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&Juliet Presented by: Queensland Academy of Excellence in Musical Theatre (QAEMT) Venue: Queensland Conservatorium Theatre Date Attended: 5 August 2026 Director: Alister Smith Musical Director: Heidi Loveland Choreographer: Dan Venz Associate Choreographer: Emma Whitefield Set Designer and Costume Co-Designer: Penny Challen Costume Co-Designer and Supervisor: Gayle MacGregor Lighting Designer: Keith Clark Sound Designer: Steve Thornely Voice and Dialect Coach: Dr Melissa Agnew Photography: Kenn Wylchie CAST AT THIS PERFORMANCE: Juliet Capulet: AJ Betts Romeo Montague: Caelan McCarthy William Shakespeare: Saul Kavenagh Anne Hathaway / April: Ella Wood Nurse Angélique: Zoe Allsopp Lander May: Sam Thomas François Du Bois: Harry Ince Lance Du Bois: Ned Kelly The roles of Juliet, Romeo, Anne Hathaway / April, Angélique, and Lance were shared across the season with Alessia Charman, Jackson Hughesman, Lily Bennetts, Addisyn Herndon, and Lachlan Dunks. “Do we have freedom? No. But do we have hope? No.” This was my third production of &Juliet, yet Queensland Academy of Excellence in Musical Theatre gave me plenty of new details to enjoy! It also offered Brisbane audiences the rare chance to see the show after the professional Australian tour skipped our city (rude). Created by Schitt’s Creek writer David West Read, &Juliet interrupts the final pages of Romeo and Juliet before its teenage heroine can stab herself over a boy she met just four days ago. Anne Hathaway seizes her husband’s quill and asks to rewrite one of Shakespeare's most famous tragedies. In this tale, Juliet leaves her past behind to travel to Paris with her nurse Angelique and new friends May and April (aka Anne, who has written herself into the story). There they discover Lance (Angelique’s former lover) and his son François, who is looking to shake off his father’s expectations and forge his own life. With Juliet’s own parents trying to send her to a convent, who will Juliet finally choose? Or, does she need to choose at all?! From there, everyone interferes, dead boyfriends return, engagements are hastily arranged, and every personal crisis is expressed through one of Max Martin’s epic pop songs: Britney Spears, Backstreet Boys, Katy Perry, P!nk, Bon Jovi, Celine Dion, Ariana Grande, Kelly Clarkson, Demi Lovato, Ke$ha, Jessie J... You won’t believe how many bangers this show can fit into two and a half hours! Director Alister Smith frames the production as a fresh story being built in front of our eyes, with Penny Challen’s scenic design blending a rehearsal room, theatre workshop, and backstage area at a stadium concert. Cables, lighting equipment, graffitied cases, scaffolding, costume racks, neon signage, glitter curtains, and movable staircases create a world that can shift whenever Anne alters the plot. A quick clap clap from Will or Anne hits the pause button, freezing the cast mid-action so they can debate their next rewrite. Penny Challen and Gayle MacGregor’s costumes are like a time-travelling fusion of Renaissance and rave clubwear. Corsets sit over graphic tees, ruffs are paired with skinny jeans and sneakers, and fluoro paniers bounce around the dance ensemble. Ned Kelly struts his stuff in leopard-print tights, and Ella Wood's glitter boots have my wholehearted approval. Juliet’s wardrobe is an explosion of pink, from her Capulet-branded corset and shoulder-padded jacket to a jewelled crop, tiered skirt, and white cowboy boots. Her wedding look, followed by the transformation during “Roar,” was possibly my favourite version of that quick change so far. As Juliet, AJ Betts STUNS from the moment they open their mouth for “…Baby One More Time.” Singing these tunes while busting moves in a corset might seem insane, yet Betts pulls it off with the poise and power of a pop headliner. Their Juliet is wonderfully youthful and spunky, throwing herself headfirst into this sudden new freedom and the excitement of having an entire future opened up. Betts is also naturally funny, with a dry delivery that makes some of Juliet’s smallest reactions land just as well as the bigger punchlines. Vocally, Betts seems completely at home in the pop material. Their duet “Oops!... I Did It Again” with Zoe Allsopp Lander is one of the evening’s top vocal treats, with both performers nailing the Britney style. Betts and Harry Ince establish a playful dynamic between Juliet and François. Their “Confident” has the ease of two new friends hyping each other up. Ince gives François a softness that works particularly well beside Sam Thomas’s snappy interpretation of May. Thomas plays May with more sass than the sorrow I’m used to, walking into scenes with a quick tongue, a distinctive accent (Essex? I don’t know!), and no interest in making themself smaller for anyone else. When “I’m Not a Girl, Not Yet a Woman” arrives, Thomas claims that stage. The song becomes both a quiet confession and a declaration from someone who knows who they are and is exhausted by everyone else needing time to catch up. Thomas and Ince are a vocal dream team during “I Kissed a Girl” and “Whataya Want from Me.” Saul Kavenagh is