The True Midnight Cry Presented by: Minola Theatre Venue: PIP Theatre Date Attended: 14 August 2026 Written by: Bianca Butler Reynolds Directed by: Kat Dekker Set Designer: Regan Ainslie Lighting Designer: Teegan Kranenburg Sound Designer: Roosje Harder Stage Manager: Ursula Heesh Intimacy Consultant: NJ Price Production Photography: Kris Anderson (Images by Anderson) “Eternity is a reality with which I must contend." Brisbane’s theatre calendar has coincidentally produced a compelling double bill this August. While The Book of Mormon causes religious mischief at QPAC, just across the bridge at PIP Theatre, Bianca Butler Reynolds is taking the apocalypse considerably more seriously. So, a light evening at the theatre, then. Presented by Minola Theatre, The True Midnight Cry is an ambitious new two-hander written by Reynolds and directed by Kat Dekker. Think of it as two plays in one, with a 200-year gap. In 1840s New England, Inez (Bianca Butler Reynolds) and her husband Thaddeus (Colin W Smith) are raising three children with another on the way. They live off the land in a world where mortality comes much earlier. Their marriage is supportive and loving, until Thaddeus becomes increasingly wrapped up in the teachings of a preacher who claims to know when Christ will return. The title has real historical roots, by the way. Back in 1844, preacher Samuel S. Snow published The True Midnight Cry, foreseeing the Second Coming. The predicted day came and went (spoiler alert, no apocalypse!), leaving the Millerite movement with what became known as the Great Disappointment. Fast forward two centuries and we find ourselves in a futuristic Australian society that has been shaped by the ominously named "dark '30s". Mila (Reynolds) works within Arcadia, a government monitoring program that uses personal and behavioural data to identify people vulnerable to radicalisation or violence. Meanwhile, Conrad (Smith) is the ever-inquisitive and talkative security guard stationed to protect her. The link between these worlds takes time to reveal itself, and I liked being left to piece it together as the story unfolded. I loved discovering the characters in real time, including the lives and histories of people who never physically appear onstage but gradually become important to our understanding of the four who do. And despite how many ideas Reynolds is juggling, the story itself is easy to follow. Her writing gives us enough information to understand each world without drowning the characters in philosophy. Regan Ainslie’s set begins as a wooden cube structure, framing a modest nineteenth-century home that immediately suggests the hard work of daily survival. Inez and Thaddeus initially seem comfortably matched, with mutual affection and passion. However, Thaddeus’ growing fixation on the prophecy soon creates a religious divide in their marriage. For him, the promise of the Second Coming offers something incredibly tempting: certainty amid life’s difficulties and fears. “We need not face death!” Smith adeptly handles Thaddeus’ downward spiral. His excitement mutates into an obsession, responsibilities start slipping, and the practical needs of his family take a backseat to his preparations for an eternity he believes is imminent. Meanwhile, poor Inez might as well be talking to a brick wall... There’s an infuriating contradiction in hearing Thaddeus describe women as “the wiser sex” while repeatedly disregarding the woman in front of him. Reynolds portrays Inez with such a grounded sense of practicality. She does not mock his faith, nor is she without faith herself, but she can recognise how their beliefs are progressively diverging as their disagreements get uglier. “I've made you unhappy without knowing how.” Reynolds developed the play specifically as a two-hander for herself and Smith, and you can feel that in the chemistry between them and in how comfortably the characters sit with each performer. She grants both characters dignity to ensure the play doesn't devolve into a simplistic argument of religious-person-bad versus sceptical-person-good. Knowing the work draws heavily from her own Adventist upbringing adds another layer because that nuance is clearly there onstage. She’s exploring the harm caused, what she still believes, and the complexity of separating the two (especially when those ideas are ingrained in childhood before we’re old enough to think critically). And during interval, the whole world changes... The timber structure becomes metallic, fluorescent, and institutional. Cold light replaces the warmth of the nineteenth century, computer screens appear, Reynolds returns in a sharp black suit, glasses, and sleek blonde bob as Mila, and Smith swaps Thaddeus’ period clothing for Conrad’s practical uniform and tactical vest. Almost everything changes. Except the mirror. The same ornate mirror sits in both worlds, quietly linking the past and the future. “I