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Title: 9 to 5 The Musical Presented By: Beenleigh Theatre Group Genre: Musical Comedy Synopsis: Set in the late 1970s, 9 to 5 The Musical follows three very different women pushed to breaking point by their sexist, arrogant and dishonest boss, Franklin Hart. Violet is an experienced office manager repeatedly overlooked for promotion, Doralee is judged and isolated because of rumours spread by Hart, and Judy is entering the workforce after the collapse of her marriage. When a series of misunderstandings and wild fantasies spirals out of control, the women find themselves holding Hart captive and taking over the company. With Hart “otherwise engaged,” Violet, Judy and Doralee transform their workplace, introducing changes that support the people who actually keep the business running. Featuring music and lyrics by Dolly Parton, the musical combines friendship, revenge, workplace satire and empowerment with country, pop and contemporary musical theatre. Audition Information: Saturday 15 August: Dance tutorial: 9:00am–9:30am General Dance Call 1: 9:30am–10:00am General Dance Call 2: 10:00am–10:30am Advanced Dance Call: 10:30am–11:30am Sunday 16 August: Individual auditions: 9:00am–6:00pm in ten-minute appointments Callbacks, by invitation only: Wednesday 19 August from 7:00pm Audition Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Audition Self-Tape Due: Saturday 15 August 2026 at 6:00pm Video auditions are available for performers unable to attend in person. Contact info@beenleightheatregroup.com for the submission requirements. Audition Requirements: Prepare two contrasting song excerpts, each between 30 seconds and one minute: One musical theatre song in the style of the production, such as contemporary musical theatre, country, pop or rock. One song in any genre that demonstrates your individual vocal strengths and personality. Songs from 9 to 5 must not be used. Backing tracks must be pre-cut and supplied on a device suitable for a wired connection using Lightning, USB-C or auxiliary input. All auditionees must attend a general dance call. A tutorial video will be available in advance, with an optional teaching session held before the calls on 15 August. Performers auditioning for featured roles that double in the ensemble must attend the Advanced Dance Call. Those auditioning for Violet, Judy or Doralee are strongly encouraged to attend it. Prepare one of the acting sides supplied in the audition pack, choosing the character with whom you most closely align. Redirection or an additional cold reading may also be requested. Audition Registration: Book an audition appointment Audition Pack: Download the audition pack Scheduling: Performance Dates: 20 November – 5 December 2026 Performance Times: Friday 20 November: 7:30pm Sunday 22 November: 2:00pm Friday 27 November: 7:30pm Saturday 28 November: 2:00pm & 7:30pm Friday 4 December: 7:30pm Saturday 5 December: 2:00pm & 7:30pm Performance Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Rehearsal Dates: First rehearsal: Monday 24 August 2026 Bump-in: Sunday 20 September Promotional photoshoot: Monday 21 September Sitzprobe: Sunday 25 October Technical period begins: Sunday 8 November Media preview: Monday 16 November Bump-out: Sunday 6 December – compulsory Rehearsal Times: Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Sundays: 2:00pm–7:00pm Other Information: Production Website: Beenleigh Theatre Group Auditions Warnings: Sexism and workplace harassment References to infidelity and divorce Drug use Strong language and sexual references Staged intimacy Stage combat Physical restraint and kidnapping Heavy staged physical contact for the role of Franklin Hart Performer Age: 18+ This production will not accept applications from performers under the age of 18, including for the role of Josh. Creative Team: Director: Ruby Thompson Musical Director: Alex Angus Choreographer: Jackson Poole Stage Manager: Harley Roy Other information: All intimacy, combat and restraint scenes will be choreographed with performer safety and wellbeing prioritised. Auditionees are encouraged to disclose any relevant boundaries or limitations during the audition process. This is an inclusive casting process. Auditionees may apply for any role regardless of age, race, ethnicity, gender identity, cultural background or disability, except where identity is integral to the text. Successful performers must become financial members of Beenleigh Theatre Group for 2026. Membership costs $10 and must be paid before the first rehearsal. Known rehearsal and performance conflicts should be disclosed during the audition process. Available Roles/Character Breakdown: Violet Newstead Female-presenting | Playing age: 40–50 | Vocal range: F3–D5 The company’s Head Secretary and Franklin Hart’s administrative assistant. A capable single mother who is ambitious, outspoken and repeatedly overlooked despite keeping the office running. Requires strong acting and excellent comic timing. Doralee Rhodes Female-presenting | Playing age: 20–30 | Vocal range: G3–E5 A spirited and capable young employee who is unfairly judged because of her appearance and Hart’s rumours. Requires strong country/pop vocals and a convincing Southern or Texan accent. Judy Bernly Female-presenting | Playing age: 30–35 | Vocal range: Ab3–F5 The nervous new employee entering the workforce after her husband leaves her. Initially insecure and inexperienced, Judy gradually discovers independence and