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.

Title: Camelot Presented By: Brisbane Musical Theatre Genre: Musical / Romantic Fantasy Synopsis: King Arthur dreams of creating a kingdom founded on justice, honour, and chivalry through the Knights of the Round Table. His ideals are tested when the celebrated French knight Lancelot arrives at Camelot and falls in love with Arthur’s wife, Queen Guenevere. As their forbidden feelings grow, Arthur struggles to reconcile his love for them both with his responsibilities as king. Meanwhile, his illegitimate son Mordred plots to destroy Camelot from within, threatening the Round Table and everything Arthur has worked to build. Filled with romance, humour, magic, betrayal, and legend, Camelot explores the rise and fall of Arthur’s extraordinary vision. Audition Date: Saturday 19 September 2026 Audition Time: 9:00am–10:00am – Specialist Dance Auditions 10:00am–4:00pm – General Auditions Auditions are conducted in groups of up to 15, with each audition slot running for approximately one hour. Audition Location and Address: Upstairs Studio, Emerge Church, 1 Coorparoo Road, Warner QLD Audition Requirements: General auditions consist of three components: dance, singing, and acting. Acting: Principal and featured-role auditionees should prepare the character-specific monologue supplied in the audition pack. Those interested in ensemble should select whichever provided monologue they feel they can perform best. Memorisation is helpful but not essential. Singing: All performers will sing the supplied section of “Camelot”. The song should be approached with clear storytelling and expression. Accompaniment will be provided live on piano, so no backing track is required. Dance: Auditionees will be taught a short choreography sequence during their audition slot and perform it in small groups. Specialist Dancers: Skilled dancers are specifically being sought for the production. Specialist dancers should book the dedicated 9:00am–10:00am audition and will also perform the audition song. Please bring a printed audition form with a headshot, wear sensible shoes, and bring water. Audition Registration: Book an audition time by contacting Production Manager Sara Reynolds. Email: sara_reynolds@mac.com Phone/Text: 0404 891 400 When booking, provide your name, mobile number, email address, age, and the role you are auditioning for. Audition Pack: Google Drive Audition Pack Performance Dates: 13–16 January 2027 Performance Times: Wednesday 13 January – 7:00pm Preview Thursday 14 January – 7:00pm Friday 15 January – 7:00pm Saturday 16 January – 1:00pm Saturday 16 January – 7:00pm Performance Location: Auditorium, Emerge Church, 1 Coorparoo Road, Warner QLD Rehearsal Dates: Rehearsals commence Sunday 4 October 2026 and generally continue Sundays and Mondays through December, followed by additional rehearsals in January before opening. Key dates include: Sunday 4 October – Readthrough/Vocal Rehearsal Sunday 29 November – Sitzprobe Monday 14 December – Sitzprobe Sunday 20 December – Costumes/Props Run Sunday 3 January – Cast/Orchestra Rehearsal Monday 4 January – Cast/Orchestra Rehearsal Thursday 7 January – Cast/Orchestra Rehearsal Sunday 10 January – Curtain Performance Monday 11 January – Final Cast Run/Bump-In Tuesday 12 January – Crew Technical Fixes Wednesday 13 January – Preview Rehearsal Times: Sundays – 12:30pm–3:30pm and Mondays – 6:30pm–9:00pm Warnings: The story contains infidelity, betrayal, violence, references to execution/burning at the stake, and death. Creative Team: Director – Jack Bradford Choreographer – Ruth Gabriel Music Director – Mark Beilby Assistant Director – Sienna Santos Production – Sara Reynolds Production Website: Brisbane Musical Theatre Other information: An Audition Information Session will be held on Sunday 6 September from 3:00pm–4:00pm in the Upstairs Studio at Emerge Church. Callbacks will be held on Monday 21 September from 6:00pm–9:00pm. Callback performers will prepare cold reads and designated songs. Casting is expected to be announced on Sunday 27 September. The production fee is $80, covering annual membership, refreshments, and insurance. This includes a refundable $20 deposit upon return of the script/score. Performers should disclose known rehearsal conflicts on their audition form. Missing three or more rehearsals without communication or reason may result in a role being withdrawn. Available Roles/Character Breakdown: Arthur Male, 25–40 Vocal Range: A2–Eb4 An idealistic, compassionate, and generous young king. Though sometimes unsure of himself, Arthur inspires those around him and strives to create a kingdom governed by honour, equality, and chivalry. Guenevere Female, 20–35 Vocal Range: B3–A5 A spirited young woman who becomes Arthur’s queen. She loves Arthur and believes in his ideals, but her world is complicated by the arrival of Lancelot and the unexpected feelings that develop between them. Lancelot Male, 20–35 Vocal Range: A2–B4 A highly accomplished and rather self-involved French knight who is accustomed to excelling at everything. Fiercely devoted to Arthur and the ideals of Camelot, his confidence is challenged by his feelings for Guenevere. Pellinore Male, 50–70 An eccentric older knight devoted to Arthur. Warm, muddled, humorous, and well-meaning. Mordred Male, 20–30 Vocal Range: C3–D4 Arthur’s illegitimate son, who arrives in Camelot determined to undermine his father and destroy the kingdom he has built. Tom of Warwick Male, 14–20 An earnest young stowaway who dreams of becoming a Knight of the Round Table. His belief in Camelot ultimately reminds Arthur that his ideals can survive beyond the kingdom itself. Nimue Female, 20–40 Vocal Range: Eb4–Eb5 A mysterious mythical spirit who lures Merlyn away and steals his magical powers. Merlyn Male, 20–50 Arthur’s longtime mentor and a wizard who ages backwards. He guides the young king before being drawn away from Camelot by Nimue. Morgan Le Fay Female, 40–50 Mordred’s magical aunt and a sorceress who casts a spell on Arthur. Mischievous, indulgent, eccentric, and more interested in enjoying herself than fitting the traditional image of a wicked sorceress. Knights – Dinadan, Lionel & Sagramore Knights of the Round Table who feature in the story’s court and jousting sequences, with opportunities for energetic comedy and character work. Ensemble / Featured Ensemble / Vocal Ensemble Includes Knights of the Round Table, lords and ladies of the court, townspeople, and other inhabitants of Camelot. Strong singers, actors, movers, and specialist dancers are being sought.

