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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.

< Back YOUTH MUSICAL: Esther the Musical - Northpine Adventist College 25 July 2026 Season: July 25th - August 2nd, 2026 Title: Esther the Musical Presented By: Northpine Adventist College Genre: Musical / Biblical Drama / Family Synopsis: Step into the glittering courts of Persia, where palace intrigue, courage and destiny collide in this full-length, Broadway-style retelling of the story of Esther. An orphaned Jewish girl rises to become Queen of Persia, but when a royal decree threatens the lives of her people, Esther must decide whether to remain silent or risk everything to save them. Featuring sweeping melodies, witty lyrics, vibrant costumes and dramatic storytelling, Esther the Musical explores faith, justice, courage and hope. Written By: Book and Lyrics: Janice Landry Music and Lyrics: Martin Landry Orchestrations: Susan Perdue Performance Dates and Times: Sat 25 July – 7:00pm Sun 26 July – 1:30pm Thu 30 July – 6:00pm Sat 1 August – 7:00pm Sun 2 August – 1:30pm Performance Location and Address: Performing Arts Centre, Northpine Adventist College, 29 Hughes Road East, Dakabin QLD 4503 Ticket Costs: Adult: $30 Child: $20 Ticket Link: https://events.humanitix.com/esther-musical Warnings: Biblical themes including threatened violence and persecution Recommended Age: Family-friendly Duration: Approximately 2 hours 30 minutes, including interval Previous Next

< Back YOUTH DANCE: Wonder - Sharon Alback Dance Centre 25 July 2026 Season: July 25th, 2026 Title: Wonder Presented By: Sharon Alback Dance Centre Genre: Dance Concert / Family Synopsis: Step down the rabbit hole on a magical adventure where curiosity leads the way and imagination comes to life. Wonder is Sharon Alback Dance Centre's annual dance production, taking audiences on an enchanting journey inspired by the whimsical world of Wonderland through a vibrant showcase of dance. Performance Dates: Saturday 25 July 2026 Performance Times: 1:30pm – 4:00pm 6:00pm – 8:30pm Performance Location and Address: Redcliffe Entertainment Centre, Downs Street, Redcliffe QLD 4020 Ticket Costs: Adult: $50 Concession: $45 Child: $25 Ticket Link: https://www.redcliffeentertainmentcentre.com.au/Events/Wonder-SADC Previous Next

< Back DANCE THEATRE: Testing Site - Studio1 24 July 2026 Season: July 24th - 25th, 2026 Title: TESTING SITE 2026 Presented By: Studio1 and The Workroom Program Genre: Contemporary Dance / Physical Theatre / Circus Synopsis: TESTING SITE 2026 is a showcase of new works by emerging and established Brisbane choreographers and movement makers. Across two evenings, audiences are invited to experience a collection of short dance, physical theatre and circus works as artists present fresh ideas in development. Celebrating experimentation and creative risk-taking, TESTING SITE offers a platform for raw physicality, innovative storytelling and the latest works from Queensland's independent movement artists. Performance Dates: 24–25 July 2026 Performance Times: Friday 24 July – 7:00pm Saturday 25 July – 7:00pm Performance Location and Address: Studio1, 190 Station Road, Yeerongpilly QLD 4105 Ticket Costs: General Admission: $25 Concession: $20 Mob & First Nations: $10 Ticket Link: https://events.humanitix.com/testing-site-2026-or-studio1 Duration: Approximately 2 hours Cast: Featuring works by: Buddy Malbasias Soleil Harvey Enzo Nazario Jade Brider Previous Next