confidence. Requires strong contemporary vocals and good comic timing. Franklin Hart Male-presenting | Playing age: 30–50 | Vocal range: C3–Gb4 The company’s sexist, egotistical and dishonest executive. Able to perform superficial charm but generally arrogant and self-serving. Requires an outstanding comic actor with confident vocals. Includes staged combat, restraint and heavy physical contact. Roz Keith Female-presenting | Playing age: 30–45 | Vocal range: G3–C5 The office gossip and Hart’s devoted informant. She is infatuated with him and desperate for his approval. Requires an excellent character actor with a strong belt voice. Joe Male-presenting | Playing age: 25–35 | Vocal range: B2–G4 A kind and genuine young accountant who is attracted to Violet. Dwayne Male-presenting | Playing age: 25–30 | Vocal range: E2–G4 Doralee’s supportive and affectionate husband. This performer will also appear in the ensemble. Josh Male-presenting | Playing age: 15–20, cast with an actor aged 18+ Violet’s awkward teenage son. The performer will also appear in the ensemble. Missy Hart Female-presenting | Playing age: 20–35 Franklin Hart’s wife, unaware of much of her husband’s true behaviour. This performer will also appear in the ensemble. Maria Female-presenting | Playing age: 20–35 | Vocal range: F4–D5 A bright and energetic secretary in Hart’s office. This performer will also appear in the ensemble. Dick Male-presenting | Playing age: 30–40 Judy’s unfaithful soon-to-be ex-husband. He is an ordinary man who has aged less gracefully than he imagines. This performer will also appear in the ensemble. Kathy Female-presenting | Playing age: 25–40 | Vocal range: G4–D5 An office secretary with a fondness for gossip. This performer will also appear in the ensemble. Margaret Female-presenting | Playing age: 25–40 An office secretary with a tendency to drink. This performer will also appear in the ensemble. Tinsworthy Male-presenting | Playing age: 35–50 Hart’s superior and Chairman of the Board. A fundamentally decent man who may understand more about Hart than he initially reveals. This performer will also appear in the ensemble. Ensemble Any gender | Adult performers | All vocal types Approximately eight to ten strong singer-dancers who will portray office workers, police officers, hospital employees and the featured supporting roles listed above.

Title: Away Presented By: Brisbane Arts Theatre Genre: Australian Drama Synopsis: Set during the summer holidays of 1968, Away follows three very different Australian families whose lives unexpectedly intersect while travelling along the Queensland coast. Tom, a warm and intelligent school student, is facing circumstances far beyond his years, while his devoted parents, Harry and Vic, try to protect him and make the most of their time together. Meg is beginning to challenge the expectations of her controlling mother, Gwen, while her father, Jim, attempts to keep the peace. Elsewhere, school principal Roy and his wife Coral are each struggling with profound grief following a family tragedy. As their separate journeys gradually converge, moments of humour, conflict and unexpected connection allow the characters to confront loss, rediscover hope and begin healing. Michael Gow’s enduring Australian play explores family, grief, love and the transformative power of compassion. Audition Date: Sunday 2 August 2026 Audition Time: 12:00pm–4:00pm Auditions will be held in one-hour workshop sessions, with up to ten performers in each group. Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: No prepared monologue is required. Auditions will be conducted in a relaxed workshop format and will consist of cold readings from the script. The production is seeking: Collaborative storytellers and team players Performers across a broad range of ages and experience levels New community-theatre participants Performers able to commit to the rehearsal and production period Performers of all genders, abilities, backgrounds and ethnicities are encouraged to audition. Audition Registration: Register for an audition session Audition Pack: Download the audition pack Performance Dates: Thursday 24 September 2026 - Friday 2 October 2026 Performance Location: C Block AuditoriumSouth Bank TAFE, 66 Ernest Street, South Brisbane QLD Rehearsal Dates: Rehearsals commence Wednesday 4 August 2026 and continue until Thursday 17 September 2026. Headshots: Sunday 23 August 2026 Production photos: Tuesday 25 August 2026 Bump-in: Saturday 19 September 2026 Technical rehearsals: Monday 21–Wednesday 23 September 2026 Bump-out: Friday 2 October 2026 following the final performance Rehearsal Times: Wednesdays: 6:00pm–9:30pm Thursdays: 6:00pm–9:30pm Sundays: Generally 12:00pm–4:00pm Technical rehearsals: 6:00pm–late Rehearsal Location: Wednesday rehearsals:Chermside Library, 375 Hamilton Road, Chermside QLD Thursday and Sunday rehearsals: Lavalla Centre, Room 858 Fernberg Road, Paddington QLD Technical rehearsals: C Block Auditorium, South Bank TAFE, 66 Ernest Street, South Brisbane QLD Warnings: Themes of grief, terminal illness, family conflict and bereavement. Creative Team: Director: Susan O’Toole Cridland Production Website: Brisbane Arts Theatre – Away Auditions Other information: Performers of all experience levels are welcome, including first-time community-theatre participants. Cast members must be available for all technical rehearsals and performances. Successful performers must become financial members of Brisbane Arts Theatre. Membership