Search Results

The Female of the Species 7 – 16 May 2026 Written by Joanna Murray-Smith Produced by Cut and Run Productions as a co-production with PIP Theatre Director – Lara Rix Assistant Director – Aoife Kissane Stage Manager & Sound Designer – Hannah Page Lighting Designer – Claire Yorston Costume Designer – Kiah Latham Photography - Jasmine Prasser "Women want two things from a man: fantastic foreplay and doing the tax." Never meet your heroes. Especially if you intend to bring a gun and turn their peaceful countryside writing getaway into a feminist hostage situation with a side of family therapy. Joanna Murray-Smith’s The Female of the Species is a satirical comedy about feminism, fame, motherhood, ego, and the disconnect between the values we preach and the lives we actually lead. Staged in 2008 by Queensland Theatre Company, Cut & Run Productions and PIP Theatre revives it with an entertainingly bold approach. Inspired loosely by Germaine Greer's real-life incident of being held at gunpoint by a student, the play centres on famous feminist writer Margot Mason (hello alliteration!), who is struggling with a spectacular bout of writer’s block. Known for her provocative persona and intellectual fearlessness, Margot’s carefully curated authority begins to crack when former student Molly Rivers visits her home with a gun and a very personal grievance. Molly blames Margot’s notorious book, The Cerebral Vagina, for her mother’s death, and what begins as a confrontation between idol and devotee quickly escalates into a farcical reckoning. From there, more characters are unlocked: Margot’s exhausted daughter Tess barges in, looking like she just survivd a toddler apocalypse, and immediately jumps to the conclusion that her mum is having a Fifty Shades moment with the handcuffs. Hot on her heels is her bewildered husband Bryan. Then comes Frank, a disgruntled Uber driver with grievances of his own, and finally Theo, Margot’s publisher, who appears as if summoned by the scent of drama. Having originally appeared in QTC's 2008 production as Molly Rivers, Francesca Savige now comes full circle by stepping into the slippers of Margot Mason. Her Margot is a cocktail of eloquence, vanity, bluntness, drama, and just a tad bonkers. Even when her blocking is restricted by handcuffs, Savige fills the room with undeniable presence. She has a terrific grip on Murray-Smith’s language, tossing out Margot’s interruptions and declarations with the confidence of a lecturer who expects the room to take notes. Her lines are delivered with such pristine self-importance that it makes you want to both applaud her and confiscate her fountain pen. She is insufferable in the most entertaining way, but Savige also lets us glimpse the panic beneath the polish. When Margot admits, “What if I’ve said all I have to say?”, the legendary provocateur is simply a writer facing the scary possibility that her well of inspiration has run dry. Michaela Faux is fantastic as Molly Rivers, the former student whose admiration for Margot has curdled into something dangerous. Molly just shows up unannounced, fawning and chatting as though she and Margot are old friends. She is clearly volatile, but also oddly sweet, awkward, intelligent, and far less certain than her plan suggests. She quotes Margot back to herself like scripture, carrying fanatical reverence and traumatic grief in the same breath. Because beneath the chaos is a wounded young woman trying to make sense of her mother’s abandonment, death, and the damage left behind. What I enjoyed most is how Molly becomes strangely absorbed into this household dynamic, becoming a mix of captor and accidental emotional support. Rebecca Day is an absolute hoot to watch as Tess, Margot’s 'oops' daughter, whose entrance sends the play into a different but equally frantic gear. Tess arrives already frazzled, having fled the overstimulating noise of her three young tornadoes only to get stuck in an Uber with a guy telling her his life story. I kept catching myself watching her antics in the background of every scene. Her line, “I am an exhausted, miserable woman with a question mark at the centre of my identity,” captures the ache beneath all that theatrical exasperation. This is a woman drowning in domestic mayhem, desperate to be seen as more than everyone else's problem-solver. The trio of women is especially strong together. Savige, Faux, and Day bounce off each other with fantastic rhythm, forming a strange little triangle of ego, grief, resentment, admiration, and shared female fatigue. As Bryan, Josh Whitten quickly becomes a personal favourite. Bryan could easily be played as a standard clueless husband, but Whitten adds a sincerity that makes him deeply endearing. He has the energy of a man trying politely to catch a train that has already left the station. What makes Whitten so hilarious is that Bryan keeps trying to be helpful in the most Bryan way possible. In a room full of people using theory, trauma, and resentment as weapons, Bryan's gentle nature is a refreshing little pocket of softness. Peter Hatton brings a another whirlwind of energy as Frank, the Uber driver who's fed up with life, feminists, older folks, and anything else that annoys him. Frank’s entrance widens the play’s argument beyond Margot’s family and into a broader social shouting match. He bursts in with barely a blink at the hostage situation, as though