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Well-Behaved Women Presented by Footlights Theatrical Directed by: Roslyn Johnson Musical Director: Nate Stevenson Vocal Director: Rhea Basha “Well who wants to be the norm? Not me.” History has a funny habit of remembering the men first. But now, the women grab the microphone, kick the door open, and remind us that history was not made by women who sat quietly in the corner waiting for permission. Presented by Footlights Theatrical, Well-Behaved Women is a contemporary song cycle celebrating the women who refused to stay small, stay silent, or behave as expected. It has a strong “herstory” energy, with a structure that feels a little like Six, in the sense that it uses original and modern musical styles to spotlight women from history. But rather than following one linear storyline, the production moves through a series of musical portraits, each one giving voice to a different woman, moment, and perspective. The show celebrates warriors, queens, survivors, artists, athletes, writers, mothers, wives, activists, and politicians. There are famous names, lesser-explored tales, and some unexpected angles along the way. This eclectic scope keeps the format engaging, especially as the production moves between humour, rage, celebration, reflection, and full-throttle “absolutely not sir” energy. The large cast never feels decorative or lost in the crowd, with each performer finding a clear angle on their featured woman. Footlights draws together plenty of familiar Brisbane theatre faces, varied in voice, age, and energy, to form a vibrant showcase of female and non-male talent. Rhona Bechaz opens the show with sass and cheek as the biblical Eve, decked out in vines and sequins. Her number gives us the lowdown on “what happened in the beginning” with wit, charm, and a dose of holy humour. Fiona Buchanan absolutely slays as Boudicca (and “slays” feels particularly appropriate here). She brings passion and authority to give the Warrior Queen a battle-ready fierceness. Sophia O’Dea shines as Cleopatra, delivering a theatrical command worthy of a queen ('Stay and Fight'). Her mighty voice is imbued with a regal strength to match the magnificence of the legendary Egyptian monarch. Asabi Goodman as Harriet Tubman offers a more subdued, poetic, and beautiful contrast to some of the show’s louder moments. Her reflective and grounded performance allows the production to have a moment to breathe early on. Naviah Morris delivers a powerful depiction of Grace Tame in 'Smile,' using a wisely calm and soulful sound to express the frustration of marginalised voices trying to be heard. Themes of the Me Too movement are integrated clearly, reminding us that these stories are not only personal but also collective, emphasising the need for solidarity and change. 'Papa, Are You There' sees Priya Shah portray Malala Yousafzai. It opens with a striking rock edge that instantly captures attention and echoes a feeling of determination and resilience. As the song progresses, the gradual addition of instruments from just a piano mirrors her emotional journey, making Priya's solo a compelling tribute to this pivotal moment in Malala's story. Loretta Melit is a highly compelling storyteller, stepping into the shoes of Virginia Woolf as she pens A Room of One's Own. Her story conjures up the imagined life of Judith Shakespeare, the fictional sister of the Bard. Loretta maintains emotional focus in her 8-minute tale, bringing Judith to life as she battles the frustration and ultimate tragic fate of being a talented and ambitious woman stuck in the shadows of a male-dominated world. Louella Baldwin's stunning voice adds a bluesy flair to Billie Jean King's song 'Hey Bobby Riggs' with a fiery glint in their eye. It is a story of true gumption, serving as both a protest against the gender inequalities prevalent in sports and society at large, while celebrating the triumphs of women who dared to challenge the status quo. Rhea Basha as Cathy Freeman takes us on a sprint down memory lane, from school sneakers to gold medal glory, as she transforms into a national treasure. It's a lovely inclusion that tugs at the heartstrings, thanks to Rhea's gorgeous tone. Rounding out the sports stars lineup, Hannah Macri and Zara Lassey take a splash in the past as they share a sweet duet as Olympic swimmers Fanny Durack and Mina Wylie in 'The Water is Where'. It’s a tender