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Spring Awakening – Gold Coast Little Theatre Warnings:  Mature themes, explicit sexual content, abuse, sexual assault, abortion, suicide, coarse language. Directed by: Nathan French Music Direction by : Taylor Holmes Photography: Buttery Smooth Images “The lost still walk behind you.” Adapted from Frank Wedekind’s groundbreaking and controversial play, Steven Sater and Duncan Sheik’s Spring Awakening is a rock musical that remains hauntingly relevant. Set in conservative Germany in 1891, the narrative follows a group of young teens as they grapple with the mysteries of the birds and the bees (without Google to help back then!) Among them are Melchior, a headstrong young man with self-taught knowledge of all sexual matters; Wendla, an innocent and curious girl; and the deeply anxious Moritz, who is struggling with both academics and sexual fantasies. These poor kids attempt to navigate puberty while being crushed beneath religious morality, strict schooling, and inherited shame. This leads to a compelling exploration of sexual awakening, repression, and the tragic consequences of adult neglect and ignorance. Nathan French’ s direction makes excellent use of the space, with frequent split staging allowing multiple emotional realities to coexist onstage. The raised rear platform, ladders, rigid frames, and moving set pieces — designed by Andrew Kassab — are adorned with vines and autumnal leaves, creating a striking visual contrast between natural growth and imposed restraint. The set functions as playground, prison, and battleground all at once. Georgia Ogge’ s choreography prioritises emotional truth over spectacle. Movement is often restrained and deliberate, or suddenly explosive when repression finally cracks. Combat and intimacy are handled carefully, supported by Jocelyn Moore-Carter’ s intimacy coordination; an essential safety net in a production requiring this level of vulnerability. The production uses recorded tracks rather than a live band, which proves a practical choice, with vocal direction by Taylor Holmes . That flexibility became crucial on opening night, as Jack Flanagan (Melchior) was required to project heavily through microphone issues for much of Act One. Despite this, his performance never faltered. His opening solo, “All That’s Known,” immediately showcases a stunning, controlled voice and an effortless, natural acting presence. Flanagan possesses this rare combination of vocal beauty and emotional truth (particularly impressive for an 18-year-old performer) and he anchors the production with beautiful sincerity and depth. From the moment the boys appear in Latin class, rigid with fear before their professor, the male ensemble threatens to steal the show. There is an undeniable je ne sais quoi  to this ensemble that is magnetic to watch. “The Bitch of Living” explodes with raw teenage frustration, desire, and torment. Each boy brings a distinct vocal colour, united by the pressure to succeed in a system stacked cruelly against them. Jolan Walker is excellent as the harsh authority figure, belittling Moritz with chilling realism. Emerson Bell’s Wendla is heartbreakingly believable. “Mama Who Bore Me” (the one song I knew going in) is delivered with pure, childlike curiosity, perfectly capturing a girl in bloom with no understanding of what her body is becoming. Olivia French , as Wendla’s conservative mother, embodies the damage caused by adult discomfort. When Wendla asks how babies are made, all she can offer is, “A woman must love her husband a lot.” Moments of humour and levity arrive through “My Junk,” where the cast become giddy over what seem like absurdly small curiosities: a girl’s stockings, a boy who’s good at maths. The girls soar through tight five-part harmonies, sweet and girlish in their fascination, while the boys are far more physical. Andrew Kassab’ s Hanschen is particularly memorable, hiding in the bathroom reading what he uses as erotica (it absolutely is not). “Touch Me” shifts the tone into something slower and more sensual, with Alex Holmes leading powerfully as Georg. Flanagan and Bell share a beautifully staged “The Word of Your Body,” choreographed with slow, tender touch and bathed in soft lighting. Notably, the pair never make eye contact; reinforcing that this intimacy exists in fantasy rather than reality. Bell continues to impress later in “Whispering,” a stunning number that lands with particular clarity if seated stage right. Ziggy Dutfield’ s Moritz is utterly captivating: awkward, endearing, and quietly funny at first. “And Then There Were None” is delivered with extraordinary vocal power and emotional precision (a Broadway performer reincarnated?) Please know that I wanted to cheer, but the scene ends too abruptly to allow for it! Crushed by academic failure, parental brutality, and sexual