Taking a Bite Out of Dracula: Inside Ghostlight Theatre’s Bloody New Production I recently had the opportunity to attend a rehearsal for Ghostlight Theatre Company’s Dracula. Reagan Warner, portraying the Count, already seemed entirely at ease embodying evil. He observed Van Helsing with a faintly amused, knowing expression, as if Dracula relished just how badly outmatched everyone else was. Warner's low Transylvanian accent added to the menace, complemented by the red eyes, dark features, and some truly wild eyebrow acting. This is not a tragic, glittery vampire lover. Ghostlight Theatre Company is bringing William McNulty’s stage adaptation of Bram Stoker’s Dracula to Beenleigh Theatre for just four performances this October. Yasmin Elahi is producing and directing, while also handling set, costume, and lighting design. She is supported by a talented team: Tomm Burnett as Assistant Director, Dan Pohlmann as Fight Choreographer, Sarah Latter as Choreographer, Christina McMahon as Stage Manager, and Charlotte Horn in charge of SFX Makeup. This dedicated team has much to manage, including fight choreography, blood effects, prosthetic makeup, physical transformations, stunning set pieces, a complex soundscape, ballroom dancing, and even a performer on stilts. Which version of Dracula are we getting? For over a century, Dracula has been everything from a fanged monster and mysterious aristocrat to a seductive antihero, a children’s character who runs a hotel, a classic Halloween costume, and even... Nicolas Cage. Based on Bram Stoker’s 1897 novel, Dracula follows the Count’s arrival in England and the gory consequences for those unfortunate enough to cross his path. As Lucy and Mina fall within his sights, Professor Van Helsing and his allies begin to work out exactly what they’re dealing with and how they might stop him. McNulty’s adaptation condenses Stoker’s sprawling epistolary novel into something more manageable for an evening at the theatre. This is probably wise. “We’d be here for 12 years if we tried to do the whole novel,” Warner says. Ghostlight chose this adaptation because of one important distinction. “Because it was the only one that we found that was classed as a horror and not a gothic romance,” Warner explains. “Part of the idea behind this particular production is to make it disturbing and macabre without adding too many of the romantic elements.” So anybody hoping Dracula and Mina might stare tragically into one another’s eyes while contemplating their forbidden eternal love may need to adjust their expectations. There is desire, Warner explains, but love is another matter. “He’s absolutely not capable of love in this one. Absolutely not.” Warner likens this Dracula more to Nosferatu. He’s predatory, grotesque, and ravenous, but there’s still plenty of personality beneath the fangs. I noticed that in the scene where Van Helsing first meets the Count. Warner shifted from a mysterious, almost amused host into something far more aggressive, while Andrew MacArthur’s Van Helsing held his ground firmly. MacArthur brings a calm authority to the scene, which only seems to encourage Dracula to provoke him harder. “There’s so much gravitas to that role that Andrew brings,” Warner says. In the other scene I watched, Harker and Van Helsing confronted Dracula with a crucifix. Instead of recoiling as expected, Dracula mocked them and kept pushing until the encounter turned physical. And it got loud and bloody very quickly. How do you play a vampire without making him sexy nowadays? “I get to eat so many people,” Warner told me, sounding very pleased with himself. “There’s quite a body count in this show. I pity the poor sucker who’s got to mop the stage afterwards.” Anyone who knows Reagan Warner will know that Dracula isn’t exactly a wild casting departure. He wears almost exclusively black, has long joked about sleeping in a coffin, and has been a fan of the macabre for most of his life. Actually playing Dracula, however, has required more than turning up in his usual wardrobe. “Horror is so difficult,” he says. “The preparation predominantly comes down to how the audience is going to perceive the show. I have to think about how the audience is going to experience it and make sure that it is being conveyed properly.” Much of Warner’s work has gone into Dracula’s voice. “We have discussed the accent at length,” he says. “I think that the accent is inherently a part of the character and his origin. It is probably something I spent the most time on.” Warner is a linguist and admits to being particular about accents. That same attention runs through the production, with the cast looking closely at regional voices, clothing, physicality, and the relationships between their characters. How to freak out an audience without touching them? Ghostlight’s horror