walking into a room with a gun, handcuffs, and several emotionally unstable strangers is simply another day in customer service. He has the passion of a man who has been waiting for an audience and, unfortunately for everyone, has finally found one. Then Danny Brown arrives as Theo, Margot’s publisher, who lives for the drama, partly because he knows it might help sell books. Margot has not been answering his calls. Rude of her, really, considering she is only handcuffed to a table in an armed confrontation. Theo exudes the energy of a man who hears the word “hostage” and thinks “networking opportunity.” Brown gives him a sparkling theatricality, but keeps the observations sharp and the timing crisp. Together, the cast gives the play its engine. These are experienced performers who know how to handle Murray-Smith’s pace, wit, and sudden pivots with ease. It is farce, debate, family therapy, identity crisis, and intellectual cage fight all at once. Under Lara Rix’s direction, the production moves like a pressure cooker: tightly contained, rapidly heating, and always one careless moment away from blowing its lid. Rix keeps the debate intelligent without ever letting it become dry. The comedy waltzes between physical, verbal, and situational absurdity. The endless game of hot potato with the gun and handcuffs is one of the funniest devices of the show for me; like a pass-the-parcel where the prize is potential legal consequences. The staging also makes clever use of proximity. With the audience seated on two sides, we are close enough to catch the smallest reactions and shifts in power. This suits the play beautifully, because so much of the comedy lives in watching people recalibrate in real time: who has the gun, who has the moral high ground, who is winning the argument, and who has just made everything worse? The set places us inside Margot Mason’s world: a towering wall of bookshelves filled with hundreds of colour-coded books. It is beautiful, imposing, and I totally want it. Margot’s country home screams intellctual uperiority, telling us exactly who she is before she even opens her mouth. This is not just a home; it is a shrine to her own brilliance. Sound and lighting are meticulously timed throughout, particularly the bursts of red that heighten the danger at just the right times. What makes this production so enjoyable is that it understands the play is not really asking us to crown one correct person. Everyone is offloading onto each other. Everyone has a point. And everyone's also being completely ridiculous. Margot has built a career on provocation but flounders when provoked. Molly wants justice but really, I think she is just lonely. Tess wants to be understood but does not even understand herself. Bryan is trying to help but cannot fully read the room. Frank is looking for someone to listen. Theo wants to save his own arse. The result is a theatrical pile-up of ideology, ego, gender politics, generational trauma, and brilliant one-liners. Murray-Smith’s script is packed with killer dialogue, and this cast delivers it with terrific clarity and rhythm. It explores what happens when feminism becomes a brand, when motherhood becomes an identity crisis, when grief searches for a villain to blame, and when public thinkers are treated as personal prophets. It is satire with claws, but this production keeps it fun rather than didactic. Cut & Run Productions delivers a lively, intelligent, and completely hilarious revival of The Female of the Species. It is performed by a cast who clearly relish the script’s wit and absurdity, and the whole thing is directed with a great sense of humour and humanity. The ending is a banger, and I will not spoil it, except to say that the play knows exactly when to pull one final rug.

Home in the Sun – Backdock Arts Writers: Aimee Tacon, Joe Lord, Ethan Irvine Composers: Bridie Middleton, Veronica Netya Dramaturg: Harrison Port Photography: Ronan Leahy (ClubEleven Media) and Felix Smith Cast & Musicians: Ethan Irvine – The Gardener Aimee Tacon – The Agent Harrison Port – Edmund / The Son (piano) Veronica Netya – Maggie / The Writer (guitar) Alisha Milne – The Bug Collector / Edith (thumb piano + more) Ellie Johnson – Alice / Rose (ukulele + more) “May our roots support and sustain us, and may we see new light with each passing day.” Home in the Sun is a lovingly crafted, collaborative project by writers Aimee Tacon, Joe Lord, and Ethan Irvine. First developed for the QUT Potentia Festival, this piece blends live music with group storytelling to create something truly special. In the yard of an old Queenslander, a gentle gardener is tending to his bulbs, deeply attuned to the sounds of the land he cherishes. But when a real estate agent shows up to assess the property's value, that harmony is disrupted. As the two gradually warm up to each other, the house begins to reveal its past. Home in the Sun welcomes everyone past the front gate, where history comes alive, and the love for people, places, and memories bloom. As soon as I walked into the space at Backdock Arts, I noticed how thoughtfully everything was put together. The whole space had this inviting warmth as you walked through the set and past the picket fence to reach your seat. The warm lamps cast a cozy glow on the rusted tin walls, a wheelbarrow filled with soil and plants sat waiting. It perfectly set the mood for a show that encourages