hilariously pompous, dorky, and endearingly irritating as William Shakespeare. He knows Will is ridiculous, and plays it so. His ego is enormous, his frustration becomes increasingly childish, and he still retains enough boyish appeal to explain why Anne has tolerated him for this long. Kavenagh and Caelan McCarthy form an entertaining dude-bro alliance once Romeo makes his comeback through “It’s My Life.” In sequinned trousers and aviators, McCarthy carries himself like the headline act has finally bothered to show up, while Will trails behind like an overexcited roadie (with his dramatic fog machine) At one point, McCarthy appeared to be swallowing half the fog machine’s output and continued serving rockstar confidence (professionalism king!). His voice matches the entrance, with a muscular rock sound and super impressive upper range, while his playful characterisation keeps Romeo’s ridiculous self-importance likeable. The number “One More Try” with Betts is also a reminder that the role requires far more than swagger. Both their vocal ranges are frankly outrageous and had me in constant awe. Against a starlit backdrop, the pair circle one another on the moving staircases, remaining connected while the physical distance reflects everything still unresolved between them. Ella Wood as Anne Hathaway is sweeter and more composed than the pun-driven, cutely-cringe versions I’ve previously seen. Rather than leaning heavily into April’s social awkwardness, Wood brings a gentle, materal presence that strengthens her relationship with Juliet and gives Anne’s own desire for a different life much more weight. And then she sings... “That’s the Way It Is” is DIVINE. Wood’s tone is pure and clear, with a healthy mix belt that blooms as the number builds. She sings with such sincerity that the audience cheered before she had even finished the song, leaving Heidi Loveland and the band patiently waiting for the room to settle before continuing. Zoe Allsopp Lander brings terrific momentum to Angélique. Her dialogue rolls effortlessly off the tongue, and she makes the Nurse’s combination of maturity, exasperation, and romantic chaos feel completely natural. Her rendition of “Perfect” is vocally gorgeous, giving Angélique and Juliet’s relationship room to bloom amid the louder numbers. Ned Kelly as Lance Du Bois is French, shameless, and doing the absolute most at ALL times. During “Teenage Dream,” he chases Angélique around the room like a lovesick cartoon character while still managing to sing cleanly through that deliberately outrageous accent. Later, “Everybody” turns the Du Bois men into a fully-costumed Backstreet Boys tribute band against a hypnotic glitter-curtain effect. Dan Venz and Emma Whitefield’s choreography blew me away. “Larger Than Life,” “Show Me Love,” and “Blow” are particularly packed with movement, while the ensemble handles the material with professional precision. The choreography is littered with musical theatre and pop-culture references that flash past in seconds (but I see ALL). Kavenagh’s shameless participation in “I Kissed a Girl” was one such detail. I saw you there, puppet master Shakespeare. I think &Juliet is an ideal choice for this cohort, needing bold personalities, dancers who can attack pop choreography, and singers capable of handling material written for some of the largest voices in modern music. The third-year performers lead the principal cast, second years fill out the dance ensemble, and first years contribute vocals while helping move the set pieces. It turns the musical into a genuine academy-wide showcase. Steve Thornely’s sound design gives these huge voices room to fly while keeping the lyrics clear, and each new song earns happy murmurs of recognition before the arrangement kicks in. Heidi Loveland leads a cracking live band of Queensland Conservatorium and Young Conservatorium musicians, with strings adding extra richness to the pop arrangements. Keith Clark’s lighting supports that scale beautifully. LED strips frame the front of the stage, vertical neon tubes lower into scenes, and standing spotlights are wheeled through the action like concert equipment. “Roar” feels like the finale of a stadium concert, with Betts at its centre beneath the full lighting rig, completing a major costume transformation, and belting over the full ensemble and band. It is a demanding final stretch, and they OWN it. I can imagine how unstoppable that moment must have felt. Beneath the backstage machinery, neon excess, and pop-culture silliness remains a simple idea: the ending somebody else wrote for you doesn’t have to become the life you accept. Juliet gets to survive, May gets to define themself, and even Romeo receives another chance to be slightly less of a douche. For Brisbane audiences who missed the professional tour, this production is a pretty spectacular introduction to &Juliet. It gives this graduating cohort exactly the kind of material they can sink their teeth into: ridiculous pop vocals, relentless choreography, huge personalities, and plenty of room to show us who they are as performers. This next generation of musical theatre performers are very much ready to take the mic.