plans aren’t confined to bites and blood. Warner says the production uses sensory details designed to unsettle an audience before they quite realise why. “It’s one of the rare shows that employs Theatre of Cruelty techniques,” he explains. “Things that play with the audience, make the audience feel uncomfortable subconsciously, things like scent and sound that you don’t realise is there until it stops, and special effects that will toy with the psychology of a person.” Yes indeed, scent. I sought further clarification but was advised to wait and see. Ghostlight’s soundscape combines classical music, layered voices, unsettling effects, and, naturally, bats. The familiar Toccata and Fugue appears, along with a nod to Swan Lake, which Warner points out plays at the beginning of the classic Bela Lugosi Dracula. “The atmospheric sound has been a big part of this and a big focus, and I think they’ve done a really good job so far.” Sound can tip into haunted-house territory if every entrance, scare, or suspicious moment comes with its own musical exclamation mark. From what I heard in rehearsal, Ghostlight avoids that. The sound designer was constantly tweaking cues, replaying sections, and layering sounds while scenes were being worked around them. Who is going to clean this up? The rehearsal I attended gave just as much attention to the physical aspects of the horror. At one point, Alynta Scott, who plays Lucy, was carefully working through the logistics and movement of a bite. Vampirism requires choreographic direction too. Nearby, Rhys Schwarten as Renfield rehearsed with Alex Andrews, who plays the Child. Having a child performer woven into scenes immediately makes the situation more intriguing and raises the stakes. Warner had only recently seen some of the blood effects when we spoke. “I just absolutely gasped.” Fake blood bags were on every table at rehearsal, waiting patiently for their chance to ruin somebody’s costume. Warner’s own costume includes a heavy, high-quality velvet cape that looks suitably extravagant and very fun to sweep around the stage in. The production isn’t holding back on practical effects either. There will be prosthetics, transformations, physical fights, gore effects, and one performer handling combat while on stilts. Who put this bloody thing together? Along with producing and directing, Yasmin Elahi has designed the set, costumes, and lighting, while the wider team tackles choreography, combat, makeup, effects, sound, and the puzzle of getting an ambitious horror production onto an independent theatre budget. The cast and creatives have been working from shared mood boards and visual references so they’re all inhabiting the same version of Stoker’s world. “We’ve really worked on the aesthetics,” Warner says. “We’ve done a lot of inter-relational work between the characters.” I’ve seen Ghostlight’s past four productions, so I’ve had a pretty good look at the sort of theatrical worlds this company likes building. Their production of The Exorcist remains one of the very few straight horror productions I’ve seen onstage, and I still think about it often. Horror has a different set of toys in a theatre than it does on screen. There’s no camera choosing exactly where you look, no edit to cut away at the right moment, and whatever awful thing is happening is usually only a few metres from your seat. This also happens to be one of several Dracula productions appearing on local stages this year. So, why should audiences make the trip to Beenleigh for this one? For Warner, part of the answer is simply how rarely we get to see horror onstage. “Horror is so seldom done on stage,” he says. “I can only really think of The Woman in Black off the top of my head, and this is adapting a very well-known classic specifically for the stage.” Warner is hardly new to performing either. After years of stage work across almost 100 productions, he arrives at Dracula with plenty of experience behind him, plus a lifelong affection for the character. He’s equally enthusiastic about the people doing it with him. “The cast are phenomenal,” he says. “I’ve worked with many of the cast before and can testify to their hard work and their ethic, and just how good they are to work with.” I only saw two scenes, but there was already plenty happening before the production had put all its teeth in. When I asked Warner to sum it all up, his answer was simple: “Ambitious.” He paused and added, “Dude, I hope it’s good.” With only four performances, audiences won’t have long to find out! Photography: Christopher Sharman Tickets available here: https://www.trybooking.com/events/landing/1579528 Please note: This show contains strobe lighting, loud noises, horror themes, violence, blood and gore, simulated nudity and simulated firearms. Recommended for audiences aged 16+.

