Shrek the Musical Communication in Action Talbot Theatre, Thomas Dixon Centre Directed: Tim Hill Music Director: Jacqui Devereux Choreography: Justin Anderson Photography: By Brit Creative Walking into a completely full Talbot Theatre is always a promising sign, and Shrek the Musical wasted no time proving why every seat was taken! The show leaned fully into what makes Shrek so much fun: outrageous characters, bold humour, and joyful theatrical silliness. The musical honours the film while giving the comedy a fresh stage twist, with plenty of jokes that flew straight over the kids’ heads and landed squarely with the adults. Henry Marsh as Shrek brought warmth, humour, and a very solid accent to the role. Vocally, he handled the demands of the score with confidence, as did the other boys across the cast. “Who I’d Be” was a lovely, sincere solo that showed the gentler side of the character. I would have loved to see Shrek lean even further into that fed-up frustration at times, but overall his performance of this tremendous role was incredible. Hamish Treweeke as Donkey was an absolute highlight. Donkey has to be a speedy talker, crystal clear, and relentlessly energetic, and Hamish delivered all of that with sass to spare. He was a walking encyclopaedia of pop culture references, a constant ball of energy, and absolutely nailed “Don’t Let Me Go,” cementing the Shrek-and-Donkey dynamic as the strongest duo on stage. Murphy O’Connor as Princess Fiona was a complete standout. She played Fiona as the glorious crackpot she is, with bold physicality, dramatic gestures, and excellent comic timing. Vocally, Murphy was fantastic, switching effortlessly from a bright musical theatre belt to a sweet, delicate classical tone. (“the waiting!!!!!” moment was chef’s kiss.) “I Know It’s Today,” shared with Aria McGregor (Young Fiona) and Dottie Reisener (Teen Fiona), was beautifully layered, confident, with harmonies that blended seamlessly. Archer Grounds’ Lord Farquaad was iconic, from the sparkly outfit and sassy attitude to the impressive knee-sprinting across that enormous stage (no small feat... pun fully intended). Henry Woodward as Thelonius added to the laughs and was the perfect sidekick in Farquaad's scenes. Ella Reynolds as Gingy was a joy. I loved that she didn’t lean into the overly squeaky voice we so often hear. Her natural voice was divine and gave the character warmth and sympathy. Ariella Meehan’s Pinocchio was full of personality, and the nose effect was a very fun visual gag for the audience! Alessia Lily Monteverde as Dragon brought serious funky energy to “Forever” complete with spotlights, a killer outfit, and strong support from the Knights. Without the option of a giant dragon puppet, the moment relied entirely on Alessia, and she delivered vocally in a big way! I would have loved to see that sass shared with the audience a little more (face us more cause we want to see you!), as the blocking had her chasing Donkey all over the stage in her stilettos. “Story of My Life” was a delightful explosion of fairytale chaos, with an absurd number of characters filling the stage! It was cleverly cast to spread featured moments among the more senior performers. The fairytale creatures truly shone in “Freak Flag,” which completely blew me away. The commitment to character was fantastic, the choreography was high-energy, and the whole number felt joyfully unhinged. Standouts included Bella Pietrobon’s Wicked Witch, Saana Chang’s Ugly Duckling, Neil Marco Il Aballe’s Big Bad Wolf, and Stephanie Dortolina-George as Mama Bear. Visually, this production was stunning. The massive digital backdrop looked like storybook paintings brought to life, and the lighting on this stage was, as always, fabulous. The designer made excellent use of patterned lights to add texture without overwhelming the action. I also loved how the audience walkway was used during the travel sequences, giving the staging scale and helping the world feel bigger than the stage. “Welcome to Duloc” was a fun ensemble moment, full of bright energy and costumes. I would have loved to see even more plastered grins and crisper articulation to really lean into that aggressively cheerful dystopia. “Morning Person” was a crowd-pleaser, with strong choreography, though I couldn’t help wishing the tap sections had been performed in actual tap shoes. Let those rhythms sing! “I Think I Got You Beat” was a standout musical moment between Fiona and Shrek, with great chemistry and comic timing. Donkey observing from further upstage meant some of his reactions were lost, and I think perching him closer to the stage edge would make that moment even stronger. The ensemble as a whole was a real strength of this production. Their commitment, energy, and character work lifted every scene. Bonus points as well for the Princess Bride reference at the wedding, which absolutely tickled me. Under the direction of Tim Hill, with choreography by Justin Anderson and music direction by Jacqui Devereux, Shrek the Musical was fun, fast-moving, and full of heart. It embraced the ridiculous, celebrated its performers, and left the audience smiling.