don't believe in things where there is no data.” For Act Two, Reynolds portrays Mila, a character distinct from Inez yet similar in nature. She is controlled, intelligent, headstrong, and loyal to measurable information. Initially, her worldview contrasts sharply with that of Thaddeus, but the longer we spend with her, the more those two worldviews start to echo each other. Both characters are uncomfortable with uncertainty and place great faith in systems that promise to reduce it. Arcadia inevitably invites comparisons to Minority Report, as Mila focuses on how our behavioural data could be used to determine who might become dangerous, who might be vulnerable, and who needs monitoring. Reynolds envisions a future two decades from now that's recognisable enough to be unsettling: cancer still exists, trauma still occurs, and people still seek human connection. They carry implanted technology embedded in their arms with periodic "data sync" announcements. After years of instability and violence (after a vaguely stated North Korea situation...), society has apparently accepted increasingly invasive surveillance in exchange for the promise of safety. But human beings, of course, are more complicated. Smith has an enormous amount of dialogue in this half, but it doesn't feel like pages of exposition. Conrad speaks with the easy rhythm of a friendly debate that occasionally turns into an accidental therapy session. There’s always real thought happening behind his words. Plus, he repeatedly drums his hand against his leg, a small physical tic that hints at the stress underneath all that chatter. And the longer he stays inside this controlled environment, the more the confinement wears on him. The space starts to feel like an office, high-tech bunker, prison, and psychiatric ward all at once. Regan Ainslie’s set plays right into that feeling, sitting at the centre of the roundhouse seating so the audience surrounds this contained little world from every side. It offers protection from the outside world while still keeping the characters confined and strangely assailable. Teegan Kranenburg’s lighting clearly separates the two periods: the nineteenth century glows with amber and warm earth tones, while the future is under colder blues and harsh fluorescent whites. Roosje Harder’s sound design shifts with it. Birds and natural sounds give way to mechanical rumbles, computerised cues, synthetic tones, and those ambient sounds that remind me of meditation apps trying to convince you everything is absolutely fine. Between scenes, Doretta Balkizas’ violin interludes give us a little musical breathing room. By the final stretch, things have become much more personal. I won't spoil the discoveries because the gradual exposure of these characters' histories is central to the experience. There is also no pretending that The True Midnight Cry is brief. The program lists a running time of approximately three hours including interval (and apparently this is already the cut-down version). So, get your buttocks comfy in that seat! There are a lot of ideas flying around here: theology, ideology, psychology, technology, trauma, ethics... sometimes all at once. But I never stopped wanting to know more about the people involved, and that’s what keeps it working. Reynolds builds enough emotional life around the ideas that the play remains about human beings rather than concepts wearing costumes talking at each other. Plus, there are so many brilliant lines scattered through the script that I felt compelled to keep jotting them down. Perhaps the most revealing is Thaddeus' observation: “The world ended in a whole other way.” Because an apocalypse may not necessarily arrive with fire, judgement, and graves opening beneath our feet. A world can end when a marriage changes forever, when the belief system you were raised inside collapses, when somebody violates your trust, or when society loses its sense of civility. Reynolds’ play isn’t really asking whether religion or science has the correct answer. It’s more interested in what people do when they can’t tolerate the possibility that there may be no answer at all. Thaddeus relies on prophecy, Mila turns to data, Conrad searches for closure, and Inez embraces nature. This is a big, deeply personal piece of writing, and exactly the kind of original Australian work that I love to see independent companies taking risks on. It asks a lot of its performers and its audience, but it also gives plenty back: two terrific performances, an inventive production design, fascinating speculative world-building, and enough moral and philosophical knots to keep untangling on the way home. Content warnings include coarse language, self-harm, references to sexual assault, miscarriage, and terrorism, with haze and strobing lighting also used. If you’re happy to settle in for a substantial night of theatre, this is one call that's well worth answering.