costs $40 and is valid for 12 months. Enquiries: away26@artstheatre.com.au or (07) 3369 2344. Available Roles/Character Breakdown: Tom (Male, late teens) Warm, intelligent and compassionate. A school student confronting circumstances far beyond his years and one of the emotional centres of the play. A slight English accent is required. Meg (Female, late teens) Bright, spirited and independent. She is curious about the world and beginning to challenge her mother’s expectations. Harry (Male, 40s–60s) Tom’s father. Hard-working, practical and deeply devoted to his family. A general English accent is required. Vic (Female, 40s–60s) Tom’s mother. Kind-hearted, resilient and protective. A general English accent is required. Gwen (Female, 40s–60s) Meg’s strong-willed and status-conscious mother. Often controlling, though ultimately motivated by fear and love for her family. Jim (Male, 40s–60s) Meg’s easy-going and thoughtful father. He is frequently caught between maintaining peace and standing his ground. Coral (Female, 40s–60s) A woman struggling with grief after a family tragedy. A complex and emotionally demanding role. Roy (Male, 40s–60s) Coral’s husband and a school principal. Reserved, dignified and carrying his own emotional burden. Miss Latrobe (Female, 30s+) A dedicated drama teacher whose school production opens the play. Rick (Male, 20s–30s) A holiday-maker whose chance encounter with Coral becomes significant. Leonie (Female, 30s–50s) A resort guest who provides both humour and insight. Master of Ceremonies (Any gender) A confident, charismatic and theatrical host. Ensemble Roles The ensemble may portray campers, holiday-makers, hotel guests, school-production performers and other featured characters. These roles are suitable for first-time performers, students and community members seeking stage experience without the pressure of a major role.

Works in Chaos 2.0 Presented by: Salad Days Collective Venue: PIP Theatre Date attended: 24 July 2026 Lighting Design: Georgia Lily Chalmers Sound Design: Tommi Civili Projection Design: Cutter Harris Photography: Gracie Hosie “Please keep your limbs, expectations, and unresolved emotional baggage inside the ride at all times.” Three new one-act plays. Three creative teams. One month to whip up something stage-worthy. A mountain of cardboard boxes. And one glowing refrigerator... Welcome to Works in Chaos. Presented by Salad Days Collective at PIP Theatre, Works in Chaos 2.0 invites us into the messy middle of making theatre. These are fresh-off-the-press plays still being tested and adjusted, with no pressure to pretend every answer has already been found. And the sold-out audience got to join the chaos and watch each piece discover what it might become. Each 30-minute play was followed by amusing, unsolicited facts read aloud while the stage was reset amid a growing number of cardboard boxes. Those boxes and a silver refrigerator covered in colourful magnetic letters formed the basic set for the shows. Before long, that fridge is glowing ominously and acting as a portal between the evening’s strange little worlds. Georgia Lily Chalmers’ lighting, Tommi Civili’s sound and Cutter Harris’ projections give each play its own atmosphere while repeatedly transforming the same cluttered space. Our House Written by: Aimee Tacon Directed by: Maxi Mossman Cast: Sonny Green as Ed and Emma Ferguson as Toya “You have everything you need here. Don’t waste time trying to understand it.” Our House begins with a simple enough instruction: Ed has one year to build a house. If he fails, Toya will kill him. No pressure... Toya arrives armed with an alarming number of handguns (also cardboard thankfully), while Ed starts fumbling around with the “building materials” and their relationship becomes increasingly difficult to name. The house is clearly a metaphor for building a life with someone, but Aimee Tacon’s script keeps stretching that idea in different directions. Ed and Toya shift between lovers, caregiver and dependent, captor and captive, and participants trapped in the world’s most alarming home renovation. The script moves with dreamlike logic and the unruly rhythm of a subconscious left unsupervised. Certain symbols make complete sense in the moment but become almost impossible to explain later. Everything seems packed with meaning, even when that meaning is just out of reach. The pants-shitting scene is probably the best example of this... Director Maxi Mossman makes excellent use of the clutter. Boxes and crepe streamers become construction materials, barriers, and toys. Sonny Green and Emma Ferguson are superb together. Both play the surreal material with such naturalism that the relationship remains believable even when the situation does not. Ferguson’s Toya can be affectionate, commanding or capable of scaring Ed shitless within seconds, while Green gives Ed a highly believable mix of confusion, obedience and mounting desperation. They slip between each new phase of the relationship without signalling the change, keeping this strange little two-hander constantly off balance. Dance Forever! Written by: Malika Savory Directed by: Gina Greer Cast: Megan Lilly as Miki, Jasmine Prasser as Rachel, Liam McMahon as Marco and Neve Francis as Lenny Imagine Jumanji, except instead of an ancient board game, a group of online gamers downloads Dance Forever! from the dark web, gets sucked into the software and is forced to dance through increasingly hostile levels. Miki, Marco and Lenny connect