moment in the show, adding another layer to the historical range of stories. One of the most fun moments of the show comes from Meg Kiddle, Fiona Kennedy, Deidre Grace, and Sherryl-Lee Secomb taking the stage as the Supreme Court Justices ('Order in the Court'). Their number is playful, rhythmic, and wonderfully connected, blending entertainment with a clever commentary on the judicial system. Hannah Davies gives Mary Magdalene a musical makeover that is fresh and unexpected, with a Southern Belle folk style in 'The Only Girl at the Table' and a toe-tapping rhythm that makes the number an instant crowd-pleaser. Samantha McLaughlin truly stands out as Julia Gillard in 'Not Now, Not Ever'. They have fully embraced the role and the nuances that define Gillard’s dry public composure, right down to those strong diphthongs. Sam finds the humour without undercutting the gravity of the moment, allowing the audience to appreciate the challenges Gillard faced in office while honouring her leadership, gender, and resilience against adversity. Della Days brings a watchful intelligence to Eleanor Roosevelt in 'Ladies of the Press', capturing a woman who knows exactly how to work a room without needing to shout over it. The number focuses on a specific turning point, showing Eleanor not just as a First Lady, but as someone actively shaping the conversation. Laura Fois is magnetic in her portrayal of the iconic artist Frida Kahlo. Her performance transcends mere imitation, breathing life into the complex character, who is celebrated for her striking artwork and vibrant personality. Accompanied by the melodies of Spanish guitar, traditional rhythms, and lyrical language, it transports the audience to the heart of Mexico. Laura's impressive vocal control delivers each note with deep feeling and holds our attention with complete ease. Rowena Orcullo Ryan’s portrayal of Hau Li, Mulan's mother, gives space to a quieter kind of strength. Her performance showcases her soaring vocal abilities through a beautifully crafted interpretation. Through this character, we witness the (often-unseen) struggles and sacrifices that mothers endure in their efforts to support and protect their children. Jeanne Reynolds as Janet Armstrong offers another angle, representing the wife standing in the shadows of Neil Armstrong, and a mother dealing with the heartache of losing a child. Her story 'One Step Closer' reminds us of the women whose lives are shaped around famous men and historic moments. It provides a grounded domestic counterpoint to the more public-facing icons in the show. Led by Musical Director Nate Stevenson, the five-member band is one of the production’s strongest assets, moving confidently through folk, blues, soul, rock, ballad, and musical theatre styles. The score itself by Carmel Dean is strongest lyrically, with many songs telling each woman’s story quickly and passionately. While not every melody feels equally memorable, the cast and band squeeze every last drop out of the material. Sure, some lyrics are as cheesy as a pizza, but that suits the style and spirit of the show. They are not trying to be cold, aloof, or subtle about its message. It is here to make a point. Visually, the production supports the song cycle format well. The projections are useful, helping introduce each woman and quickly orient the audience as the show moves from one figure to the next. In a production that covers so much historical ground, those visual aids are helpful (but easier to read when not in cursive). The costumes are not overdone, giving enough visual suggestion without becoming too literal or distracting. There is a mix of microphone styles used throughout the show, and overall the sound supports the wide variety of styles well. With a cast this large and a score that shifts so often, there is a lot to balance, and the production handles that scope well. The grand finale, 'We Rise', gathers the company together with a strong sense of purpose and celebration. It is the kind of ending that leaves the audience feeling energised, connected, and ready to research at least three women that they somehow never learned about properly in school. This could have felt like a parade of historical figures, but the cast brilliantly brings out the person inside each portrait. Footlights crafts a lively tribute to those women who made history by refusing to disappear. After all, well-behaved women seldom make history.