Title: Chicago: Teen Edition Presented By: Brisbane Junior Theatre Genre: Youth Musical Synopsis: Set amid the glamour and grit of 1920s Chicago, Chicago: Teen Edition follows aspiring performer Roxie Hart after she murders a faithless lover and finds herself imprisoned alongside vaudeville star Velma Kelly. Both women quickly discover that in a city obsessed with scandal, crime can be transformed into celebrity with the right headlines, the right lawyer, and enough razzle dazzle. As Roxie and Velma compete for public attention and the services of slick defence attorney Billy Flynn, the musical takes a sharp, funny look at fame, justice, ambition, and the media circus surrounding sensational crime. This Teen Edition retains the iconic score and story while adapting some language and adult material for younger performers and audiences. Audition Date: Saturday 12 September 2026 Audition Time: 1:00pm–4:00pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Audition Requirements: Auditions are required for performers seeking a lead or minor role, featured dancer position, or solo. Everyone who auditions is guaranteed a place in the cast. Auditionees are required to: Memorise the assigned monologue with appropriate characterisation and accents. Prepare the song listed on the relevant monologue sheet. Participate in a dance audition, with choreography taught on the day. Audition Registration: Book an audition time by texting Debbie on 0438 896 436. A Production Registration Form must also be completed and emailed to brisbanejuniortheatre@gmail.com. Audition Pack: View the BJT audition and monologue packs on Google Drive Brisbane Junior Theatre – Chicago: Teen Edition Performance Dates: Friday 25 September and Saturday 26 September 2026 Performance Times: Friday 25 September: 6:00pm & 8:00pm Saturday 26 September: 12:00pm & 2:00pm Performance Location: Emerge Church1 Coorparoo Road, Warner QLD 4500 Rehearsal Dates: Monday 21 September – Friday 25 September 2026 Rehearsal Times: 8:30am–5:00pm daily Warnings:Chicago centres on murder, imprisonment, capital punishment, infidelity, corruption, manipulation, and sensationalised crime. The Teen Edition has been specifically adapted to remove overtly sexual references and adult language from the original version. Production Website: Brisbane Junior Theatre – Chicago: Teen Edition Other information: An optional Audition Intensive will be held on Saturday 5 September from 12:00pm–3:00pm at the Emerge Church Upstairs Studio. The intensive costs $50 and covers monologue delivery, characterisation, physicality, projection, accents, audition-song presentation, acting through song, storytelling, and vocal technique. Individual feedback will be provided. Musical Participation fee: $425 including GST. The fee covers costumes, rights and royalties, scripts, insurance, technical and creative staff, sets and props, venue hire, and pizza dinner with a drink on the Friday performance day. Performers cannot audition without registering and paying. BJT guarantees every auditionee a place in the cast. BJT generally double casts its productions to provide performers with additional performance opportunities. Available Roles/Character Breakdown: Roxie Hart Female-presenting An ambitious, impulsive aspiring performer who dreams of fame and suddenly finds herself at the centre of Chicago’s biggest murder story. Roxie is charming, manipulative, funny, vulnerable, and determined to turn notoriety into stardom. Requires a strong singer, actor, and mover with excellent comic timing. Velma Kelly Female-presenting A confident vaudeville performer already accustomed to the spotlight when she lands on Murderess’ Row. Stylish, sharp, competitive, and highly theatrical, Velma becomes Roxie’s principal rival for headlines and public sympathy. Requires particularly strong dance ability alongside confident vocals and acting. Billy Flynn Male-presenting A charismatic celebrity lawyer who knows exactly how to manipulate journalists, juries, and public opinion. Smooth, theatrical, charming, and completely in control of his own image. Requires excellent stage presence and a strong singer/actor. Amos Hart Male-presenting Roxie’s loyal but frequently overlooked husband. Sweet, sincere, and somewhat naïve, Amos remains devoted to Roxie despite repeatedly being taken for granted. A strong character role requiring warmth and understated comedy. Matron “Mama” Morton Female-presenting The formidable matron of the Cook County Jail. Mama understands how the prison system works and happily exchanges favours for favours. Bold, confident, commanding, and humorous, with a strong vocal presence. Mary Sunshine Female-presenting A relentlessly optimistic newspaper journalist who believes everyone has some good in them. A highly theatrical character role requiring strong comic commitment and a high vocal register. Fred Casely Roxie’s lover, whose death sets the plot in motion. A featured acting role. Sergeant Fogarty A police officer involved in investigating Fred Casely’s death. The Merry Murderesses of Murderess’ Row Featured prisoners including Liz, Annie, June, Hunyak, and Mona, each with her own story explaining how she ended up in jail. These are strongly characterised singing, acting, and movement roles featured in “Cell Block Tango.” Kitty A sensational new murder defendant whose arrival temporarily steals the press spotlight from Roxie. Ensemble The ensemble may portray prisoners, reporters, jurors, court officials, dancers, club performers, police, and other citizens of Jazz Age Chicago. Chicago is particularly dance-driven, so ensemble performers have substantial opportunities for stylised movement, vocals, and featured character work.