through online gaming. Their conversations collide over one another in the recognisable way teenagers speak through headsets, each apparently assuming everyone else can process four thoughts at once. Once pulled into the game, they become their avatars and begin wandering through the software like they've been dropped into the Backrooms (but with choreography). The sound effects and digital projections make the game feel like a real, glitching world with the glowing refrigerator becoming its portal. Their relationships are already messy before anyone gets sucked into a dance game. Miki is isolated at home with a stepmother she cannot stand and an absent father, so she clings tightly to the blunt, aggressive Lenny (although her real identity is another matter entirely). Marco, meanwhile, is a homeschooled teenager with POTS who seems to arrive already halfway through an existential crisis (poor wee lamb). Then there is Rachel, who has been catfishing her stepdaughter online as “Glamgirl.” Jasmine Prasser steps into the role at the last minute for this performance, script in hand, and handles the challenge confidently. The script could easily separate her from the frantic physical world around her, but she stays fully involved in the action and finds plenty of humour in Rachel’s strange place within the group. Malika Savory’s script works best when it digs into how online spaces can be both an escape and a trap. The characters enter the game looking for connection and a break from real life, but it soon starts controlling how they move, act and even see themselves. As everything gets faster and messier, the play captures the sensory overload of an addictive game surprisingly well. Even the forced dancing feels like the pressure to keep performing online. Some details are hard to catch once the dialogue begins piling on top of itself, but that seems intentional. The game doesn't care whether the characters (or the audience) can keep up. It feels like our online world at full volume: too many voices, jokes, arguments, and identities all demanding attention at once. Spaceman Written by: Samuel Herbertson Directed by: Lauren Dillon Cast: Meg Dale as Jayne, Matthew Butler as John, Samuel Herbertson as the Cowboy, Tammy Weller as the Postman and Lachlan Orton as Danny/Fred the Cat “I thought it would be the bombs, or the plague, or the robots.” Spaceman begins with a missing cat and quickly misplaces reality too. John is just enjoying a snack when he suddenly finds himself surrounded by a postie preparing for the apocalypse from inside his bathtub, an ex-girlfriend, a giant spider, his cat Fred possessing his housemate’s body, and a blue cowboy who may or may not be Death. Standard fever dream, really. John may be experiencing a psychotic episode. Maybe nitrous oxide is turning everyone’s brains to goo. Or perhaps we are hallucinating through broken pieces of his memory as grief begins interfering with reality. The play is not especially interested in choosing one answer. Samuel Herbertson’s writing bounces between absurd comedy and heavier themes of guilt, grief, and isolation. The stranger the room becomes, the more philosophical the play gets. My reading is that this apocalypse may be more emotional than literal. John’s world has already ended in some way, and these impossible visitors arrive as pieces of unfinished business. Matthew Butler makes John vulnerable and increasingly frazzled, so it's easy to believe his world is falling apart even when nobody can agree on why. Meg Dale brings some warmth to the stranger parts of the story, while Lachlan Orton’s transformation into Fred the Cat is hilarious and oddly sweet. “The cute British meowing deserves recognition” is not a sentence I expected to write in this review, but here we are. Tammy Weller throws herself into the postie's apocalyptic nonsense with such confidence that I almost start believing her. Samuel Herbertson is effortlessly funny as the blue cowboy, sitting calmly in the middle of the disaster with a magnificent moustache, blue skin, a desperate need for a cigarette lighter and the attitude of someone for whom the end of reality is merely an inconvenience. The Smurf-like look and Texan accent are funny enough already, but his laid-back delivery makes the character even better. The cigarette smoke becomes quite strong in the intimate theatre and adds more discomfort than atmosphere. But perhaps that is the point? The end of the world is not meant to be comfortable, after all. Still, Spaceman finds a surprisingly gentle centre inside all its cosmic nonsense. The play is less interested in solving the apocalypse, choosing instead to ask who you would want beside you when everything falls apart. Across all three plays, Works in Chaos 2.0 shows why new writing should be allowed to be messy in public. Not every idea lands clearly yet, and some moments are difficult to untangle, but the performance gives artists room to test strange ideas without pretending the work is completely finished. The result is baffling, unsettling and frequently funny. All three pieces are alive with truly original ideas. I’d much rather watch a new work take a genuine risk than see something polished until every interesting edge has been sanded away. Besides, any evening featuring a deadly house-building ultimatum, a dance game from internet hell, a dead British cat and a glowing refrigerator was never going to send us home with everything neatly packed away (in those many cardboard boxes).

