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

Hot Tub Presented By: Ad Astra Theatre Venue: Pluto, Ad Astra, Petrie Terrace Date Attended: 13 August 2026 Written By: Lewis Treston Director: Daniel Lammin Assistant Director: Ebony Webb Assistant Director & Sound Designer: Eloise Collins Stage Manager: Zalee Jensen Set Designer: Ashleigh Winter Costume Designer: Lottie Babic Lighting Designer: Teegan Kranenburg Photography: Sierra Sunset Co. | Saën Sunderland “Ick! This is gonna trigger my childhood trauma.” I have now spent several days trying to explain Hot Tub to people, and I’m not entirely convinced I can. It's White Lotus meets The Real Housewives... but make it bogan Gold Coast. Set during Schoolies, awkward Townsville teenager Dido Hunter (Grace Lofting) has travelled to the GC to visit her absent father, Murray (Sandro Colarelli). She's got one tiny favour to ask him - just a casual $32K for some surgery in Brazil. She's pulled into his bizarre new family, where nobody seems capable of behaving like a normal human being. Leading the household and property (The Great White) is Eunice White (Sarah Speller), whose fortune is vanishing thanks to some questionable investments. Murray is hitched to Eunice’s daughter Jade (Natasha McDonald), who spends most of Act One temporarily blind after eye surgery in Bangkok. Her son Reese (Lachlan Brayshaw) is Dido’s pampered new stepbrother and an OnlyFans creator who quickly concocts another money-making scheme. Toss in a loony cop, a friendly tradie, a juiced-up conman, and a criminal investigation... Daniel Lammin’s direction doesn’t try to tame any of it. Scenes are abrupt, heightened, and occasionally bonkers. The family gathering just gets stranger every time somebody new wanders in. Just when I was wrapping my head around one jaw-dropping moment (that stairwell scene, anyone?), another one would pop up. Eventually, I gave up on predicting the madness and just rode the rollercoaster in joy. When I entered Ad Astra’s intimate black-box theatre, Pluto, the cast was already lounging in beach chairs around the space. With no traditional wings, the performers remain visible around the perimeter when they’re “offstage”. It suits the GC resort vibe rather nicely (and means we never really escape this family). Ashleigh Winter’s sparse set leaves plenty for the performers and our imagination to do. The long-awaited arrival of the titular hot tub is particularly funny, with the ensemble committing wholeheartedly to the mime. Eloise Collins’ sound design transports us straight to Surfers Paradise. We’re serenaded by the sounds of Schoolies, the beach, and the bubbling spa. The local references hit home for a QLD crowd. This isn’t some generic satire. Many of us have probably wandered down Cavill Ave late at night and made poor decisions of our own... Grace Lofting brings an awkward vulnerability to Dido. She's clearly fishing for more than just cash from Murray, even if both of them are clueless about how to express it. As Dido gets sucked into the whirlwind of the Hunter-White circle (since Dad is too preoccupied to take her to Movie World like he promised), Lofting lets her character evolve with it. By later scenes, she’s in sparkly togs with styled hair, plumped lips, and heavier makeup. She even ends up "performing" for Reese's online fans to rake in some cash. There's an undercurrent in Dido's storyline about changing yourself to fit the life you think you want. Lofting holds onto that vulnerability without letting it disappear beneath all the jokes throughout. “Do you like yourself?” Sandro Colarelli plays the denim-clad hipster-wannabe-bogan dad Murray. He's got the aura of a man who's undoubtedly made several financial choices that shouldn't be investigated too closely. His interactions with Dido swing between awkward, touching, or tragic as you gradually realise how poorly they really know each other. And then there’s Jade... Somehow, Murray and Jade make perfect sense together. Natasha McDonald is a riot as his fabulously flashy trophy wife, who spends most of Act One stumbling around and screeching. She’s childlike, melodramatic, and completely on her own wavelength. She needs to bathe her crystals in the ocean and occasionally slips into prophetic episodes. That pretty much says it all. She has strong Alexis Rose/Moira Rose (Schitt's Creek) vibes, particularly once The NeverEnding Story karaoke kicks in. McDonald's comedic timing is so loose and unpredictable that I started to wonder if she was making it up as she went along. Her pauses, whines, and odd reactions seem to hit Jade about half a second before they tumble out of her mouth. Lachlan Brayshaw’s Reese is the ultimate brat queen who has grown up with money and a serious disconnect from the real world. He somehow exudes a spectacular sense of self-importance yet remains entirely indifferent to everything. Brayshaw portrays him with a dry humour, never glossing over his casual cruelty. Beneath all that luxury and privilege lies an emotional void, which makes some interactions with Dido surprisingly impactful. “You’re gonna make a lucky man very unhappy one day.” Sarah Speller brings formidable authority to Eunice White, the haughty head of this unstable household. Eunice is British, affluent, and stern, with a keen interest in horse racing and an apparent comfort with brandishing a firearm. Meanwhile, she continues dispensing proclamations and attempts to keep the family's finances afloat (but not in the hot tub). “You’re not entitled to the good things in life, you have to earn them.” Then we have Officer Sheryl. Ruby Gudenswager might have created the character who stayed in my head the longest afterwards. Sheryl has these huge, intensely focused eyes; it's like she's trying to hypnotise you into confessing your deepest secrets. I’m fairly sure she never blinked. She truly is the most intriguing character to unpack - just mention the old Gold Coast Bungee Rocket. By the closing moments, Sheryl is softly singing the lyrics of Savage Garden’s Affirmation to soothe herself. I’ve been listening to Affirmation non-stop ever since. Those lyrics really are like a warm hug for the soul. Daniel Johnson pulls double duty as Macka and Stinger. Macka is your laid-back Gold Coast tradie (who also happens to be an undercover cop). In Act Two, he reappears as Stinger, a bikie conman with an overconfident swagger. “Enjoy hell, I’m sure you’ll fit right in!” The ensemble work is one of the biggest reasons all of this holds together. The actors are all equally brilliant at portraying Treston’s over-the-top characters. You simply couldn’t play this material halfway. That commitment also helps Lammin keep the plot rolling when it starts tying itself in knots. Amidst the chaos, there's plenty to keep us entertained. This family is always on the hunt for the next quick fix. And if all else fails... there's always karaoke. It all sits perfectly inside this very Gold Coast collision between luxury and tackiness. For all the satire, though, the Hunter-Whites are oddly charming in their own disastrous way. The audience around me seemed equally bewildered and entertained. At times I was watching the faces across the theatre almost as much as the stage. There were plenty of visible WTF reactions and a tidal wave of laughs throughout. Hot Tub is coarse, camp, deliberately tacky, and gloriously chaotic. There are references to body image, drugs, sex work, gambling, and violence (plus firearms, loud noises, and flashing lights). It won’t be for somebody looking for tidy realism or a plot that politely explains itself. I walked out trying to work out exactly what I had just witnessed. I also walked out wanting to tell everybody about it.