Big Fish The Musical Presented by: Spotlight Theatrical Company Book by: John August Music and Lyrics: Andrew Lippa Based on: The novel by Daniel Wallace and the motion picture screenplay by John August Date Attended: 2 August 2026 Director: Nathan French Vocal Director: Taylor Holmes Choreographer: Jo De Goldi Stage Manager: Eliza Taylor Set Design: Jeff Butterworth and Clay English Sound: Caed Lawson Lighting: Ariana Sinner and LJ Jones Costumes: Pina Crisafulli Omeros and team Photography: Vargo Studios “Be the hero of your story.” This Tim Burton film is now a musical. Yes, really. Based on Daniel Wallace’s novel and John August’s screenplay for the 2003 film, Big Fish follows Edward Bloom, a travelling salesman who loves turning his memories into epic adventures. His life is like a grab bag of tall tales, featuring a witch, a mermaid, a giant, a werewolf, and his extended family of circus performers. His adult son, Will, has grown frustrated with these tales. As he prepares to become a father himself, he wants to know Edward's true self beneath all the exaggeration. When Edward becomes seriously ill, Will begins investigating his past, hoping to separate fact from fiction before it’s too late. All the while, Edward sticks to his signature style (mixing myths, life lessons, and always casting himself as the hero). Director Nathan French embraces the musical’s two worlds, moving between domestic family tension and the circus inside Edward’s head. There's a lot going on, and anyone unfamiliar with the story may find themselves scratching their head, wondering if they’ve time-travelled to another decade or stumbled into a parallel universe. The set doesn’t attempt to build each place Edward remembers. Instead, Jeff Butterworth and Clay English give him one enormous glowing doorway and let his imagination do the rest. The slatted arch rises above a timber stage, pier, and waterway. Ariana Sinner and LJ Jones use it almost like a mood ring, shifting its colour to become whatever the story needs at the time without requiring the production to stop for constant scene changes. Smaller set pieces pop up whenever Edward’s imagination requires reinforcements. “Closer to Her” rolls out the circus gear, a human cannonball, and an elephant’s rear end. The bed becomes another portal into his stories, with characters emerging as though Edward has been storing half the ensemble inside his subconscious (or his mind has finally run out of storage space). It’s a fun reveal, although the performers crawling offstage were visible afterwards. We saw you there, gang! With haze drifting across the floor, fish flying overhead, and a crystal ball glowing ominously, the whole design evokes the fantasy of a bedtime story. Clay English has a lot to carry as Edward Bloom, playing him through high school, courtship, parenthood, years on the road, and the final chapter of his life. He is rarely away from centre stage, and Andrew Lippa’s score keeps tossing songs at him like confetti. “Be the Hero” lays out Edward’s philosophy early. Life is an adventure, obstacles are there to be conquered, and there’s always another dragon to fight. The epic “Out There on the Road” keeps that momentum going as he befriends Karl the Giant and leaves his small town behind. English has confidence as a storyteller and clearly understands Edward’s appetite for attention. Where I struggled was with the musical asking the same performer to play Edward across so many decades. The film separates young and older Edward, and I thought that approach would have helped here too. It would create a clearer shift between the larger-than-life young man Sandra falls for and the older father Will is struggling to understand. But I do understand that these are Edward’s recollections as he remembers them, rather than exact recreations of a moment in time. Still, English handles the youthful romantic material well vocally, particularly “Time Stops” and “Daffodils,” where his gorgeous voice does plenty of wooing. “Daffodils” is also one of the production’s prettiest pieces of stage magic. The scenic design suddenly seems to bloom with them, as daffodils pop up into the water, climb the walls, and spread across the projected backdrop until Sandra is surrounded by Edward’s grand gesture. English gets to show plenty across the evening, from strong vocals to tap dancing and the stamina required to carry so much of the show. For me, though, his acting was strongest once Edward was opposite Xavier O’Brien as adult Will. “What’s Next” is a highlight, with father and son finally meeting on the same emotional ground and writing Edward’s last story together in real time. “How It Ends” then gives English his big emotional release, weeping and singing his heart out as Edward’s bravado and showmanship finally fall away. Xavier O’Brien gives Will a solid reality check against his