Title: Money and Friends Presented By: MATES Theatre Genesis Inc. Genre: Australian Comedy / Social Satire / Drama Synopsis: Written by acclaimed Australian playwright David Williamson in 1991, Money and Friends is a sharp social comedy exploring friendship, loyalty, wealth and the uncomfortable truths that emerge when money becomes involved. Set in the fictional coastal holiday resort of Chrystal Inlet, the play follows a close-knit group of nine friends whose relationships are tested when financial hardship strikes. Peter, a kind-hearted mathematics professor, faces financial ruin after helping his brother through bankruptcy. His closest friend and neighbour, Margaret, attempts to rally their wealthy friends to support him, but discovers that generosity is much easier to discuss than to practise. As personal ambitions, romantic entanglements and long-held resentments come to the surface, the group must confront the difference between their professed values and their actual behaviour. Through wit, hypocrisy and uncomfortable revelations, Williamson examines the fragility of friendships when financial security and self-interest are at stake. Audition Date: Sunday 15 November 2026 Audition Time: 10:00am–12:00pm This is a group audition. Applicants may arrive at any time during the two-hour session to participate in script readings. Audition Location and Address: Birkdale School of Arts Hall (Downstairs), 101 Birkdale Road, Birkdale Audition Requirements: Auditions will be conducted through cold readings from the script alongside other actors. No prepared monologue is required. Applicants will read selected scenes from the play. No special accents are required, as this is an Australian play. Performers should be prepared to demonstrate characterisation, script interpretation and the ability to work collaboratively. Applicants of varying experience levels are welcome. Optional StageWorx Script Readings: Two free script-reading sessions will be held before auditions, offering prospective performers an opportunity to familiarise themselves with the play. Saturday 7 November 2026: 9:00am–12:00pm Wednesday 11 November 2026: 1:00pm–4:00pm Location: Cleveland Library, Meeting Room 2, corner of Bloomfield and Middle Streets, Cleveland QLD Audition Registration: Complete the audition form included in the audition pack and email it to info@matestg.org.au with a recent headshot, if available. Applicants should also bring a copy of their completed form and headshot to the audition. The audition form requests: Personal and contact details. Preferred roles. Previous performance or crew experience. Known rehearsal and performance conflicts. Willingness to accept alternative roles or assist backstage. Membership status. Registrations will be accepted until the audition schedule is full. Audition Pack: Download Money and Friends Audition Information Pack (PDF) Performance Times: Friday 12 March: 7:30pm (Opening Night) Saturday 13 March: 2:00pm and 7:30pm Saturday 20 March: 2:00pm and 7:30pm Sunday 21 March: 2:00pm (Closing Performance) Performance Location: Birkdale School of Arts Hall (Upstairs), 101 Birkdale Road, Birkdale QLD Rehearsal Dates: Rehearsals commence Sunday 22 November 2026 and continue until opening night, with a Christmas/New Year break. November–December 2026: Sunday 22 November — First read-through Sunday 28 February - Thursday 11 March — Bump-in and technical rehearsals Rehearsal Times: Tuesday Rehearsals: 7:00pm–9:30pm Thursday Rehearsals: 7:45pm–10:00pm Sunday Rehearsals: 1:00pm–4:00pm Rehearsals will be held at Birkdale School of Arts Hall, initially downstairs before moving upstairs for technical rehearsals and performances. Performer Age: Adult performers. Peter is described as being in his 40s–50s, and Justin in his 20s. Creative Team: Playwright – David Williamson Director – Karen Neale Director Contact: Phone: 0400 170 373 Email: president@matestg.org.au Production Website: https://matestg.org.au/auditions/ Other information: This is an amateur community theatre production. All cast and crew positions are unpaid. Successful cast and crew members must become financial members of MATES Theatre Genesis. Membership Fee: $20 per year, payable by the first rehearsal. Cast members may be required to assist with sourcing costume pieces, props, footwear and personal makeup. Performers must be available for rehearsals, performances and any required publicity activities. Successful applicants will be contacted by phone and/or email, while unsuccessful applicants will be notified by email. Successful cast and crew members must