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 MUSICAL: She Loves Me - Phoenix Ensemble 7 Aug 2026 Season: August 7th - 29th, 2026 Title: She Loves Me Presented By: Phoenix Ensemble Genre: Musical Theatre / Romantic Comedy Synopsis: The sweetest love story they never saw coming. Inside the warm glow of Maraczek's Parfumerie, Georg Nowack and Amalia Balash seem destined to disagree on everything. Yet unbeknownst to each other, they have formed a heartfelt connection through anonymous letters, each believing they have found their perfect match. As their workplace frustrations continue and their secret correspondence deepens, both dream of finally meeting the person who truly understands them. Based on the classic story that inspired beloved romantic comedies such as You've Got Mail , She Loves Me is a charming musical filled with humour, romance and unforgettable songs, celebrating the courage it takes to open your heart to love. Performance Dates: August 7th - 29th, 2026 Performance Times: Fridays & Saturdays – 7:30PM Matinees: Saturdays August 15th & 22nd – 2PM Performance Location and Address: The Tin Shed, Beenleigh Showgrounds, 60–74 James Street, Beenleigh QLD 4207 Ticket Costs: Adult – $45 Concession – $38 Adult + Program – $54 Concession + Program – $47 Group (10 Tickets) – $330 Member – $45 (promotional code required) Ticket Link: Buy Tickets - She Loves Me Warnings: Suitable for general audiences. Recommended Age: Suitable for ages 10+. Duration: Approximately 2 hours 45 minutes, including interval. Creative Team: Music – Jerry Bock Lyrics – Sheldon Harnick Book – Joe Masteroff Presented by Phoenix Ensemble Production Website: Phoenix Ensemble - She Loves Me Other Information: Adapted from Miklós László's Parfumerie , She Loves Me is one of musical theatre's most beloved romantic comedies. The story has inspired numerous film adaptations, including The Shop Around the Corner and You've Got Mail . Filled with warmth, wit and a beautiful score, the musical remains a timeless celebration of love, friendship and second chances. The Tin Shed at Beenleigh Showgrounds offers wheelchair-accessible entry, accessible parking and accessible toilet facilities. Patrons requiring accessible seating or additional assistance are encouraged to contact Phoenix Ensemble prior to booking. Previous Next

< Back REVUE: Fundergames - UQ Business Revue 7 Aug 2026 Season: August 7th - 8th, 2026 Title: The Funder Games: Catching Hires Presented By: UQ Business Association Genre: Comedy Revue Synopsis: The UQ Business Association's annual Business Revue returns with The Funder Games: Catching Hires —an original comedy production created entirely by students. Featuring hilarious live sketches, original music, filmed comedy segments and sharp satire, the revue takes aim at university life, internships and the corporate world with an energetic blend of theatrical comedy and sketch-show humour. Inspired by the fast-paced style of Saturday Night Live , this student production promises an evening of laughs, creativity and impressive production values. Performance Dates: August 7th - 8th, 2026 Performance Time: 7PM Performance Location and Address: Arcana, 46 Evesham Street, Moorooka QLD 4105 Ticket Costs: General Admission – $29 Ticket Link: Buy Tickets - Fundergames Warnings: May contain coarse language, adult humour and satire. Recommended Age: Recommended for ages 15+. Duration: Approximately 3 hours. Cast: Performed by students of the University of Queensland Business Association. Production Website: UQ Business Revue - Fundergames Other Information: The UQ Business Revue is an annual student-run production showcasing original comedy, live music and film created by University of Queensland students. This year's production, The Funder Games: Catching Hires , delivers a humorous take on university and professional life through an entertaining mix of sketches, multimedia and live performance. Arcana offers step-free entry and accessible toilet facilities. Patrons requiring accessibility assistance are encouraged to contact the event organisers prior to booking. Previous Next