father’s lifelong one-man show. He starts the show as a nervous groom, asking Edward to please make it through the wedding without turning the whole thing into another me-party. That request goes about as well as you’d expect. O’Brien makes Will’s resentment easy to understand without turning him into the antagonist in his father's life (at least until “The Showdown”). Edward was frequently absent during Will’s childhood, and when he was around, Will would never quite tell whether he was hearing actual family history or another engineered fantasy version of it. He has the exhausted air of a man who has heard the same fish story at one family gathering too many. Vocally, O’Brien has a pure, polished sound. “Stranger” is an early highlight, as Will sings to his unborn son about barely knowing his own father. His later confrontation with Edward in “The Showdown” is one of the production’s more outlandish sequences. With Western costumes, heightened staging, and the ensemble rallying around them, father and son are finally placed inside the same story, only this time on opposite sides. Dana Sandry brings a lovely maternal steadiness to Sandra Bloom, caught between two men who love each other but have no idea how to speak the same language. “Two Men in My Life” places her right at the emotional centre of the family, while “I Don’t Need a Roof” gives Sandry her strongest character moment. She keeps the delivery tender and controlled, letting the anticipatory grief arrive through the beauty of the song. Hannah Martin is lovely as Josephine, bringing a softness to the role without fading into the background. She listens to Edward in a way Will no longer can, more interested in what his stories might reveal than in proving whether they’re true. Martin plays that openness with an observant quality rather than naïvety. Her presence becomes a welcome calming influence within the Bloom family. At the performance I attended, Jordi Bridgman played Young Will and built an endearing relationship with Edward through the bedtime-story scenes. Martina French makes a strong impression as the Witch, strutting in with a killer costume and a booming voice that fills the room. Daniel Carson is an immediate visual hit as Karl the Giant, towering on stilts beneath oversized layers and dreadlocks. Carson also gets some lovely dry humour out of Karl, while the friendship lets us see one of Edward’s more appealing traits: he has a soft spot for people who don’t quite fit the mould. Nathan Skaines dons the towering top hat as Ringmaster Calloway. “Closer to Her” transforms the stage into a wild spectacle of hoops, acrobatics, a unicycle, and all sorts of circus shenanigans while Edward tries to earn information about Sandra. Is it an epic love story or just a romantic stalking? You decide! Meanwhile, Jennifer Clark delivers a powerful punch as Edward's first girlfriend, Jenny Hill, especially when she confesses to Edward that she's been “drowning since he left.” For once, one of his tales is being told by someone who has had to live with the aftermath. Jo De Goldi’s choreography makes good use of a musical that isn’t especially dance-heavy. “Red, White and True” brings tap onto the wooden stage with considerable volume. The ensemble brought colour and momentum whenever they appeared. A few moments fell into noticeable pockets of dead space beneath the underscoring. Taylor Holmes’ vocal direction produces secure ensemble work and consistent delivery from the principal cast. “Stranger,” “I Don’t Need a Roof,” and “How It Ends” made the strongest impression on me, largely because the characters speak with such emotional directness. Caed Lawson’s sound design gives the production some real scale, although the music does drown out the dialogue here and there. Visually, the costumes have plenty to play with too, shifting from everyday family life into sparkling dresses, Americana stripes, circus outfits, and storybook looks. The second half reveals a much sadder musical underneath all the colour. Illness starts creeping into the circus, and Edward and Will’s relationship becomes the real focus. While I didn’t connect with the themes of fatherhood as some audiences probably will, I could still see the heart of what the show was saying. “What’s Next” is where that heart lands best for me, as Will finally stops dismantling his father’s stories and helps him create one last adventure instead. Edward uses his stories to make sense of his life, express his love for his family, and shape the narrative he wishes to leave behind. Spotlight Theatrical Company presents Big Fish with visual scale, inventive stagecraft, and committed performances. Audiences fond of the film, Andrew Lippa’s music, or Tim Burton’s whimsy will find plenty to enjoy in Edward Bloom’s enormous world. After all, a big fish in a small pond was never going to tell a small story.