not publicly announce their involvement until MATES has made its official casting announcement. Opportunities are also available for backstage, technical and front-of-house volunteers. Available Roles/Character Breakdown PETER Gender: Male Playing Age: 40s–50s A professor of pure mathematics who is exceptionally kind-hearted and well-liked by his friends. Peter faces financial ruin after helping his brother through bankruptcy. Despite his intelligence and generosity, he finds himself in an increasingly desperate situation. His financial difficulties expose the true nature of his friendships as those around him are forced to decide whether they are willing to help. Performance Requirements: Strong naturalistic acting, emotional vulnerability and the ability to portray warmth, intelligence and financial distress. MARGARET Gender: Female A sharp-witted history professor who is Peter's closest friend and neighbour. Divorced and independent, Margaret is the first to recognise the seriousness of Peter's financial situation and attempts to persuade their wealthy friends to offer assistance. Intelligent, outspoken and socially perceptive, she is also navigating her own romantic life, having recently begun relationships with younger men. Performance Requirements: Strong comedic timing, confident characterisation and the ability to portray intelligence, independence and loyalty. CONRAD Gender: Male A high-profile television reporter and husband to Jaquie. Conrad is professionally successful and belongs to the wealthy social circle whose friendships are challenged by Peter's financial difficulties. He is also the father of Justin, whose resentment towards him reveals tensions within their family. Performance Requirements: Confident stage presence and the ability to portray a successful public figure with complicated personal relationships. JAQUIE Gender: Female Conrad's wife, described as a gold digger. Jaquie is strongly motivated by wealth, financial security and the social advantages that accompany success. Her attitude towards money reflects the materialism and self-interest explored throughout the play. Performance Requirements: Strong character acting, comedic timing and the ability to portray social ambition and materialism. STEPHEN Gender: Male A successful surgeon who is neurotic, tense and easily wound up. Married to Penny, Stephen is part of the affluent friendship group whose personal values and loyalties are tested by Peter's financial difficulties. Performance Requirements: Strong comedic timing, expressive characterisation and the ability to portray anxiety, tension and emotional intensity. PENNY Gender: Female Stephen's wife. Outwardly sweet and agreeable, Penny attempts to conceal her personal dissatisfaction and frustrations within her marriage. Her pleasant demeanour masks deeper emotional conflicts. Performance Requirements: Subtle emotional range, naturalistic acting and the ability to portray the contrast between outward politeness and inner frustration. ALEX Gender: Male A highly successful lawyer, described as a "mega-lawyer". Married to Vicki, Alex enjoys considerable professional and financial success, placing him firmly within the affluent social circle at the centre of the play. His marriage is complicated by Vicki's growing desire for a different life. Performance Requirements: Confident characterisation and the ability to portray professional success and complicated personal relationships. VICKI Gender: Female Alex's wife and a highly competitive social climber. Ambitious and attracted to wealth, glamour and social status, Vicki is considering leaving her husband for an opportunistic younger man who promises her an exciting new life in Los Angeles. Her dissatisfaction with her current circumstances reveals the tension between material success and personal fulfilment. Performance Requirements: Strong comedic timing, confident stage presence and the ability to portray ambition, dissatisfaction and social competitiveness. JUSTIN Gender: Male Playing Age: 20s Conrad's son. A young man who harbours considerable anger towards his father for years of neglect and emotional distance. Justin is also romantically involved with Margaret, creating further complications within the friendship group. His resentment towards Conrad and relationship with Margaret add an intergenerational dimension to the play's examination of loyalty, relationships and self-interest. Performance Requirements: Strong naturalistic acting, emotional intensity and the ability to portray youthful frustration, resentment and complicated relationships.

