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Big Fish The Musical Presented by: Spotlight Theatrical Company Book by: John August Music and Lyrics: Andrew Lippa Based on: The novel by Daniel Wallace and the motion picture screenplay by John August Date Attended: 2 August 2026 Director: Nathan French Vocal Director: Taylor Holmes Choreographer: Jo De Goldi Stage Manager: Eliza Taylor Set Design: Jeff Butterworth and Clay English Sound: Caed Lawson Lighting: Ariana Sinner and LJ Jones Costumes: Pina Crisafulli Omeros and team Photography: Vargo Studios “Be the hero of your story.” This Tim Burton film is now a musical. Yes, really. Based on Daniel Wallace’s novel and John August’s screenplay for the 2003 film, Big Fish follows Edward Bloom, a travelling salesman who loves turning his memories into epic adventures. His life is like a grab bag of tall tales, featuring a witch, a mermaid, a giant, a werewolf, and his extended family of circus performers. His adult son, Will, has grown frustrated with these tales. As he prepares to become a father himself, he wants to know Edward's true self beneath all the exaggeration. When Edward becomes seriously ill, Will begins investigating his past, hoping to separate fact from fiction before it’s too late. All the while, Edward sticks to his signature style (mixing myths, life lessons, and always casting himself as the hero). Director Nathan French embraces the musical’s two worlds, moving between domestic family tension and the circus inside Edward’s head. There's a lot going on, and anyone unfamiliar with the story may find themselves scratching their head, wondering if they’ve time-travelled to another decade or stumbled into a parallel universe. The set doesn’t attempt to build each place Edward remembers. Instead, Jeff Butterworth and Clay English give him one enormous glowing doorway and let his imagination do the rest. The slatted arch rises above a timber stage, pier, and waterway. Ariana Sinner and LJ Jones use it almost like a mood ring, shifting its colour to become whatever the story needs at the time without requiring the production to stop for constant scene changes. Smaller set pieces pop up whenever Edward’s imagination requires reinforcements. “Closer to Her” rolls out the circus gear, a human cannonball, and an elephant’s rear end. The bed becomes another portal into his stories, with characters emerging as though Edward has been storing half the ensemble inside his subconscious (or his mind has finally run out of storage space). It’s a fun reveal, although the performers crawling offstage were visible afterwards. We saw you there, gang! With haze drifting across the floor, fish flying overhead, and a crystal ball glowing ominously, the whole design evokes the fantasy of a bedtime story. Clay English has a lot to carry as Edward Bloom, playing him through high school, courtship, parenthood, years on the road, and the final chapter of his life. He is rarely away from centre stage, and Andrew Lippa’s score keeps tossing songs at him like confetti. “Be the Hero” lays out Edward’s philosophy early. Life is an adventure, obstacles are there to be conquered, and there’s always another dragon to fight. The epic “Out There on the Road” keeps that momentum going as he befriends Karl the Giant and leaves his small town behind. English has confidence as a storyteller and clearly understands Edward’s appetite for attention. Where I struggled was with the musical asking the same performer to play Edward across so many decades. The film separates young and older Edward, and I thought that approach would have helped here too. It would create a clearer shift between the larger-than-life young man Sandra falls for and the older father Will is struggling to understand. But I do understand that these are Edward’s recollections as he remembers them, rather than exact recreations of a moment in time. Still, English handles the youthful romantic material well vocally, particularly “Time Stops” and “Daffodils,” where his gorgeous voice does plenty of wooing. “Daffodils” is also one of the production’s prettiest pieces of stage magic. The scenic design suddenly seems to bloom with them, as daffodils pop up into the water, climb the walls, and spread across the projected backdrop until Sandra is surrounded by Edward’s grand gesture. English gets to show plenty across the evening, from strong vocals to tap dancing and the stamina required to carry so much of the show. For me, though, his acting was strongest once Edward was opposite Xavier O’Brien as adult Will. “What’s Next” is a highlight, with father and son finally meeting on the same emotional ground and writing Edward’s last story together in real time. “How It Ends” then gives English his big emotional release, weeping and singing his heart out as Edward’s bravado and showmanship finally fall away. Xavier O’Brien gives Will a solid