Title: Disney’s Moana Jr. Presented By: Valmy Academy Genre: Youth Musical Theatre Synopsis: Moana Jr. is a stage adaptation of Disney’s animated adventure, following adventurous teenager Moana as she sets sail across the Pacific to save her people and discover the truth about her heritage. Along the way, she encounters the legendary demigod Maui and a host of colourful characters in a story about courage, identity, community, and finding your own path. Audition Date: Sunday 30 August 2026 Audition Time: 1:00pm–4:00pm Audition Location and Address: Valmy Academy, 127 Sandgate Road, Albion, Brisbane Audition Requirements: Every registered child will be part of the production. The auditions are used to determine where each performer fits best rather than to decide who is included. Audition Registration: Registration is through Valmy Academy. Families who register will receive the full audition pack. Valmy Academy Performance Dates: 26 September 2026 Performance Times: 11:30am and 2:30pm Performance Location: Hope Centre, 35 Thompson Street, Bowen Hills Rehearsal Dates: Holiday Workshop Week: 21–26 September 2026 Rehearsal Times: 9:00am–4:00pm daily Performer Age: 5–17 Production Website: Valmy Academy Other information: Audition Preparation Workshop: Saturday 22 August, 3:00pm–5:00pm Participants can learn the audition choreography ahead of time, ask questions, and receive audition tips before audition day. Audition Day & Parent Information Session: Sunday 30 August, 1:00pm–4:00pm Holiday Workshop Week: Monday 21–Saturday 26 September, 9:00am–4:00pm daily Available Roles/Character Breakdown: Moana Female | Vocal Range: G3–D5 The adventurous, determined daughter of Motunui’s chief. Moana is energetic, compassionate, funny, and increasingly confident as she struggles between the future expected of her and her desire to explore beyond the reef. This is a major singing and acting role requiring maturity, strong storytelling, and confidence with songs such as “How Far I’ll Go.” Maui Male | Vocal Range: G2–B3 A charismatic demigod, master wayfinder, shapeshifter, and legendary trickster. Maui is larger-than-life, funny, confident, and physically expressive, but gradually reveals a more vulnerable side as his friendship with Moana develops. Strong comic timing, energy, and stage presence are important. Gramma Tala Female | Vocal Range: G3–B4 Moana’s wise, eccentric, and playful grandmother. Tala is the village storyteller and encourages Moana to understand both her identity and her connection to the ocean. Requires warmth, humour, and the ability to handle both comic and heartfelt material. Chief Tui Male | Vocal Range: E2–A#2 Moana’s father and the respected chief of Motunui. Protective and responsible, he prioritises the safety of his family and village and strongly discourages Moana from travelling beyond the reef. A mature, grounded actor with good singing ability is required. Sina Female | Vocal Range: C#4–C#5 Moana’s compassionate and perceptive mother. Sina understands her daughter more deeply than most and ultimately trusts Moana to make her own decisions. A confident singer and actor with a warm, mature presence. Chief Ancestors 1–3 Any gender | Vocal Range: G3–A4 Three ancient leaders of Motunui who help guide Moana and narrate parts of her journey. These roles suit expressive storytellers with strong diction, characterisation, and singing ability. Pua Any gender | Vocal Range: B3–C#5 Moana’s loyal and supportive friend. Pua may be nervous about adventure but remains devoted to Moana. A confident singer with strong character energy can make this featured role stand out. Hei Hei Any gender | Vocal Range: B3–C#5 Moana’s hilariously clueless companion. Hei Hei is innocent, naïve, and well-meaning, offering plenty of opportunity