Title: Cheaters Presented By: Spotlight Theatrical Company Genre: Comedy / Farce / Romantic Comedy Synopsis: Written by Michael Jacobs, Cheaters is a fast-paced American farce exploring love, marriage, infidelity and the complicated relationships between parents and their adult children. Allen and Michelle have been living together for eighteen months. As their first serious relationship develops, Michelle believes they should get married, but Allen isn't convinced he's ready for that commitment. Frustrated by his hesitation, Michelle turns to her parents for relationship advice. Unfortunately, neither family is in a position to offer much wisdom. Unbeknownst to Michelle's father, the woman he has been having an affair with for the past six months is Allen's mother. Meanwhile, Michelle's mother has recently spent the night with Allen's father and is eager to continue their relationship. When the parents arrange a dinner to share their supposed maturity and experience with the young couple, their tangled romantic secrets threaten to unravel. As misunderstandings, revelations and increasingly desperate attempts at deception collide, everyone is left scrambling to protect themselves in this outrageous comedy about love, romance and infidelity. Audition Date: Sunday 15 November 2026 Audition Time: 10:00am Audition Location and Address: Studio 2, 4/50 Johnston Street, Southport QLD Audition Requirements: All performers must use an American accent. Although the play is set in New York, a strong Bronx-style accent is not required. Auditions will involve performing selected scenes from the script. Applicants should familiarise themselves with the relevant audition excerpts: Monica and Howard: Pages 7–8 Grace and Sam: Pages 12–14 Allen and Michelle: Pages 18–20 Audition Pack: Download Cheaters Audition Package (PDF) Director Contact: Phone: 0413 666 815 Email: dawn.china@bigpond.com Performance Dates: 4–20 March 2027 Thursday 4 March Friday 5 March Saturday 6 March Sunday 7 March Thursday 11 March Friday 12 March Saturday 13 March Sunday 14 March Thursday 18 March Friday 19 March Saturday 20 March Performance Times: Thursday, Friday and Saturday: 7:30pm Sunday: 2:00pm Performance Location: Spotlight Theatre, Gold Coast QLD Rehearsal Dates: Wednesday 18 November 2026: Cast read-through at Seachange, Upper Coomera. First Rehearsal: Sunday 22 November at 10:00am. Rehearsals will initially take place on Sunday mornings and Wednesday evenings. An additional weekday evening rehearsal may be introduced closer to opening night. Warnings: The play contains adult relationship themes, including infidelity, extramarital affairs, deception. Performer Age: Adult performers. Suggested character playing ages are approximately 25 for the younger couple and 50s for the parents. These ages are flexible. Creative Team: Playwright: Michael Jacobs Director: Dawn China Production Website: https://www.spotlighttheatre.com.au/auditions Available Roles/Character Breakdown MONICA Gender: Female Playing Age: 50s (flexible) Accent: American Howard's wife and one of the four parents whose tangled romantic relationships drive the comedy. Loud, demanding and abrasive, Monica is a forceful personality who is accustomed to expressing exactly what she thinks. She is also entangled in the complicated web of secret infidelity, and her romantic involvement with Allen's father contributes to the chaos that unfolds when the families come together. Performance Requirements: Strong comedic timing, confident stage presence and the ability to portray an outspoken, demanding character. Audition Material: Pages 7–8, with Howard. GRACE Gender: Female Playing Age: 50s (flexible) Accent: American Sam's wife and a woman who values control, order and propriety. Sometimes devout or rigid in her outlook, Grace attempts to maintain a composed exterior while navigating unexpected romantic complications. Her involvement in the increasingly tangled family relationships challenges her sense of stability and control. Performance Requirements: Strong character acting, precise comedic timing and the ability to portray a controlled personality whose composure is tested by escalating circumstances. Audition Material: Pages 12–14, with Sam. HOWARD Gender: Male Playing Age: 50s (flexible) Accent: American Monica's husband, a self-absorbed, bullying or hapless man who has allowed an extramarital affair to continue far longer than intended. Having secretly been involved with Allen's mother for six months, Howard is now looking for a way out of the relationship. His attempts to escape the situation become increasingly complicated when the families arrange to meet. Performance Requirements: Strong farcical instincts, expressive characterisation and the ability to portray selfishness, desperation and comic discomfort. Audition Material: Pages 7–8, with Monica. SAM Gender: Male Playing Age: 50s (flexible) Accent: American Grace's husband, a sensitive, downtrodden and insecure man who finds himself caught up in an extramarital relationship. Unlike some of the more domineering personalities around him, Sam is emotionally vulnerable and frequently uncertain of himself. His involvement in the family's romantic entanglements creates further complications as the secrets begin to emerge. Performance Requirements: Strong reactive comedy, emotional vulnerability and the ability to portray insecurity and discomfort. Audition Material: Pages 12–14, with Grace. ALLEN (ALAN) Gender: Male Playing Age: Approximately 25 (flexible) Accent: American Michelle's boyfriend of eighteen months. Having entered his first serious relationship, Allen is uncertain whether he is ready for marriage despite Michelle's desire to take the next step. His reluctance to commit sparks the central conflict of the play, prompting Michelle to seek advice from her parents. As the older generation's romantic secrets begin to emerge, Allen finds himself caught in an increasingly absurd family situation. Performance Requirements: Naturalistic acting, strong comedic timing and the ability to portray hesitation, uncertainty and relationship conflict. Audition Material: Pages 18–20, with Michelle. MICHELLE Gender: Female Playing Age: Approximately 25 (flexible) Accent: American Allen's girlfriend of eighteen months. Michelle believes their relationship has reached the point where marriage should be the natural next step, but Allen's hesitation leaves her frustrated and uncertain about their future. Seeking reassurance and advice, she turns to her parents, unaware of the complicated romantic secrets that connect both families. Her desire for commitment sets the events of the play in motion. Performance Requirements: Strong comedic timing, emotional authenticity and the ability to portray determination, frustration and romantic uncertainty. Audition Material: Pages 18–20, with Allen.