you to slow down and really soak it all in. It felt less like entering a theatre and more like stepping into someone else’s memory. We meet the gardener (Ethan Irvine), a gentle figure who is always humming softly. Then the agent (Aimee Tacon) arrives with her brisk, transactional demeanor cutting straight through that tranquility. And their debate on the 'value' of the place begins. The house starts telling its story through a series of beautifully woven vignettes. We are transported through time, spanning from the 1840s to now, meeting the inhabitants who once filled its walls with life: a passionate girl guide, a young couple finding their rhythm in marriage and poverty, a theatrical outsider observing the world from the street, a writer searching for a purpose, and a group of laundry girls finding connection in routine. Each story feels like a memory that's been unearthed and tenderly placed in our hands. What really elevates this piece is how integrated the music and sound are within the storytelling, Composed by Bridie Middleton and Veronica Netya. Veronica's guitar is impossibly soothing, and Harrison Port’s piano threads emotion through every scene, particularly in the delicate arpeggios that carry us between moments. The live foley creates an ASMR-like, transportive soundscape: A phone ring, a small rain stick, the layering of thumb piano, ukulele, and subtle percussion all combine to create something handcrafted and intimate. Visually, the world is just as evocative in sensory richness. The ensemble moves through time with subtle costume additions over their white base, while the set remains constant, like a steady witness to decades of life. Twinkle lights glow softly overhead, a picket fence frames the space, and every prop appears aged and well-used. Performance-wise, the cast works with beautiful cohesion, constantly observing and reacting from their upstage positions, never dropping their connection to the story. Ethan's gardener is sincere, anchoring the piece with a grounded, patient presence. Aimee's agent is a standout, beginning brisk, disconnected, and bound by time. Their scenes carry some of the work’s strongest ideas, particularly around the “luxury of time.” When she admits, “my day doesn’t belong to me,” it lands with a quiet weight. Watching him guide her, not just through the garden but towards stillness, becomes one of the most satisfying threads of the piece. The bug collector (Alisha Milne) brings a burst of energy and childlike curiosity, drawing clever parallels between family structures and ant colonies with vivid enthusiasm. Harrison shifts convincingly between two very different character portrayals, while also anchoring the musical landscape at the piano. Veronica easily juggles being a musician and performer, her presence steady and calming within the world. Ellie Johnson is particularly sweet as the young wife, capturing the quiet care and tenderness of those domestic moments with simplicity. There is something in this piece that reaches beyond the space it’s currently in. The sensory detail is already strong, but I would be very curious to see this work in a more open, natural environment, perhaps an outdoor setting with the audience seated on picnic blankets to lean further into the connection with land, smell, and atmosphere. The cast are well suited to this material, and the piece sits comfortably in its one-act length, allowing each scene the space it needs without dragging on. It is a thoughtful, cohesive work with a clear sense of care behind it, making it a lovely fit for a festival setting like Anywhere Festival. Home in the Sun is about the value we place on spaces and the lives lived within them. It suggests that true worth isn’t found in market price, but the memories, the time spent, and the experiences we gather there. As someone constantly rushing between shows, rehearsals, and work, this was a nice reminder to slow down, to listen, and actually enjoy the spaces that matter most. For me, it lands as a peaceful exhale. Thank you to the team for allowing me to attend your final performance.

Title: Disney’s Frozen JR Presented By: Second Star Youth Theatre Genre: Musical Theatre / Youth Theatre Synopsis: Based on the beloved Disney film and Broadway musical, Frozen JR tells the story of sisters Anna and Elsa as they navigate love, fear, family and self-acceptance in the kingdom of Arendelle. Featuring iconic songs, magical storytelling and a large ensemble, this 60-minute adaptation is designed especially for young performers. Audition Date: Sunday 14 June 2026 Audition Time: 1:00pm – 5:00pm Audition Location and Address: Faith Works Norman Park, 177 Bennetts Road, Norman Park QLD Audition Self-Tape Due (if applicable): Video auditions accepted for performers unavailable for the in-person audition workshop. Audition Requirements: No preparation required Auditions are run as an audition workshop using the iTheatrics method Participants will learn ensemble material on the day and perform for the creative team Auditions focus on singing, acting, movement, collaboration and responsiveness to direction All who audition will be cast Audition Registration: Register here: https://docs.google.com/forms/d/e/1FAIpQLScg681atzNS5VbY2Ma3uhBLCM9qyPsShXlq404lTs_srRrQjg/viewform Performance Dates: Saturday 11 July 2026 Performance Times: 3:00pm and 6:00pm Performance Location: Marjorie Godfrey