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 DANCE THEATRE: Fiji Untold - VOU Dance Fiji, HOTA 30 Aug 2026 Season: August 30th, 2026 Title: Fiji Untold Presented By: VOU Genre: Contemporary Dance / Physical Theatre / Cultural Performance Synopsis: Fiji Untold brings ancient Pacific legends to life through explosive contemporary choreography, live drumming and highly physical storytelling. The production follows Lagi, an outcast drawn into a mystical underworld inhabited by shape-shifting Iguana Spirits, eerie Octopus Gods and powerful Giant Women. Performed by VOU Dance Fiji, the work explores identity, strength and cultural mythology through athletic movement, immersive lighting, projections and a powerful live soundscape. Performance Dates: Sunday 30 August 2026 Performance Times: 7:00pm Performance Location and Address: Lakeside Room, HOTA, 135 Bundall Road, Surfers Paradise QLD 4217 Ticket Costs: $50–$70 Ticket Link: https://hota.com.au/events/vou-fiji-untold Warnings: Brief depiction of a fight scene, violence, loud noises/sound pressure effects and haze Recommended Age: All ages / families Duration: 1 hour Cast: VOU Dance Fiji performers Other information: Audiences are encouraged to arrive early for the pre-show atmosphere. A post-show cast meet-and-greet and photo opportunity will also be available. Previous Next

< Back DANCE THEATRE: The Silent Cry of Flowers - Thomas Dixon Centre 29 Aug 2026 Season: August 29th - 30th, 2026 Title: The Silent Cry of Flowers Presented By: KABAR-LOUET Dance Theatre – A project of Association Dance Events & Projects Genre: Contemporary Dance / Cultural Experience Synopsis: The Silent Cry of Flowers is a contemporary dance work from New Caledonia performed by nine dancers from L’Avant-Scène Centre de Danse. Through powerful physicality, poetic imagery and striking visual atmospheres, the piece explores resilience, exile, hope and the fragility of human existence. Choreographer Sthan Kabar-Louet blends classical technique, contemporary dance and emotional storytelling, while the musical landscape draws on the cinematic intensity of Max Richter, the electronic textures of Thylacine, the dreamlike soundscapes of Kishi Bashi and the emotional depth of Elijah Siegler. Together, movement and music transform wounds into a powerful expression of life, humanity and beauty. Performance Dates: 29–30 August 2026 Performance Times: Saturday 29 August – 7:30pm Sunday 30 August – 1:30pm Performance Location and Address: Thomas Dixon Centre, 406 Montague Road, West End QLD 4101 Ticket Costs: General Admission: $75 Under 30: $65 Ticket Link: https://www.thomasdixoncentre.com.au/events/the-silent-cry-of-flowers/ Recommended Age: All ages Duration: Approximately 90 minutes Cast: Nine dancers from L’Avant-Scène Centre de Danse Creative Team: Choreographer / Artistic Lead: Sthan Kabar-Louet Music includes works by Max Richter, Thylacine, Kishi Bashi and Elijah Siegler Previous Next