Title: When the Wind Blew Presented By: Paula-Mary Camilleri in association with Eli J Ball & Shine Performing Arts Academy Genre: Family-Friendly Original Australian Musical Synopsis: When the Wind Blew is a family-friendly musical set in the vast and vibrant Australian bush. Bursting with heart, humour and unforgettable songs, this uplifting production invites audiences of all ages on a journey about courage, friendship and finding where you belong. The story follows Hazel, a young sugar glider terrified of taking her first glide. When a fierce storm violently shakes her from her tree and separates her from her family, Hazel finds herself lost and alone in an unfamiliar world. With no choice but to move forward, she must discover a bravery she never thought she had in order to find her way home. Along the way, Hazel meets an eclectic group of companions: Ziggy, a cautious echidna; Peanut, a gentle koala; and Arthur, a nervous spider. Guided by Coco, a wise wallaby, they travel across the bush to seek guidance from Madam Virginiana, a mystical possum whose tea-leaf riddles challenge each character’s understanding of home and belonging. But danger lurks in the shadows. Diesel, a cunning and vengeful dingo, relentlessly pursues them with the help of his eerie accomplices. As the journey grows more perilous, the group learns that home isn’t just a place—it’s the people who walk beside you. Written by Paula-Mary Camilleri and Eli J Ball, When the Wind Blew is a joyful, moving musical celebrating bravery, connection and the courage to leap, even when you’re afraid. Audition Date: Sunday 12 July 2026 Audition Time: Children's Ensemble - 9AM -10AM Hazel Auditions - 10AM - 11AM Adult Auditions (Ensemble & Leads) - 12PM - 2PM Callbacks - 3PM - 4PM Audition Location and Address: St Benedict's College, Mango Hill, Queensland Audition Self-Tape Due: 5PM, Saturday 11 July 2026 Audition Requirements: Children's Ensemble Audition: Dance call Learn and perform a song from the show Cold read from the script Wear appropriate dance attire and footwear Hazel Audition: Must attend Children's Ensemble session Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Cold read from the script Adult Auditions (Ensemble & Leads): Dance call Tap call (if experienced) Prepare two contrasting 1-minute or 32-bar musical theatre songs Piano accompaniment or backing track accepted Possible cold read from the script Wear appropriate dance attire and footwear Callbacks: Script readings Learn and perform material from the show Online Auditions: Submit two contrasting 1-minute or 32-bar musical theatre songs Include headshot and video link Email submissions to info@shineperformingartsacademy.com.au Video should be filmed waist-up with clearly audible vocals Audition Registration: Via Shine Performing Arts Academy Audition Pack: When the Wind Blew Audition Pack Performance Dates: 18 - 20 December 2026 Performance Times: Friday – 7PM Saturday – 2PM & 7PM Sunday – 2PM Performance Location: Redcliffe Entertainment Centre, Downs Street, Redcliffe, Queensland, 4020 Rehearsal Dates: Read Through - Sunday 19 July 2026 Costumes/Photos - Tuesday 21 July 2026 and Sunday 2 August 2026 Music & Dance Rehearsals - Most Tuesdays, Thursdays and Saturdays from August 2026 Tech Week - Tuesday 15 December – Thursday 17 December 2026 Rehearsal Times: Costumes/Photos - 5PM - 8PM Tuesdays & Thursdays - 7PM - 9PM Saturdays - 1PM - 4PM Tech Week - 5PM - 10PM Rehearsal Location: St Benedict's College, Mango Hill Tech Week - Redcliffe Entertainment Centre Warnings: Theatrical haze Strobe lighting effects Auditionees may be photographed and recorded during auditions and callbacks Performer Age: Hazel: 10–16 years (playing approximately 8 years old) Children's Ensemble: 10–16 years Adult Principal, Featured and Ensemble Roles: 18+ Creative Team: Producers - Paula-Mary Camilleri & Eli J Ball Director - Paula-Mary Camilleri Choreographer & Musical Director - Eli J Ball Casting Consultant - Teagan Fudge Production Manager - James Reid Orchestrations - Eli J Ball Additional Piano/Vocal Arrangements & Score Preparation - Benjamin Heintz Production Website: Shine Performing Arts - When the Wind Blew Other information: This production celebrates the diversity of Queensland’s performing arts community and encourages performers of all backgrounds, experiences and abilities to audition. Applications from culturally and linguistically diverse performers and performers living with disability are strongly encouraged. All cast members aged 18+ must possess or obtain a current Blue Card. Cast members must comply with Shine Performing Arts Academy's Child Safety Action Plan, Code of Conduct and Media Consent policies. The production will be professionally recorded in audio and visual formats. Participation is unpaid. There is no participation fee and no performer compensation. Auditionees should be available for the duration of their audition session. Additional