reality check against his father’s lifelong one-man show. He starts the show as a nervous groom, asking Edward to please make it through the wedding without turning the whole thing into another me-party. That request goes about as well as you’d expect. O’Brien makes Will’s resentment easy to understand without turning him into the antagonist in his father's life (at least until “The Showdown”). Edward was frequently absent during Will’s childhood, and when he was around, Will would never quite tell whether he was hearing actual family history or another engineered fantasy version of it. He has the exhausted air of a man who has heard the same fish story at one family gathering too many. Vocally, O’Brien has a pure, polished sound. “Stranger” is an early highlight, as Will sings to his unborn son about barely knowing his own father. His later confrontation with Edward in “The Showdown” is one of the production’s more outlandish sequences. With Western costumes, heightened staging, and the ensemble rallying around them, father and son are finally placed inside the same story, only this time on opposite sides. Dana Sandry brings a lovely maternal steadiness to Sandra Bloom, caught between two men who love each other but have no idea how to speak the same language. “Two Men in My Life” places her right at the emotional centre of the family, while “I Don’t Need a Roof” gives Sandry her strongest character moment. She keeps the delivery tender and controlled, letting the anticipatory grief arrive through the beauty of the song. Hannah Martin is lovely as Josephine, bringing a softness to the role without fading into the background. She listens to Edward in a way Will no longer can, more interested in what his stories might reveal than in proving whether they’re true. Martin plays that openness with an observant quality rather than naïvety. Her presence becomes a welcome calming influence within the Bloom family. At the performance I attended, Jordi Bridgman played Young Will and built an endearing relationship with Edward through the bedtime-story scenes. Martina French makes a strong impression as the Witch, strutting in with a killer costume and a booming voice that fills the room. Daniel Carson is an immediate visual hit as Karl the Giant, towering on stilts beneath oversized layers and dreadlocks. Carson also gets some lovely dry humour out of Karl, while the friendship lets us see one of Edward’s more appealing traits: he has a soft spot for people who don’t quite fit the mould. Nathan Skaines dons the towering top hat as Ringmaster Calloway. “Closer to Her” transforms the stage into a wild spectacle of hoops, acrobatics, a unicycle, and all sorts of circus shenanigans while Edward tries to earn information about Sandra. Is it an epic love story or just a romantic stalking? You decide! Meanwhile, Jennifer Clark delivers a powerful punch as Edward's first girlfriend, Jenny Hill, especially when she confesses to Edward that she's been “drowning since he left.” For once, one of his tales is being told by someone who has had to live with the aftermath. Jo De Goldi’s choreography makes good use of a musical that isn’t especially dance-heavy. “Red, White and True” brings tap onto the wooden stage with considerable volume. The ensemble brought colour and momentum whenever they appeared. A few moments fell into noticeable pockets of dead space beneath the underscoring. Taylor Holmes’ vocal direction produces secure ensemble work and consistent delivery from the principal cast. “Stranger,” “I Don’t Need a Roof,” and “How It Ends” made the strongest impression on me, largely because the characters speak with such emotional directness. Caed Lawson’s sound design gives the production some real scale, although the music does drown out the dialogue here and there. Visually, the costumes have plenty to play with too, shifting from everyday family life into sparkling dresses, Americana stripes, circus outfits, and storybook looks. The second half reveals a much sadder musical underneath all the colour. Illness starts creeping into the circus, and Edward and Will’s relationship becomes the real focus. While I didn’t connect with the themes of fatherhood as some audiences probably will, I could still see the heart of what the show was saying. “What’s Next” is where that heart lands best for me, as Will finally stops dismantling his father’s stories and helps him create one last adventure instead. Edward uses his stories to make sense of his life, express his love for his family, and shape the narrative he wishes to leave behind. Spotlight Theatrical Company presents Big Fish with visual scale, inventive stagecraft, and committed performances. Audiences fond of the film, Andrew Lippa’s music, or Tim Burton’s whimsy will find plenty to enjoy in Edward Bloom’s enormous world. After all, a big fish in a small pond was never going to tell a small story.