for physical comedy and bold character choices. Tamatoa Any gender | Vocal Range: B3–B4 A giant, egotistical crab living in Lalotai, the Realm of Monsters. Obsessed with collecting shiny treasures, Tamatoa is theatrical, outrageous, and completely convinced of their own fabulousness. This role requires big personality, comedy, and confident showmanship. Te Kā / Te Fiti Any gender Two connected manifestations central to Moana’s quest. Te Kā is a fierce volcanic force guarding the path forward, while Te Fiti represents restoration and creation. These roles are generally movement and storytelling-focused within the ensemble. Ensemble Roles

< Back BURLESQUE: Laced in Shadows - Sass and Soul, HOTA 27 Aug 2026 Season: August 27th, 2026 Title: Laced in Shadows Presented By: Sass and Soul Dance, HOTA Genre: Burlesque / Cabaret / Dance Synopsis: You think you know what's next. You don't. Back by popular demand, Sass and Soul Dance returns to HOTA for its sixth and most daring production yet — bolder, darker and more unapologetic than ever before. Laced in Shadows enters a world of burlesque cabaret, where darkness is beautiful, movement is everything, and every moment is crafted to catch you completely off guard. Fully costumed and unexpected at every turn, this one-night-only production invites audiences to discover what's behind the velvet curtain. Hosted by Terry Daktyl, QLD Drag Performer of the Year 2025. Performance Dates: Thursday August 27th, 2026 Performance Times: 7PM Performance Location and Address: Theatre 1, HOTA, 135 Bundall Road, Surfers Paradise QLD 4217 Ticket Costs: $50 Ticket Link: Buy Tickets - Laced in Shadows Warnings: Coarse language Strobe effects Haze Smoke machine Adult themes Recommended Age: 16+ Duration: 2 hours, including interval Production Website: HOTA - Laced in Shadows Other information: The production is Sass and Soul Dance's sixth production and is described as their most daring production yet. Accessibility and venue information can be confirmed through HOTA when booking. Previous Next

Upcoming Performances 27 Aug 2026 THEATRE: Ode to a Lost Love - Cornerstone Theatre Season: August 27th - September 5th, 2026 Read More 27 Aug 2026 BURLESQUE: Laced in Shadows - Sass and Soul, HOTA Season: August 27th, 2026 Read More 26 Aug 2026 THEATRE: Dead Bat on the Night Shift - Observatory Theatre, PIP Theatre Season: August 26th - September 5th, 2026 Read More 22 Aug 2026 CABARET: Addicted to Love - Em Rusciano Entertainment Season: August 22nd, 2026 Read More 22 Aug 2026 CHORAL: Festival Concert - QLD Show Choir Season: August 22nd, 2026 Read More 22 Aug 2026 THEATRE: Parrot & Marbles - Montville Village Hall Season: August 22nd - 23rd, 2026 Read More 22 Aug 2026 THEATRE FESTIVAL: One Act Play Festival - Toowoomba Repertory Theatre Season: August 22nd - 23rd, 2026 Read More 21 Aug 2026 YOUTH MUSICAL: Footloose - Toowoomba Anglican School, Empire Theatre Season: August 21st - 22nd, 2026 Read More 21 Aug 2026 YOUTH THEATRE: Season of Four One-Act Plays - Acting Up! Youth Theatre Academy Season: August 21st - 23rd, 2026 Read More 20 Aug 2026 OPERA: There's Nothing Like a Dame - Opera QLD Season: August 20th - 22nd, 2026 Read More 20 Aug 2026 OPERA: Triple Bill - Voxalis Opera Season: August 20th - 21st, 2026 Read More 20 Aug 2026 THEATRE: The Wolf of George Street - UQ Law Revue Season: August 20th - 22nd, 2026 Read More 20 Aug 2026 YOUTH MUSICAL: Mamma Mia! - St Thomas More College, SunPAC Season: August 20th - 22nd, 2026 Read More 20 Aug 2026 BURLESQUE: Sinful Delights - Backdock Arts Season: August 20th, 2026 Read More 20 Aug 2026 CHILDREN'S THEATRE: Fractured Fairytales - LoganARTS, RAVA Productions Season: August 20th, 2026 Read More 19 Aug 2026 THEATRE: Goodbye Eli Anderson - THAT Production