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 THEATRE: Constellations - All Entertainment 15 Oct 2026 Season: October 15th - November 21st, 2026 Title: Constellations Presented By: All Entertainment Genre: Contemporary Drama / Romance / Science Fiction Synopsis: A chance encounter between Marianne, a quantum physicist, and Roland, a beekeeper, unfolds across a seemingly infinite number of possible realities. As their relationship shifts through different choices, conversations and outcomes, Constellations explores love, free will, fate and the fragile possibilities that shape our lives. Written By: Nick Payne Performance Dates: 15 October – 21 November 2026 Performance Location and Address: Sir Thomas Brisbane Planetarium, Mount Coot-tha Road, Toowong QLD 4066 Ticket Costs: Adult $65 | Student / Concession $55 | Group 6+ $50 per person | Ticket Link: https://allentertainment.sales.ticketsearch.com/sales/salesevent/158584 Duration: 70 minutes, no interval Creative Team: Harrison Allen – Director Production Website: https://www.allentertainment.com.au/constellations/ Other information: An immersive production staged inside the Planetarium's 12.5-metre Skydome, featuring 8K, 360-degree projection mapping. Limited to 125 audience members per performance. Previous Next

< Back THEATRE: Small Mouth Sounds - Queensland Theatre, Counterpilot 13 Oct 2026 Season: October 13th - November 1st, 2026 Title: Small Mouth Sounds Presented By: Queensland Theatre Genre: Contemporary Theatre / Comedy / Drama Synopsis: Six strangers arrive at a silent retreat in search of peace, clarity and personal transformation. Forbidden from speaking, they must navigate awkward encounters, unexpected connections and their own emotional baggage through gestures, glances and the occasional involuntary noise. A quietly hilarious and deeply human exploration of loneliness, vulnerability and our desperate need to connect. Written By: Bess Wohl Performance Dates: 13 October – 1 November 2026 Performance Times: Tuesday–Wednesday – 6:30pm Thursday–Saturday – 7:30pm Wednesday Matinee – 1:00pm Saturday–Sunday Matinee – 2:00pm Performance Location and Address: Bille Brown Theatre, 78 Montague Road, South Brisbane QLD 4101 Ticket Costs: Adult from $72 | Concession from $70 | Ages 35 & Under from $36 Ticket Link: https://queenslandtheatre.com.au/plays/small-mouth-sounds Warnings: Mature themes, mild infrequent coarse language, simulated sex sounds and full-frontal male nudity. Recommended Age: 15+ Duration: 1 hour 40 minutes, no interval Cast: Louise Brehmer (Joan), Stephen Geronimos (Rodney), Judy Hainsworth (Alicia), Kieran Law (Jan), Jodie Levesconte (Judy), Barbara Lowing (The Teacher / Voice) and Anthony Standish (Ned). Creative Team: Bridget Boyle & Nathan Sibthorpe – Co-Directors | Isabel Hudson – Set & Costume Designer | Christine Felmingham – Lighting Designer | Mike Willmett – Composer & Sound Designer Other information: An innovative audio-immersive production created with Counterpilot, providing each audience member with headphones to experience the subtle sounds of the performance. Night with the Artists: 20 October Auslan-interpreted performance: 23 October Audio-described performance: 31 October Previous Next