shame, Moritz begs for escape. Jolan Walker’s portrayal of Moritz’s father is genuinely distressing, screaming him into a fetal position. Dutfield and Chloe Smith's pairing in “Don’t Do Sadness / Blue Wind” offers a fleeting sense of nostalgia — of childhood, spring, and summer — before anger and despair overwhelm Moritz once more. The poetic lyricism allows both performers to explore yearning and loss with heartbreaking honesty. Laila Chequer De Souza’ s Martha brings the show firmly to real-o’clock  with “The Dark I Know Well.” As she reveals ongoing abuse by her father, the lighting turns red, the men close in, and her voice shifts from pain to rage, with a flicker of strength breaking through. Chloe Smith as Ilse joins her, offering solidarity, shared resilience, and a stunning vocal tone. Andrew Kassab and Nate Purdy are wonderful as Hanschen and Ernst; delicate, tender, and sincere in their portrayal of young queer love. Their scenes feel softly revolutionary within this rigid world. Lighting Designer Ben Vlasich uses intense green lighting patterns to support Wendla and Melchior’s encounter (where she asks him to strike her so she can “feel something” WHAT), causing a sense of unease, power imbalance, and dangerous curiosity. “I Believe” requires enormous bravery from the leads in that spotlight, and both meet the moment with courage and trust. Later, “Mirror-Blue Night” transforms the stage into a swirling, mirror-ball wash of light. Despite the heaviness of Act Two, “Totally Fucked” offers a brief, riotous release. Flanagan climbs into the audience, the ensemble swing from ladders, throw leaves, and gleefully flip us off. This musical often feels like Sex Education ... if it were set in 1891 Germany and stripped of any adult guidance whatsoever.... Speaking of, the adult world, portrayed by just two actors (Olivia French and Jolan Walker) , fails these children at every turn. Religious rigidity, institutional cruelty, and forced silence culminate in devastating consequences. Wendla’s realisation (spoiler) — “ I’m going to bear a child?! But I’m not married? ” — lands with chilling innocence. Emerson Bell is strong throughout, but this moment (and the ones following) could be pushed even further into theatrical drama/horror. “Left Behind” rips the heart out of the room, with Walker’s anguished cries echoing with very real levels of grief. “Those You’ve Known” draws us fully into sorrow, with Flanagan delivering one of the most emotionally raw moments of the night. Spring Awakening  at Gold Coast Little Theatre is bold, emotionally devastating, and deeply human. It asks difficult questions and refuses easy answers. Sit in the front row if you dare — you may leave with fog, spit, sweat, tears, and leaves on you — but you will leave changed. Highly recommended for mature audiences who are ready to listen.

Title:  Three Little Words Presented By:  Ad Astra Theatre Company Genre:  Theatre / Drama   Synopsis:   Three Little Words follows two long-term couples whose carefully balanced friendships are thrown into chaos when one marriage suddenly ends. As loyalties shift and buried truths surface, the four friends are forced to confront what love, commitment, and happiness really mean. As hilarious as it is heartbreaking, Joanna Murray-Smith’s play skewers modern relationships with sharp wit and emotional honesty, revealing how three little words can upend lives.   Audition Date:   February 3rd and 5th, 2026 Callbacks - February 7th, 2026 Audition Times:   7:15 - 10PM Callbacks - 10 - 3PM Audition Location and Address:   Ad Astra - Pluto, 210 Petrie Terrace, Brisbane   Audition Requirements:  Please prepare 2 short monologues that display dramatic and comedic range. Applicants may be asked to perform a cold read during the audition. Audition Registration:   To apply, please email creatives@adastracreativity.com. Please include your current CV in Word or Google Doc only, as well as a RECENT headshot. Please make sure you specify the role/roles you will be auditioning for.   Performance Dates:  April 16th - May 9th, 2026 Performance Times:    Thursdays and Fridays - 8PM Saturdays - 2PM & 7:30PM Performance Location:   Ad Astra - Pluto, 210 Petrie Terrace, Brisbane   Rehearsal Dates:   Two week nights and a weekend day from February 10th, through to opening night.      Performer Age:  Playing ages 40s/50s  Creative Team:  Written by Joanna Murray-Smith Directed by Greg Scurr Production Website:   Ad Astra - Three Little Words   Available Roles/Character Breakdown: Tess (40’s) - A book editor, questioning what she wants from the rest of her life. Curtis (40s) - Tess’s husband of 20 years. A teacher, who thought he was living the perfect life. Bonnie (late 40s - early 50s) - A strong, sophisticated art gallery owner. Annie (40s) - Bonnie’s partner, a masseuse who begins to find her voice throughout the play.