Company, Ipswich Civic Centre Season: August 19th - 22nd, 2026 Read More 19 Aug 2026 THEATRE: Heartbreak Hotel - HOTA Season: August 19th - 22nd, 2026 Read More 19 Aug 2026 THEATRE: The Monologue Show - Things That Happen Season: August 19th & 25th, 2026 Read More 18 Aug 2026 THEATRE: The Gospel According to Paul - Soft Tread, QPAC Season: August 17th - 23rd, 2026 Read More 17 Aug 2026 YOUTH DANCE: Wakakirri - Logan Entertainment Centre Season: August 17th - 20th, 2026 Read More 15 Aug 2026 THEATRE: Ravenscroft - Growl Theatre Season: August 15th - 29th, 2026 Read More 15 Aug 2026 BALLET: Romeo and Juliet - The Australian Ballet, QPAC Season: August 15th - 22nd, 2026 Read More 13 Aug 2026 THEATRE: The True Midnight Cry - Minola Theatre, PIP Theatre Season: August 13th - 22nd, 2026 Read More 13 Aug 2026 THEATRE: Loving Ashes - PIP Theatre, Sun and Wine Arts Company Season: August 13th - 22nd, 2026 Read More 11 Aug 2026 THEATRE: Do Not Go Gentle - QLD Theatre Season: August 11th - 30th, 2026 Read More 8 Aug 2026 THEATRE: Present Laughter - Javeenbah Theatre Season: August 8th - 22nd, 2026 Read More 7 Aug 2026 THEATRE: Harvey - Tugun Theatre Company Season: August 7th - 29th, 2026 Read More 7 Aug 2026 THEATRE: The Murder Room - Nash Theatre Season: August 7th - 29th, 2026 Read More 7 Aug 2026 THEATRE: The Opposite Sex - Act1 Theatre Season: August 7th - 23rd, 2026 Read More 7 Aug 2026 MUSICAL: She Loves Me - Phoenix Ensemble Season: August 7th - 29th, 2026 Read More 6 Aug 2026 THEATRE: Second Coming - La Boite Theatre Season: August 6th - 22nd, 2026 Read More 6 Aug 2026 THEATRE: Hot Tub - Ad Astra Theatre Season: August 6th - 29th, 2026 Read More 31 July 2026 MUSICAL: The Book of Mormon - QPAC, Jones Theatrical Group Season: July 31st - October 4th, 2026 Read More 31 July 2026 BURLESQUE: Unlaced - The Bootleg Lounge Season: July 31st - September 26th, 2026 Read More 9 May 2026 MUSICAL: Hey Felicia - The Sit Down Comedy Club Season: May 9th - November 7th, 2026 Read More 14 Feb 2026 MAGIC: Theatre of Magic - Empire Theatre Season: February 14th - December 5th, 2026 Read More 9 Feb 2026 PLAY READING: Playground - 7th Floor Theatre, PIP Theatre Season: Monthly from February 9th, 2026 Read More

Discover the latest in Brisbane theatre auditions and reviews on Stage Buzz Brisbane. Your go-to source for all things theatre in the Queensland capital. WELCOME TO STAGE BUZZ BRISBANE This dynamic hub for South-East Queensland thespians is your go-to source for audition updates, performance reviews, and engaging content that celebrates the vibrant local theatre scene. From spotlighting talented actors to providing valuable tips, it's a community-driven platform that brings the magic of the stage to the forefront, fostering connection and celebration among theatre enthusiasts in the region. NICE TO MEET YOU Embrace the enchanting world of South-East Queensland's theatre scene right here on Stage Buzz Brisbane! We're your go-to hub for all things theatrical: upcoming performances adult audition alerts youth auditions performance reviews exclusive spotlight interviews with local talents rehearsal/performance venue database Whether you're a seasoned thespian or a passionate supporter of the arts, join us on this exciting journey as we celebrate the magic that unfolds on our local stages. At Stage Buzz Brisbane, we believe every production deserves its moment in the spotlight. If you know of any upcoming productions or hidden gems that have slipped under the radar, don't hesitate to reach out and share your insights or let us know about the productions that deserve extra applause. Together, let's shine a light on the vibrant and thriving community theatre culture in South-East Queensland. Let the curtains rise, and let the show begin! Contact