Title: Collected Grimm Tales Presented By: Ad Astra Theatre Company Genre: Fairy Tale / Fantasy / Ensemble Theatre Synopsis: Adapted by Carol Ann Duffy and dramatised by Tim Supple, Collected Grimm Tales brings the classic stories of the Brothers Grimm to the stage with humour, imagination, and a darker theatrical edge. Familiar tales including Little Red Riding Hood, Snow White, and Rumpelstiltskin are retold through fluid ensemble storytelling. Performers shift between narrators, heroes, villains, animals, royalty, villagers, and magical creatures, often transforming from one character to another within a single scene. The production will present two versions of the play: the complete version, recommended for audiences aged 15+, and a shorter modified version suitable for children of all ages. Audition Date: Monday 24 August and Tuesday 25 August 2026 Audition Location and Address: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare a fairy-tale excerpt of your choice, no longer than two minutes. Include narration and at least one character. Demonstrate a clear vocal shift between narrator and character. Engage the audience and invite them into the world of the story. Establish a clear mood through vocal delivery. Showcase characterisation through voice and physicality. The piece may be memorised or retold from memory in your own words. Auditionees are welcome to use movement and gesture. Audition Registration: Apply through the form available on the Ad Astra auditions page, or email collectedgrimmtalesadastra@gmail.com Email applications must include: A recent headshot. A current CV in Word or Google Docs format. Performance Dates: 3–19 December 2026 Performance Times: Thursday evenings Friday evenings Saturday evenings Saturday matinees Sunday matinees Performance Location: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: Weekly rehearsals commence Sunday 30 August 2026. Rehearsal Times: Mondays: 6:15pm–9:30pm Wednesdays: 6:15pm–9:30pm Sundays: 10:00am–4:00pm Warnings: The full version is recommended for audiences aged 15+. Creative Team: Co-Director: Bradley Chapman Co-Director: Prue Robb Production Website: Ad Astra Auditions Other information: Callbacks, if required, will be held on Wednesday 26 August 2026. This is a co-op production. Cast and crew will receive a share of ticket sales after expenses. Actors of all backgrounds, ethnicities, and body types are encouraged to apply. Available Roles/Character Breakdown: This is an ensemble production rather than a traditional play with fixed individual roles. Every performer will portray several characters across the different stories. The production will present two versions: the complete version recommended for audiences aged 15+, and a shorter modified version suitable for children of all ages. Characters may include: Narrators Heroes and heroines Princes and princesses Kings and queens Witches Wolves Animals Villagers Magical creatures Other figures from the Brothers Grimm fairy tales The production is seeking performers who: Have strong acting and storytelling skills. Can create distinctive characters using voice and physicality. Are comfortable with movement and ensemble performance. Can perform both comedy and darker dramatic material. Work collaboratively and support fellow cast members.