Theatre, Cavendish Road State High School, Holland Park QLD Rehearsal Dates: Monday 6 July – Friday 10 July 2026 Rehearsal Times: 9:00am – 4:00pm daily Performer Age: 10–18 years old (as of 11 July 2026) Creative Team: Director & Music Director – Lauren McNamara, Choreographer – Sonya Wyer Production Website: https://www.secondstaryouththeatre.com.au/frozenjr Other information: Participation fee: $450 (incl. GST) Includes audition workshop, rehearsals, production t-shirt, script, dinner on performance day and costume hire Most costumes provided by the company Limited cast places available Payment due prior to audition submission date All performers who audition are guaranteed a place in the cast Video auditions available for those unable to attend in person Participation subject to company policies including Code of Conduct and Child & Youth Risk Management policies Available Roles/Character Breakdown: Anna - Warm, optimistic and energetic princess with strong comedic and emotional range. Vocal range: G3–D5. Elsa - Reserved and powerful queen struggling to control her magic. Requires emotional maturity and strong vocals. Vocal range: F#3–D5. Kristoff - Lovable ice harvester with dry humour and warmth. Strong acting and scene partner work required. Vocal range: G2–A3. Olaf - Joyful magical snowman with excellent comedic timing and physicality. Vocal range: F#2–D4 (or F#3–D5). Hans - Charming prince with a darker side. Strong singer and actor. Vocal range: G2–B3. Sven - Kristoff’s loyal reindeer companion. Strong physical performer role with minimal singing. Young Anna / Middle Anna - Playful and excitable younger versions of Anna. Young Elsa / Middle Elsa - Gentle and protective younger versions of Elsa requiring emotional restraint. Oaken - Larger-than-life comedic shopkeeper. Pabbie & Bulda - Warm and quirky Hidden Folk guardians with featured singing and movement. Featured Roles: Weselton King Agnarr Queen Iduna Bishop / Palace Staff Ensemble - Includes townspeople, castle staff, hidden folk, snow chorus, coronation guests and more. Many opportunities for featured moments and solo lines.

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: Exocytosis - Solstice Dance Collective, Anywhere Festival 22 May 2026 Season: May 22nd - 24th, 2026 Title: Exocytosis Presented By: Solstice Dance Collective, Anywhere Festival Genre: Contemporary Dance Synopsis: Step inside the brain and witness dopamine dance before your eyes. Exocytosis transforms complicated neuroscience into captivating choreography, following the release, absorption and aftermath of dopamine’s journey through the human brain. Blending science and art, the work makes invisible biological processes visible through dynamic contemporary movement and immersive performance. Performance Dates: May 22nd - 24th, 2026 Performance Times: Friday - 6:15PM & 7:30PM Saturday - 6:15PM & 8PM Sunday - 5:45PM & 7PM Performance Location and Address: The Paint Factory Festival Hub, 115 Hyde Road, Yeronga QLD 4104 Ticket Costs: $38pp Ticket Link: Buy Tickets - Exocytosis Recommended Age: Suitable for all ages. Duration: Approximately 40 minutes. Cast: Meghan Blackburn Grace Campbell Eva Cattarin Mattioli Kelsey Dell Noah Hockey Charlie King Emily Underwood Mia Williams Creative Team: Choreographer - Esmée Henry Production Website: Anywhere Festival - Exocytosis Other information: Part of the 2026 Anywhere Festival program in Brisbane. Audience members can purchase a combined ticket package with Electric Universe for a discounted price. The Paint Factory Festival Hub is wheelchair accessible. Doors open shortly before performances, and patrons are encouraged to bring a jacket as the venue may become cool in the evening. Previous Next

< Back THEATRE: Vanya, Sonia, Masha and Spike - Noosa Arts Theatre 21 May 2026 Season: May 21st - 31st, 2026 Title: Vanya and Sonia and Masha and Spike Presented By: Noosa Arts Theatre Genre: Comedy Synopsis: Christopher Durang’s Tony Award-winning comedy takes inspiration from Chekhov’s classic characters and places them in modern-day Pennsylvania. Vanya and Sonia have spent years caring for their parents in the family farmhouse while their glamorous movie-star sister Masha travels the world. When Masha arrives unexpectedly with her much younger boyfriend Spike, old resentments, family rivalries and existential anxieties bubble to the surface in a wildly funny and touching exploration of family, regret and reinvention. Performance Dates: May 21st - 31st, 2026 Performance Times: Thursdays & Fridays - 7:30PM Saturdays - 2PM Performance Location and Address: Noosa Arts Theatre, 163 Weyba Road, Noosaville, Queensland Ticket Costs: Adults - $37 Concessions - $32 Member/Group - $27 Under 18s - $27 Preview tickets - $27 Ticket Link: Buy Tickets - Vanya, Sonia, Masha and Spike Warnings: May contain coarse language and adult themes. Recommended Age: Recommended for mature audiences. Duration: Approximately 2 hours including interval. Production Website: Noosa Arts Theatre - Vanya, Sonia, Masha and Spike Other information: Noosa Arts Theatre is an intimate, air-conditioned venue with raked seating for 122 patrons. The venue is wheelchair accessible and includes accessible amenities and dedicated wheelchair seating. Free street parking is available nearby, and the theatre is serviced by public transport via Route 628. The licensed bar opens 30 minutes before performances. Previous Next