Title: Gypsy Presented By: Beenleigh Theatre Group Genre: Musical Synopsis: Set during the golden age of vaudeville and the rise of burlesque, Gypsy follows the formidable Rose, a fiercely ambitious stage mother determined to make her daughters stars. When her talented daughter June breaks away to pursue her own future, Rose redirects her ambitions towards the shy and overlooked Louise. Louise’s unexpected journey takes her from the shadows of her sister’s act to becoming the sophisticated and self-assured burlesque star Gypsy Rose Lee. Audition Date: Saturday 17 & Sunday 18 October 2026 Audition Time: Saturday 17 October: Adults (18+): Welcome & Brief 11:00–11:15am; Dance Call 11:15am–12:15pm; Vocal/Blend Call 12:15–1:00pm Under 18s: Welcome & Brief 12:15–12:30pm; Dance Call 12:30–2:00pm; Individual Auditions 2:45–6:00pm Sunday 18 October: Adult individual auditions, 10:00am–6:00pm Audition Location and Address: Crete Street Theatre, Cnr Crete and Kent Street, Beenleigh QLD 4207 Audition Self-Tape Due (if applicable): Video submissions close 6:00pm, Saturday 17 October 2026. Audition Requirements: All auditionees must attend the compulsory dance call relevant to their age group. A choreography tutorial will be available on the audition page beforehand and should be learnt to the best of the auditionee’s ability. Only a brief recap will be provided on the day. Wear comfortable movement clothing and suitable footwear such as sneakers or jazz shoes, and bring water. Auditionees aged 18+ must also attend the compulsory group vocal/blend call. For the individual vocal audition, prepare two contrasting excerpts, approximately one minute each or around a verse and chorus/bridge and chorus, in the style of the show and character. Do not sing from Gypsy unless the character breakdown specifically permits a song. Prepare one of the provided acting sides for the character you wish to be considered for. Auditionees may also be redirected or asked to cold read. Ensemble-only auditionees should prepare Side 9 or 10 as applicable, or one of Sides 1–7. Children should prepare Side 8. All roles require a Standard American accent. Audition Registration: Book a Gypsy audition Audition enquiries: info@beenleightheatregroup.com Audition Pack: Gypsy Audition Pack Performance Dates: 5–20 February 2027 Performance Times: Friday 5, 12 & 19 February – 7:30pm Saturday 6, 13 & 20 February – 2:00pm & 7:30pm Performance Location: Crete Street Theatre, Cnr Crete and Kent Street, Beenleigh QLD 4207 Rehearsal Dates: From Sunday 25 October 2026. Promotional photo shoot Tuesday 8 December Bump-in Sunday 13 December Sitzprobe Sunday 10 January Tech from Sunday 24 January Media preview Monday 1 February. Mandatory bump-out Sunday 21 February. Rehearsal Times: Tuesdays & Thursdays, 7:00–10:00pm; Sundays, 11:00am–4:00pm. Warnings: The production contains references to burlesque and striptease, including a tasteful striptease sequence performed by Louise in Act 2. Performer Age: Adult and child performers required. All roles except Baby Louise, Baby June, and Children’s Ensemble must be performed by people aged 18+. Creative Team: Director – Patrick Lockyer Choreographer – Nikki Bovey Vocal Director – Jade Enright Production/Stage Manager – Haylee Barnett Production Website: Beenleigh Theatre Group Auditions Other information: Callbacks will be held Tuesday 20 October 2026. Successful auditionees must become Beenleigh Theatre Group members at a cost of $10 for the 2026 calendar year, payable before the first rehearsal. All cast, creatives, crew, and volunteers aged 18+ must hold, or be willing to obtain before rehearsals commence, a current Queensland Blue Card or applicable Exemption Card. Beenleigh Theatre Group encourages performers from diverse cultural and ethnic backgrounds, gender identities and expressions, sexual orientations, abilities, neurotypes, and experiences to audition. First Nations artists are strongly encouraged to apply. Available Roles/Character Breakdown: Rose – Female presenting | Playing age 35–60 | F3–C5 | The ultimate stage mother: ambitious, relentless, charismatic, manipulative, loving, and deeply flawed. Rose lives through her daughters and refuses to accept failure, moving between humour, charm, dominance, and heartbreak. Auditionees may perform either Some People or Small World as one of their two excerpts, but not both. Louise / Gypsy Rose Lee – Female presenting | Playing age 22–27 | G3–Eb5 | Rose’s initially shy, awkward, and overlooked daughter. Louise gradually transforms into the sophisticated, witty, and confident burlesque star Gypsy Rose Lee. The role includes a tasteful striptease sequence in Act 2. Auditionees may perform Little Lamb as one of their two excerpts. June / Dainty June – Female presenting | Playing age 18–25 | G3–D5 | Rose’s talented and energetic “golden child.” Beneath her cheerful stage persona, June increasingly resents her mother’s control and becomes determined to take charge of her own future. Baby Louise – Female presenting | Playing age 9–13 | Eb4–Eb5 | June’s quieter younger sister. Shy, awkward, imaginative, and