< Back OPERA: There's Nothing Like a Dame - Opera QLD 20 Aug 2026 Season: August 20th - 22nd, 2026 Title: There’s Nothing Like a Dame Presented By: Opera Queensland Genre: Opera / Classical Recital Synopsis: Celebrate the centenary of one of Australia’s greatest operatic legends, Dame Joan Sutherland, in a dazzling recital of vocal and instrumental brilliance. Coloratura soprano Alexandra Flood joins flutist Jonathan Henderson and pianist Vatche Jambazian for an evening honouring the artistry of Dame Joan Sutherland – “La Stupenda”. The program features arias and works made famous by Sutherland, alongside music by Ravel, Delibes, Händel and Bach, exploring the extraordinary dialogue between the soprano voice and flute. Performance Dates: August 20th - 22nd, 2026 Performance Times: Thursday & Friday – 7PM Saturday – 2PM Performance Location and Address: Thursday - Redland Performing Arts Centre, 2/16 Middle St, Cleveland QLD 4163 Friday & Saturday - Opera Queensland Studio, 140 Grey Street, South Bank QLD 4101 Ticket Costs: $70 Ticket Link: Buy Tickets - There's Nothing Like A Dame Recommended Age: General audience. Duration: Approximately 1 hour, no interval. Cast: Alexandra Flood – soprano Jonathan Henderson – flute Vatche Jambazian – piano Production Website: Opera Queensland - There's Nothing Like A Dame Other information: This recital forms part of Opera Queensland’s 2026 Studio Series, presented by Kawai. Alexandra Flood is an internationally acclaimed Australian soprano who has performed with major opera companies and orchestras in Australia and Europe, including Opera Queensland, Victorian Opera, the Dutch National Opera's Opera Forward Festival and the Opéra national de Paris. Opera Queensland offers concession pricing for eligible pensioner, Veterans Affairs and full-time student card holders. Companion Card holders are eligible for a complimentary ticket for their chosen companion when booking through the QTIX Box Office or by phone. Group discounts are also available for groups of 8 or more. Accessibility arrangements vary by venue. Patrons requiring accessible seating or assistance should advise the relevant venue when booking. Previous Next

< Back THEATRE: The Wolf of George Street - UQ Law Revue 20 Aug 2026 Season: August 20th - 22nd, 2026 Title: The UQ Law Revue 2026: The Wolf of George Street Presented By: University of Queensland Law Society Inc Genre: Comedy / Musical Revue / Sketch Comedy Synopsis: Far from the sandstone Law Library and sky-high offices of Brisbane's legal world lies George Street — where law is never enough. The Wolf of George Street is the 2026 UQ Law Revue, packed with cutting-edge sketch comedy, extravagant musical numbers and shameless videos written, produced and performed by UQ law students. The revue takes aim at Epstein, bin chickens, noughties nostalgia and Pauline in what promises to be a fast-paced and irreverent night of student comedy. Performance Dates: August 20th - 22nd, 2026 Performance Times: 7PM Performance Location and Address: Twelfth Night Theatre, Bowen Hills QLD Ticket Costs: $33 Ticket Link: Buy Tickets - Wolf of George Street Warnings: Adult humour Political and topical references References to Epstein Duration: Approximately 2 hours 30 minutes, including an interval. Cast: UQ law students Creative Team: Written, produced and performed by students of the University of Queensland Law Society Inc Production Website: UQ Law - The Wolf of George Street Other information: This is a three-night-only production at Twelfth Night Theatre. For accessible bookings, including wheelchair requirements, patrons should contact Twelfth Night Theatre directly on (07) 3252 5122 or via the venue email listed by Ticketek. Previous Next

< Back THEATRE: The Monologue Show - Things That Happen 19 Aug 2026 Season: August 19th & 25th, 2026 Title: The Monologue Show Presented By: Things That Happen Genre: Horror / Pub Theatre / Monologue Synopsis: An evening of original monologues written and performed by local actors. This edition of The Monologue Show explores the horror genre, with the creative prompts SUN, BICYCLE and NAIL inspiring the original works. The performance forms part of Things That Happen's ongoing program of original theatre, which includes The Monologue Show , Micro Theatre and original long-form plays. Performance Dates: August 19th & 25th, 2026 Performance Times: 6:45PM Performance Location and Address: New Tricks, 26 Collingwood Street, Albion QLD 4010 Ticket Costs: General Admission – $25 Ticket Link: Buy Tickets - The Monologue Show Warnings: Horror themes Recommended Age: Please check with the presenter for age suitability. Duration: Approximately 1 hour, with a 15-minute intermission. Cast: Local actors who have written and perform their own original monologues. Creative Team: Presented by Things That Happen, a Brisbane theatre company directed by Flavia Carrillo Truyenque. Production Website: Things That Happen - The Monologue Show Other information: This is a live pub theatre event. New Tricks' bar and food service will be available from 5:30pm, allowing audiences to arrive early, purchase food and drinks, and secure their seats. Things That Happen has been developing and producing original theatre forms since 2025. No refunds are available. Accessibility information is not specified in the event listing. Patrons requiring accessible seating or assistance should contact New Tricks or Things That Happen before booking to confirm arrangements. Previous Next