Title: Collected Grimm Tales Presented By: Ad Astra Theatre Company Genre: Fairy Tale / Fantasy / Ensemble Theatre Synopsis: Adapted by Carol Ann Duffy and dramatised by Tim Supple, Collected Grimm Tales brings the classic stories of the Brothers Grimm to the stage with humour, imagination, and a darker theatrical edge. Familiar tales including Little Red Riding Hood, Snow White, and Rumpelstiltskin are retold through fluid ensemble storytelling. Performers shift between narrators, heroes, villains, animals, royalty, villagers, and magical creatures, often transforming from one character to another within a single scene. The production will present two versions of the play: the complete version, recommended for audiences aged 15+, and a shorter modified version suitable for children of all ages. Audition Date: Monday 24 August and Tuesday 25 August 2026 Audition Location and Address: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare a fairy-tale excerpt of your choice, no longer than two minutes. Include narration and at least one character. Demonstrate a clear vocal shift between narrator and character. Engage the audience and invite them into the world of the story. Establish a clear mood through vocal delivery. Showcase characterisation through voice and physicality. The piece may be memorised or retold from memory in your own words. Auditionees are welcome to use movement and gesture. Audition Registration: Apply through the form available on the Ad Astra auditions page, or email collectedgrimmtalesadastra@gmail.com Email applications must include: A recent headshot. A current CV in Word or Google Docs format. Performance Dates: 3–19 December 2026 Performance Times: Thursday evenings Friday evenings Saturday evenings Saturday matinees Sunday matinees Performance Location: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: Weekly rehearsals commence Sunday 30 August 2026. Rehearsal Times: Mondays: 6:15pm–9:30pm Wednesdays: 6:15pm–9:30pm Sundays: 10:00am–4:00pm Warnings: The full version is recommended for audiences aged 15+. Creative Team: Co-Director: Bradley Chapman Co-Director: Prue Robb Production Website: Ad Astra Auditions Other information: Callbacks, if required, will be held on Wednesday 26 August 2026. This is a co-op production. Cast and crew will receive a share of ticket sales after expenses. Actors of all backgrounds, ethnicities, and body types are encouraged to apply. Available Roles/Character Breakdown: This is an ensemble production rather than a traditional play with fixed individual roles. Every performer will portray several characters across the different stories. The production will present two versions: the complete version recommended for audiences aged 15+, and a shorter modified version suitable for children of all ages. Characters may include: Narrators Heroes and heroines Princes and princesses Kings and queens Witches Wolves Animals Villagers Magical creatures Other figures from the Brothers Grimm fairy tales The production is seeking performers who: Have strong acting and storytelling skills. Can create distinctive characters using voice and physicality. Are comfortable with movement and ensemble performance. Can perform both comedy and darker dramatic material. Work collaboratively and support fellow cast members.

Title: The First Night (of the One Day of the Year) Presented By: Ad Astra Theatre Company Genre: Satirical Comedy / Farce Synopsis: Adelaide, 1960. The Cold War is in full swing, Australian culture is still heavily shaped by overseas influence, and Alan Seymour’s controversial play The One Day of the Year is preparing for its world premiere. After the Adelaide Festival withdraws the production over fears that its criticism of Anzac Day may offend returned servicemen, an amateur theatre company decides to stage it instead. What follows is a fictionalised version of opening night, inspired by real events. With cast romances, bomb threats, censorship, missing actors, ASIO operatives, bureaucratic interference, audience distractions, and a vice squad investigation all threatening the performance, the company must somehow keep the production alive. The First Night is a farcical comedy about Australian storytelling, cultural cringe, political pressure, amateur theatre, and the determination to ensure the show goes on. Audition Date: Sunday 16 August 2026 Audition Time: 11:00am–2:00pm Audition Location and Address: Ad Astra – Pluto, 210 Petrie