material may be requested during auditions or callbacks. Call time for performances is 90 minutes prior to curtain up. Available Roles/Character Breakdown: Hazel - Female-identifying, 10–16 years (playing approximately 8 years old) | Soprano (belt to Eb5). A young sugar glider who has a deep fear of gliding. Strong actor and vocalist required. Arthur - Male-identifying, 20s–30s | Tenor. A nerdy, quirky and uncertain spider on a journey of self-discovery. Brielle - Male or Female, 18–30 years | Tenor or Mezzo. A sly and mischievous goanna with a talent for trouble. Curly - Male or Female, 18–30 years | Tenor or Mezzo. A dim-witted curlew with a knack for getting into trouble. Coco - Female-identifying, 18+ | Soprano. A wise and warm-hearted wallaby who serves as narrator and guide. Hazel's Mum - Female-identifying, 25+ | Soprano. A caring and devoted parent. Hazel's Dad - Male-identifying, 25+ | Baritone/Tenor. A loving but firm parent who guides Hazel. Stewart / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Flamboyant tiger quoll. Doubles as Passerby and Wombat 2. Joyce / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Owner of the Gum Leaf Cafe. Doubles as Mother Platypus. Peter / Ensemble - Male-identifying, 18+ | Baritone. Co-owner of the Gum Leaf Cafe. Doubles as Ernie the Emu and Wombat 1. Adventurer 2 / Ensemble - Female-identifying, 18+ | Alto/Mezzo. Doubles as Emu 1 and Galah 1. Mal / Ensemble - Male-identifying, 18+ | Tenor. Flamboyant magpie. Adventurer 1 / Ensemble - Male-identifying, 18+| Tenor. Human explorer. Doubles as Kevin the Kangaroo. Lenore / Ensemble - Female-identifying, 18+ | Soprano. A parrot with a sore claw. Doubles as Mother Skink. Belvedere / Ensemble - Male-identifying, 18+ | Tenor. Doubles as Kookaburra. Parrot / Ensemble - Female-identifying, 18+ | Soprano. Doubles as Galah 3. News Reporter / Ensemble - Female-identifying, 18+ } Mezzo-Soprano. Doubles as Galah 2 and Emu 2. Kangaroo / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Doubles within the ensemble. Milly / Ensemble - Female-identifying, 18+ _ Mezzo-Soprano. A flirtatious red wattle bird. Tilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Lilly / Ensemble - Female-identifying, 18+ | Mezzo-Soprano. A flirtatious red wattle bird. Myna Bird / Ensemble - Male-identifying, 18+ | Baritone/Tenor. Father of Tommy Tweets. Lorikeet / Ensemble - Male-identifying, 18+ | Baritone/Tenor. An energetic lorikeet. Ensemble/Dancers/Swings - All genders, 18+. Triple-threat performers playing multiple ensemble roles. Strong technical dance skills, including Broadway-style tap, preferred. Brenda / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A sassy dunnart. Sophie / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A nosy owl. Sophie S / Children's Ensemble - Female-identifying, 10–16 years | Mezzo. A kind lizard. Tommy Tweets / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A pompous myna bird. Oliver / Children's Ensemble - Male-identifying, 10–16 years | Tenor. An energetic lorikeet. Liam / Children's Ensemble - Male-identifying, 10–16 years | Tenor. A nerdy platypus.

Title: The Brothers Grimm Spectaculathon Presented By: Brisbane Arts Theatre Genre: Comedy, Youth Theatre, Fairy Tale Parody Synopsis: Two narrators attempt to recreate all 209 fairy tales of the Brothers Grimm in a wild, fast-paced extravaganza. This is a one-act version of the play being performed at various festivals as a youth production. Audition Date: Saturday June 13th, 2026 Audition Time: 12PM - 4PM Audition Location and Address: Queen Alexandra Home, 347 Old Cleveland Road, Coorparoo, QLD Audition Requirements: Must be between 12 and 17 years old. Prepare a monologue of no more than 1 minute from a fairy tale or a comedic monologue. Auditions will be conducted in a workshop format with groups of up to 10 people. Audition Registration: Book your audition time on the Brisbane Arts Theatre website HERE Audition Pack: The Brothers Grimm Spectaculathon Audition Pack Performance Dates: 31 July - 2 August 2026 (Beenleigh) 7 - 9 August 2026 (Ipswich) 14 - 16 August 2026 (Sunshine Coast) TBC (King Street Players) 22 - 23 August 2026 (Toowoomba) Performance Times: Festival schedule varies; all cast members are expected to be available for all performances. Performance Location: Various festival venues across South East Queensland. Rehearsal Dates: Wednesdays and Saturdays from 17 June 2026 to 29 July 2026. Specific dates listed in the production schedule. Rehearsal Times: Wednesdays - 6PM - 9:15PM Saturdays - 12PM - 4PM Rehearsal Location: Queen Alexandra Home, Coorparoo Lavalla Centre, 58 Fernberg Road, Paddington Warnings: Fast-paced comedy with multiple role changes. No additional content warnings specified. Opportunities are open to people of all genders, abilities, backgrounds, and ethnicities. Performer Age: 12–17 years old. Creative Team: Director - Natalie Murtagh Production Website: Brisbane Arts Theatre - The Brothers Grimm Spectaculathon Other information: Successful auditionees are required to become financial members of Brisbane Arts Theatre if they are not already members. Membership costs $40 and is valid for 12 months. Cast members should indicate any rehearsal or performance conflicts and are expected to be available for all festival performances. Available Roles/Character Breakdown: All cast members will be expected to play multiple roles as allocated by the director. Roles include - Narrator 1 Narrator 2 Girl Dirt Merchant Rumpelstiltskin Enchantress The Devil Prince Rapunzel Audience Member Hansel Gretel Witch Dwarf 1 Dwarf 2 Snow White Witch 2 Prince 2 Johannes Raven King Queen Plinkie Plie Cinderella