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.

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 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 THEATRE: Season of Four One-Act Plays - Acting Up! Youth Theatre Academy Season: August 21st - 23rd, 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 15 Aug 2026 THEATRE: Ravenscroft - Growl Theatre Season: August 15th - 29th, 2026 Read More 11 Aug 2026 THEATRE: Do Not Go Gentle - QLD Theatre Season: August 11th - 30th, 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: 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

< Back THEATRE: The Monologue Show - Things That Happen 19 Aug 2026 Season: August 19th & 25th, 2026 Title: The Monologue Show Presented By: Things That Happen Genre: Horror / Pub Theatre / Monologue Synopsis: An evening of original monologues written and performed by local actors. This edition of The Monologue Show explores the horror genre, with the creative prompts SUN, BICYCLE and NAIL inspiring the original works. The performance forms part of Things That Happen's ongoing program of original theatre, which includes The Monologue Show , Micro Theatre and original long-form plays. Performance Dates: August 19th & 25th, 2026 Performance Times: 6:45PM Performance Location and Address: New Tricks, 26 Collingwood Street, Albion QLD 4010 Ticket Costs: General Admission – $25 Ticket Link: Buy Tickets - The Monologue Show Warnings: Horror themes Recommended Age: Please check with the presenter for age suitability. Duration: Approximately 1 hour, with a 15-minute intermission. Cast: Local actors who have written and perform their own original monologues. Creative Team: Presented by Things That Happen, a Brisbane theatre company directed by Flavia Carrillo Truyenque. Production Website: Things That Happen - The Monologue Show Other information: This is a live pub theatre event. New Tricks' bar and food service will be available from 5:30pm, allowing audiences to arrive early, purchase food and drinks, and secure their seats. Things That Happen has been developing and producing original theatre forms since 2025. No refunds are available. Accessibility information is not specified in the event listing. Patrons requiring accessible seating or assistance should contact New Tricks or Things That Happen before booking to confirm arrangements. Previous Next