Terrace, Brisbane QLD Audition Requirements: Prepare a comedic monologue between one and three minutes in length. Auditionees should also be prepared to participate in a cold reading from the script. Audition Registration: Apply by emailing creatives@adastracreativity.com Please include: A recent headshot A current CV in Word or Google Docs format The role for which you are applying Performance Dates: 5–21 November 2026 The season may be extended by one additional week. Performance Times: Thursdays: 7:30pm, Fridays: 7:30pm, Saturdays: 2:00pm and 7:30pm Performance Location: Ad Astra – Pluto, 210 Petrie Terrace, Brisbane QLD Rehearsal Dates: Mondays, Wednesdays, and Saturdays Rehearsal Times: Mondays: 6:30pm–9:30pm, Wednesdays: 6:30pm–9:30pm, Saturdays: 11:00am–5:00pm Rehearsal days and times may be adjusted around cast and crew availability. Warnings: Mild staged intimacy for the role of Tony References to bomb threats, political surveillance, censorship, war commemoration, and anti-Communist investigations Period attitudes and language associated with 1960 Australia Performer Age: Adult performers Creative Team: Director: Nathaniel Currie Other information: This is a co-op production. Cast and crew will receive a share of ticket sales after expenses. Callbacks will be held on Monday 18 August 2026 from 6:30pm–8:30pm. Enquiries and applications should be sent to creatives@adastracreativity.com. Available Role/Character Breakdown: Tony Playing age: Mid-20s to mid-30s A charismatic and relatable leading character with strong stage presence. Tony is optimistic, romantic, grounded, and approachable. State-educated and down-to-earth, he represents an Australian “everyman” whose warmth and authenticity make him easy to connect with. The role requires: Excellent comedic timing Strong physical performance skills The ability to balance farce with genuine emotional depth Confidence carrying a leading role Mild staged intimacy with Coral, the production’s leading lady

< Back THEATRE: The Gospel According to Paul - Soft Tread, QPAC 18 Aug 2026 Season: August 17th - 23rd, 2026 Title: The Gospel According to Paul Presented By: Soft Tread Theatre, QPAC Genre: Theatre / Comedy / Political Satire Synopsis: A hit comedy returns to Brisbane for a victory lap. Written and performed by Jonathan Biggins, The Gospel According to Paul sees the acclaimed comic actor transform into former Australian Prime Minister Paul Keating. The production explores Keating's landmark political achievements, personal obsessions and distinctive approach to economics and public life, while bringing his famous Question Time wit to the stage. With fresh and funny takes on Keating's recent media moments, including AUKUS, negative gearing and the lack of meaningful political reform, this sharp and irreverent production offers a humorous look at one of Australia's most distinctive political figures. Performance Dates: August 17th - 23rd, 2026 Performance Times: Tuesday & Thursday - 7PM Wednesday - 1PM & 7PM Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 1PM Performance Location: Playhouse, Queensland Performing Arts Centre, Cultural Centre, South Bank, Brisbane QLD 4101 Ticket Costs: $69–$99 Transaction fee of $7.50 applies Ticket Link: Buy Tickets - The Gospel According to Paul Warnings: Coarse language Recommended Age: 15+ Duration: Approximately 1 hour 30 minutes, with no interval. Cast: Jonathan Biggins – Paul Keating Creative Team: Written & performed by Jonathan Biggins Director – Aarne Neeme Designer – Mark Thompson Lighting Designer – Verity Hampson Sound & Video Designer – David Bergman Producer – Jo Dyer Production Manager – Barry Searle Touring Technician – Sam Read Company Stage Manager – Tanya Leach Production Website: QPAC - The Gospel According to Paul Other Information: Jonathan Biggins is co-creator and star of The Wharf Revue and is one of Australia's well-known comic actors. The production combines biographical theatre, political satire and comedy. QPAC offers concession pricing for pension and companion card holders. Group and school bookings are also available. The production is presented in QPAC's Playhouse, with accessible seating and venue accessibility services available. QPAC also provides a Playhouse Visual and Sensory Guide to help patrons prepare for their visit. Patrons requiring accessible seating or other assistance should contact QPAC when booking. Previous Next