< Back THEATRE: The Last Princess of Lebanon - RPAC 12 June 2026 Season: June 12th, 2026 Title: The Last Princess of Lebanon Presented By: Redland Performing Arts Centre Genre: Theatre / Dance Synopsis: From the heart of country Queensland comes a powerful true story of identity, resilience and love. Intimately told through theatre and dance, The Last Princess of Lebanon is a captivating coming-of-age story and a powerful reclamation of self and family. Growing up in the small town of Dalby, a young Nadia imagines the fairytale of her Lebanese great-grandmother and namesake, Nadia Abillama. Born into a royal family during an era of empires, the princess's life of wealth and luxury changed irrevocably when she was sent to Australia in the 1930s. As Nadia steps into womanhood, she begins to understand that the story of a princess, real or imagined, holds more complex and often darker truths. Her journey becomes not only about understanding her inheritance, but about questioning, redefining, and ultimately transforming it. Blending past and present, this moving performance weaves together two generations of women bound by name and spirit. Set against a rich soundscape of traditional Lebanese and contemporary music, the work is both deeply personal and universal. Performance Date: Friday June 12th, 2026 Performance Times: 7PM Performance Location and Address: RPAC Studio, Redland Performing Arts Centre, 2–16 Middle Street, Cleveland QLD 4163 Ticket Costs: Adult – $40 Concession (Seniors, Pensioners & Students) – $35 Groups (8+) – $30 per person Companion Card – Free Adult Member – $36 Senior/Pensioner Member – $31.50 A $6 booking fee applies to phone and online transactions. Ticket Link: Buy Tickets - The Last Princess of Lebanon Warnings: Contains strong coarse language and references to sexual assault and domestic violence. Recommended Age: 13+ years. Duration: 60 minutes Cast: Nadia Milford Creative Team: Written and Performed by Nadia Milford Director - Leah Shelton Music Performed by Samira El Koussa Sound Design - Anna Whitaker Set Design - Penny Challen Production Website: RPAC - The Last Princess of Lebanon Other Information: The venue offers wheelchair access, induction loop hearing assistance, Companion Card acceptance, and accessible seating. The performance takes place in a flat-floor venue with all seats accessible. Patrons requiring assistance are encouraged to contact RPAC prior to attending. This production was supported by the Queensland Government through Arts Queensland and the Regional Arts Development Fund in partnership with Western Downs Regional Council. General admission seating applies. Audience members may choose their seats upon entry. Previous Next

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 Day the Internet Died - Ipswich Little Theatre 12 June 2026 Season: June 12th - 20th, 2026 Title: The Day the Internet Died Presented By: Ipswich Little Theatre Genre: Comedy Theatre Synopsis: On a sunny day in the town of Bloomington, a devastating occurrence happens. No, it’s not famine, or floods, or loss of your basic rights. The internet has gone down! And it will continue to be down! For a week! A whole week! Pandemonium! In a world that is so dependent on the internet for shopping, mailing, and posting pictures of cute babies, how will society function? Not well as it turns out. The Day the Internet Died hilariously explores how inept we are at dating, research, and basic human interactions when we don’t have a screen to look at. Performance Dates: June 12th - 20th, 2026 Performance Times: 7:30PM Performance Location and Address: Walter Burley Griffin Incinerator Theatre, 15 Burley Griffin Drive, Ipswich QLD 4305 Ticket Costs: Adult - $17 Child - $12 Ticket Link: Buy Tickets - The Day the Internet Died Recommended Age: PG Production Website: Ipswich Little Theatre - The Day the Internet Died Other Information: Set in the fictional town of Bloomington, this comedy examines modern society's reliance on technology and social media through a humorous lens. Accessibility information has not been provided. Patrons with accessibility requirements are encouraged to contact the venue or presenter prior to attending. Previous Next