frequently overlooked, with glimpses of the confident woman she will eventually become. Baby June – Female presenting | Playing age 8–12 | Eb4–Eb5 | A confident, enthusiastic child star who thrives in the spotlight. She is eager to please and spends much of her childhood performing Rose’s elaborate vaudeville routines. Herbie – Male presenting | Playing age 40–60 | Ab2–B3 | A former salesman turned theatrical agent who becomes Rose’s manager and romantic partner. Kind, patient, dependable, and quietly strong, he loves Rose and cares deeply for her daughters but eventually has to stand up for himself. Tulsa – Male presenting | Playing age 18–30 | F3–G4 | One of the boys in June’s act and her eventual love interest. Charming, ambitious, energetic, and charismatic, Tulsa dreams of escaping children’s vaudeville and becoming a star in his own right. A strong song-and-dance role. Tessie Tura – Female presenting | Playing age 30–55 | Bb3–Db5 | A glamorous, worldly, funny, and unapologetically theatrical burlesque performer who helps introduce Louise to the profession. Her performance gimmick incorporates ballet, so ballet experience is advantageous. Mazeppa – Female presenting; female impersonator considered | Playing age 35–60 | G3–Db5 | A tough, confident, blunt, and intimidating but ultimately supportive burlesque performer. Her famous gimmick combines trumpet playing with a centurion-inspired routine. Electra – Female presenting; female impersonator considered | Playing age 35–65 | Bb3–Db5 | A sweet, bubbly, slightly ditzy burlesque performer whose act incorporates lights and electricity. Although seemingly naïve, she is an experienced professional who understands the business. Ensemble – Various ages and rolesA mixture of named and unnamed, speaking and non-speaking, singing and non-singing roles, including the Master of Ceremonies, Rose’s Father, theatre secretaries, agents, restaurant staff, Hollywood Blondes, stage managers, burlesque performers, and other characters. Children’s Ensemble – Under 18 - Young performers appearing throughout the vaudeville world of the production. Children auditioning for Baby June, Baby Louise, or Children’s Ensemble should prepare Side 8 and are invited to create a big entrance, incorporating skills such as cartwheels, splits, or pirouettes if able.

Title: The Girl on the Train Presented By: Tugun Theatre Company Genre: Psychological Thriller / Mystery / Drama Synopsis: Based on the bestselling novel by Paula Hawkins, The Girl on the Train follows Rachel Watson, whose daily train journey gives her glimpses into the seemingly perfect lives of the people living beside the railway. When a woman Rachel has been watching suddenly disappears, Rachel becomes entangled in the investigation. Complicated by gaps in her memory and her connections to the people involved, Rachel begins trying to piece together what she witnessed and what really happened. The story explores memory, relationships, manipulation, obsession, and the uncertainty of what can be trusted. Audition Date: Saturday 17 October 2026 Audition Time: 11:00am–3:00pm Audition Location and Address: Tugun Village Community Centre, 414 Coolangatta Road, Tugun QLD Audition Requirements: Request the audition pack through the Tugun Theatre Company website and review the supplied character sides. The in-person audition will focus on script scenes, listening, responsiveness, and chemistry with scene partners. No audition monologue is required. For audition safety, there will be no kissing, simulated intimacy, or simulated violence during auditions. Audition Registration: Register and request the audition pack through: Tugun Theatre Company – Auditions Performance Dates: 5–27 February 2027 Performance Times: Friday & Saturday evening performances – 7:30pm Saturday matinees – 2:00pm Thrifty Thursday, 25 February Performance Location: Tugun Theatre Company / Tugun Village Community Centre, 414 Coolangatta Road, Tugun QLD Warnings: The production contains sexual content and staged violence. Performer Age: Adult performers, 18+. Other information: Tugun Theatre Company is also inviting expressions of interest from people interested in backstage and front-of-house roles. Available Roles/Character Breakdown: Rachel Watson | Suggested playing age 30–45 | A central role requiring an actor able to portray memory gaps and vulnerability without exaggeration. Megan Hipwell | Suggested playing age 25–40 | Requires an actor able to balance charm, guarded pain, and quick changes of tactic. Anna Watson | Suggested playing age 30–45 | Requires genuine warmth, with doubt emerging gradually as the story develops. Tom Watson | Suggested playing age 35–50 | Requires an actor who can make Tom’s charm credible while maintaining an underlying sense of control. Kamal Abdic | Suggested playing age 30–50 | Requires calm, attentive listening while portraying complex personal boundaries. The production is seeking an actor of colour for this role. Ensemble | 18+ | Varied playing ages | Seeking performers with grounded presence, responsiveness, and flexibility.