Upcoming Performances 22 Aug 2026 THEATRE: Present Laughter - Javeenbah Theatre Season: August 8th - 22nd, 2026 Read More 18 Aug 2026 THEATRE: The Gospel According to Paul - Soft Tread, QPAC Season: August 17th - 23rd, 2026 Read More 17 Aug 2026 YOUTH DANCE: Wakakirri - Logan Entertainment Centre Season: August 17th - 20th, 2026 Read More 17 Aug 2026 YOUTH PANTOMIME: Girl in the Hood - Flinders Dramatic Arts Season: August 17th - 19th, 2026 Read More 15 Aug 2026 THEATRE: Ravenscroft - Growl Theatre Season: August 15th - 29th, 2026 Read More 15 Aug 2026 BALLET: Romeo and Juliet - The Australian Ballet, QPAC Season: August 15th - 22nd, 2026 Read More 15 Aug 2026 YOUTH MUSICAL: Shine On - Shine Performing Arts Academy Season: August 15th, 2026 Read More 15 Aug 2026 FUNDRAISER: Rhythms for Recovery - Brisbane Powerhouse Season: August 15th, 2026 Read More 15 Aug 2026 YOUTH MUSICAL: Legally Blonde Jr. - Shine Performing Arts Academy Season: August 15th - 16th, 2026 Read More 15 Aug 2026 YOUTH MUSICAL: Annie Kids - Shine Performing Arts Academy Season: August 15th - 16th, 2026 Read More 14 Aug 2026 FESTIVAL: Sunshine Coast Youth Theatre Festival - Lind Theatre Season: August 14th - 16th, 2026 Read More 13 Aug 2026 THEATRE: The Removalists - Bear Minimum Theatre, Empire Theatre Season: August 13th - 15th, 2026 Read More 13 Aug 2026 THEATRE: The True Midnight Cry - Minola Theatre, PIP Theatre Season: August 13th - 22nd, 2026 Read More 13 Aug 2026 THEATRE: Intro to Time Travel - UQ Engineering Revue Season: August 13th - 14th, 2026 Read More 13 Aug 2026 THEATRE: Loving Ashes - PIP Theatre, Sun and Wine Arts Company Season: August 13th - 22nd, 2026 Read More 13 Aug 2026 THEATRE: Truck Driver - HOTA Season: August 13th - 15th, 2026 Read More 11 Aug 2026 THEATRE: Do Not Go Gentle - QLD Theatre Season: August 11th - 30th, 2026 Read More 8 Aug 2026 BALLET: Giselle - Brisbane Ballet, Empire Theatre, Thomas Dixon Centre Season: August 8th & 15th, 2026 Read More 8 Aug 2026 BURLESQUE: Mx Burlesque - Princess Theatre, Bombshell Burlesque Season: August 8th, 2026 Read More 8 Aug 2026 BURLESQUE: Discovering Her - Burlesque L'Amour Season: August 8th, 2026 Read More 8 Aug 2026 CHORAL: Sea Children - Australian Voices Season: August 8th, 2026 Read More 8 Aug 2026 CABARET: Camp Hers: Grecian Tales - Vanic Productions Season: August 8th, 2026 Read More 8 Aug 2026 CHILDREN'S THEATRE: Paw Patrol Live! - Brisbane Entertainment Centre Season: August 8th - 9th, 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: From Up Here - Footlights Theatrical Season: August 7th - 8th, 2026 Read More 7 Aug 2026 MUSICAL: Mamma Mia! - Mad About Theatre, The Events Centre Season: August 7th - 9th, 2026 Read More 7 Aug 2026 REVUE: Fundergames - UQ Business Revue Season: August 7th - 8th, 2026 Read More 7 Aug 2026 THEATRE: From Page to Stage - Starlet Creative Industries, Handspeak, Empire Theatre Season: August 7th, 2026 Read More 7 Aug 2026 THEATRE: Freshblood Festival - Vena Cava Productions Season: August 7th - 16th, 2026 Read More 6 Aug 2026 THEATRE: Second Coming - La Boite Theatre Season: August 6th - 22nd, 2026 Read More 6 Aug 2026 THEATRE: Hot Tub - Ad Astra Theatre Season: August 6th - 29th, 2026 Read More 6 Aug 2026 BALLET: Gala - Academy of QLD Ballet, Thomas Dixon Centre Season: August 6th - 8th, 2026 Read More 5 Aug 2026 THEATRE: Gunawarra Re-Creation - QPAC, ILBIJERRI Theatre Company Season: August 5th - 8th, 2026 Read More 31 July 2026 MUSICAL: Alice (in Wonderland) - Mousetrap Theatre Season: July 31st - August 16th, 2026 Read More 31 July 2026 MUSICAL: The Book of Mormon - QPAC, Jones Theatrical Group Season: July 31st - October 4th, 2026 Read More 30 July 2026 DANCE EISTEDDFOD: Quota Beenleigh City of Logan Dance Eisteddfod - Logan Entertainment Centre Season: July 31st - August 8th, 2026 Read More 30 July 2026 MUSICAL: Heathers - HOTA Season: July 30th - August 9th, 2026 Read More 30 July 2026 MUSICAL: & Juliet - QAEMT Season: July 30th - August 8th, 2026 Read More 29 July 2026 THEATRE: Educating Rita - Toowoomba Repertory Theatre Season: July 29th - August 8th, 2026 Read More 29 July 2026 THEATRE: Lovesong - All Entertainment, PIP Theatre Season: July 29th - August 8th, 2026 Read More 29 July 2026 THEATRE: Elephant Song - A Midnight Social, PIP Theatre Season: July 29th - August 8th, 2026 Read More 27 June 2026 CHILDREN'S THEATRE: Room on the Broom - CDP Kids Season: June 27th - August 14th, 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