd, 2026 Read More 10 July 2026 MUSICAL: Jagged Little Pill - National Academy of Performing Arts (NAPA) Season: July 10th - 19th, 2026 Read More 10 July 2026 THEATRE: August: Osage County - Queensland Conservatorium Griffith University, Metro Arts Season: July 10th - 18th, 2026 Read More 10 July 2026 THEATRE: Pride & Prejudice - Queensland Theatre Company Season: July 10th - 26th, 2026 Read More 9 July 2026 THEATRE: One Act Plays - Noosa Arts Theatre Season: July 9th - 19th, 2026 Read More 9 July 2026 DANCE: Sheltering - Bangarra Dance Theatre, QPAC Season: July 9th - 18th, 2026 Read More 3 July 2026 MUSICAL: 74 Redland Grove - Sunnybank Theatre Season: July 3rd - 18th, 2026 Read More 27 June 2026 CHILDREN'S THEATRE: Room on the Broom - CDP Kids Season: June 27th - August 14th, 2026 Read More 26 June 2026 MUSICAL: La Cage Aux Folles - Gold Coast Little Theatre Season: June 26th - July 18th, 2026 Read More 9 May 2026 MUSICAL: Hey Felicia - The Sit Down Comedy Club Season: May 9th - November 7th, 2026 Read More 21 Feb 2026 BALLET: Sleeping Beauty - Fever, QUT Gardens Theatre Season: February 21st - August 1st, 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 31 Jan 2026 BALLET: Ballet of Lights: Cinderella - Fever Season: January 31st - July 18th, 2026 Read More

< Back BALLET: Dracula - QPAC, BIG Live 28 July 2026 Season: July 28th - August 2nd, 2026 Title: Dracula Presented By: BIG Live, QPAC Genre: Ballet Synopsis: Fresh from acclaimed seasons in London’s West End and the United States, Dracula is a bold, cinematic ballet adaptation of Bram Stoker’s gothic masterpiece. Blending breathtaking choreography with a sweeping orchestral score, the production tells a story of forbidden love, immortality and sacrifice as the legendary Count Dracula descends into a world of darkness and obsession. Featuring haunting music by Claude Debussy, Franz Liszt, Camille Saint-Saëns and Modest Mussorgsky, alongside an original score by Emmy Award-winning composer Jason Fernandez, this visually spectacular production reimagines one of literature’s most enduring tales through contemporary ballet. Written By: Based on the novel Dracula by Bram Stoker Performance Dates: Tuesday 28 July – Sunday 2 August 2026 Performance Location and Address: Lyric Theatre, QPAC, Corner Grey and Melbourne Streets, South Brisbane QLD 4101 Ticket Costs: $60–$135 Ticket Link: https://www.qpac.com.au/whats-on/2026/big-live-dracula Duration: 2 hours (including interval) Creative Team: Choreographer: Joel Burke Original Score: Jason Fernandez Other information: Due to popular demand, additional matinee performances have been added on 29 and 31 July. Previous Next