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

Upcoming Performances 8 Oct 2026 THEATRE: A Drop Too Many - Backbone Festival Season: October 8th - 10th, 2026 Read More 8 Oct 2026 THEATRE: Bring A Very Big Net - Loose Tooth Theatre, Backbone Festival Season: October 8th - 10th, 2026 Read More 8 Oct 2026 INSTALLATION: Cloud Bank - Backbone Festival Season: October 8th - 10th, 2026 Read More 3 Oct 2026 THEATRE: Macbeth - Zen Zen Zo, Backbone Festival Season: October 3rd, 2026 Read More 3 Oct 2026 THEATRE: Hemingway - Backbone Festival Season: October 3rd - 17th, 2026 Read More 3 Oct 2026 PLAY READING: UTC’s Playground Festival '24 – '26 - Underground Theatre, Backbone Festival Season: October 3rd, 2026 Read More 2 Oct 2026 PLAY READING: New Classics - theatrePUNK co., Backbone Festival Season: October 2nd - 17th, 2026 Read More 2 Oct 2026 DANCE/LIVE MUSIC: Synapse - Backbone Festival Season: October 2nd-3rd, 2026 Read More 1 Oct 2026 MULTIMEDIA: Jarjum - Backbone Festival Season: October 1st-3rd, 2026 Read More 30 Sept 2026 YOUTH MUSICAL: Shrek the Musical Jr - Stage School Australia Season: September 30th - October 3rd, 2026 Read More 30 Sept 2026 MUSICAL: Menopause the Musical - Twelfth Night Theatre Season: September 30th - October 25th, 2026 Read More 30 Sept 2026 MUSICAL: Pride and Prejudice (sort of) - Woodward Productions, QPAC Season: September 30th - October 18th, 2026 Read More 30 Sept 2026 CHILDREN'S THEATRE: The Box Show - Junkyard Beats, QPAC Season: September 30th - October 3rd, 2026 Read More 30 Sept 2026 CHILDREN'S THEATRE: Treasure Island - Allegory Theatre Season: September 30th - October 4th, 2026 Read More 29 Sept 2026 THEATRE: Micro Theatre - Things That Happen Season: September 29th - October 4th, 2026 Read More 27 Sept 2026 CABARET: Les Femmes - Strut & Fret, West End Electric Season: September 27th + November 8th, 2026 Read More 26 Sept 2026 MUSICAL: Pirates of Penzance - Savoyards Season: September 26th - October 10th, 2026 Read More 26 Sept 2026 YOUTH MUSICAL: Charlotte's Web - NAPA Season: September 26th - October 4th, 2026 Read More 26 Sept 2026 YOUTH MUSICAL: Madagascar A Musical Adventure Jr. - Brisbane Arts Theatre Season: September 26th - October 3rd, 2026 Read More 25 Sept 2026 THEATRE: Inspector Drake and the Black Widow - BATS Theatre Company Season: September 25th - October 3rd, 2026 Read More 25 Sept 2026 MUSICAL: Are We There Yet? - North Brisbane Theatre Company Season: September 25th - October 4th, 2026 Read More 25 Sept 2026 THEATRE: Midnight Murder at Hamlington Hall - Village Green Theatre Group Season: September 25th - October 4th, 2026 Read More 25 Sept 2026 MUSICAL: I Am Destiny - Maleny Players Season: September 25th - October 4th, 2026 Read More 24 Sept 2026 THEATRE: Away - Brisbane Arts Theatre Season: September 24th - October 3rd, 2026 Read More 24 Sept 2026 YOUTH MUSICAL: Grease - Little Seed Theatre Company Season: September 24th - October 4th, 2026 Read More 23 Sept 2026 CHILDREN'S THEATRE: The Hunt for Blackbeard’s Treasure - Small Crown Productions, PIP Theatre Season: September 23rd - October 3rd, 2026 Read More 19 Sept 2026 IMMERSIVE THEATRE: Edgar Allan Poe Speakeasy - Fever Season: September 19th - January 16th, 2026 Read More 19 Sept 2026 BALLET: The Magic of Ballet - Brisbane Ballet Season: September 19th - October 17th, 2026 Read More 18 Sept 2026 THEATRE: The Pink Hammer - Ipswich Little Theatre Season: September 18th - October 3rd, 2026 Read More 16 Sept 2026 MUSICAL: Anastasia - QPAC, Opera Queensland, Crossroads Live Australia Season: September 16th - October 18th, 2026 Read More 16 Sept 2026 THEATRE: Rosmersholm - SEERCRAFT Season: September 16th - October 10th, 2026 Read More 4 Sept 2026 CIRCUS: Fijian Flying Circus - VOU Fiji, Brisbane Festival Season: September 4th - October 4th, 2026 Read More 3 Sept 2026 CABARET: Late Night Vice - The West End Electric Season: September 3rd - October 11th, 2026 Read More 31 July 2026 MUSICAL: The Book of Mormon - QPAC, Jones Theatrical Group Season: July 31st - October 4th, 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

< Back INSTALLATION: Cloud Bank - Backbone Festival 8 Oct 2026 Season: October 8th - 10th, 2026 Title: Cloud Bank: Draft 1 Presented By: Backbone Festival 2026 Genre: Immersive lighting installation/sound art/work-in-progress Synopsis: Cloud Bank imagines a lightning storm contained inside a room and a bespoke performance space for new visual works created for young audiences. It is envisioned as a place of sanctuary, wonder and dreams—evoking the experience of listening to rain on a tin roof as thunder rolls across the sky. However, Cloud Bank: Draft 1 is not yet the completed venue. This work-in-progress listening party shares the material, technology and central concept behind the lighting installation that will underpin future works created within the Bank. Performance Dates: Thursday 8 October 2026 Friday 9 October 2026 Saturday 10 October 2026 Performance Times: Thursday — 7:00 PM–9:00 PM Friday — 7:30 PM–9:30 PM Saturday — 7:30 PM–9:30 PM Performance Location and Address: The Workshop Space, Seven Hills Hub, 28 Tallowwood Street, Seven Hills QLD 4170 Ticket Costs: General admission — $15 Additional booking fees apply. Backbone Festival day-pass discounts do not apply because this is a work-in-progress event rather than a standard performance. Ticket Link: Book Cloud Bank – Thursday 8 October Warnings: Flashing lights Strobe lighting Recommended Age: Patrons under 18 must be accompanied by a guardian because Backbone Festival operates within a licensed area. Duration: Open for approximately two hours each evening. Creative Team: Creator — Damian Tatum Production Website: Backbone Festival – Cloud Bank Other Information: This is an early work-in-progress presentation rather than the completed Cloud Bank concept. The installation contains flashing lights and strobe effects. It may be unsuitable for people with photosensitive epilepsy or related neurological and sensory conditions. Seven Hills Hub has 66 parking spaces, including two designated accessible parking spaces for permit holders. Patrons with access requirements should contact Backbone before booking, particularly if they need information about seating, entry procedures, sensory intensity or the ability to leave and re-enter the installation. Bus routes 212, 215 and 220 stop at Agnew Street, Stop 42, approximately 350 metres from the venue. Morningside railway station is closed for renovations; Norman Park is the closest operating railway station. Backbone Youth Arts can be contacted at info@backbone.org.au or 07 3544 6139 . Previous Next