Title:  The Madeleines – Brisbane Cast Auditions Presented By:  The Madeleines Genre:  Vocal Performance / Jazz & Swing Entertainment Synopsis: The Madeleines are a professional vocal trio performing jazz, swing, and timeless classics from the 1920s–1960s in polished three-part harmony with choreography, charm, and high-energy stagecraft. They are launching a new Brisbane cast to perform in a variety of settings including festivals, corporate events, cruise ships, theatres, and more. Audition Date: First Round - Self-tape submissions due February 15th, 2026  Audition Time: Self-Tape Deadline - 12PM Audition Location and Address: First Round - Self-tape (record at home/studio) Call Backs - Australian Performing Arts Conservatory (APAC) – Date TBA Audition Self-Tape Due: Yes - February 15th, 2026 at 12PM AEST Audition Requirements: Submit a self-tape with: A jazz vocal performance of your choice (landscape video) A brief on-camera introduction stating your name, location, instruments (if any), and why you want to join The Madeleines Include a headshot and CV with your submission Audition Registration: Email your self-tape, headshot, and CV to - themadeleinestrio@gmail.com Performance Dates: Shows and bookings will be scheduled throughout 2026 and beyond Production Website: The Madeleines Other information: Shows are paid performances; rehearsal periods are unpaid, with guide tracks, scripts and choreography provided. All performers should have strong close-harmony vocal skills, dance/movement ability, and excellent stage presence with comedic timing and audience engagement. The company welcomes performers regardless of age, ethnicity, disability, gender identity, or background

< Back THEATRE: Inspector Drake and the Perfekt Crime - Mousetrap Theatre 13 Feb 2026 Season: February 13th - March 1st, 2026 Title: Inspector Drake and the Perfekt Crime Presented By: Mousetrap Theatre Co. Genre: Comedy / Whodunit Stage Play Synopsis: When a genius commits murder, the plan seems perfect — but is it foolproof? The legendary Inspector Drake returns (with his bumbling sidekick Sergeant Plod) to unravel a mystery filled with bizarre characters, absurd situations, and laugh-out-loud twists. As they investigate Doctor Short, his strange marriage, missing relatives and even the Pope in the woods, the audience is taken on a hilarious ride through one of David Tristram’s most outrageous comic mysteries. Performance Dates: Friday February 13th – Sunday March 1st, 2026 Performance Times: Fridays & Saturdays - 7:30PM Sundays - 2:30PM Performance Location and Address: Mousetrap Theatre, The Sutton Centre, 157–159 Sutton Street, Redcliffe QLD 4020, Australia Ticket Costs: Adult - $25 Concession - $20 Child / Member - $15 Family (Good for 4) - $65 Ticket Link: Buy Tickets - Inspector Drake Warnings: Contains moderate language and adult humour typical of comic whodunits. Recommended Age: General audiences (recommended 12+ due to humour style) Duration: Approximately 2.5 hours including interval Creative Team: Play written by David Tristram Produced by Mousetrap Theatre Co. at The Sutton Centre. Production Website: Moustrap Theatre Co. - Inspector Drake Other information: The Sutton Centre venue in Redcliffe features tiered seating; patrons requiring specific accessibility assistance (e.g., wheelchair access or easier floor-level seats) should contact the theatre or booking organiser ahead of time. Previous Next

< Back IMPROV THEATRE: An Improvised Musical from the Tuning Forks - Big Fork Theatre 7 Feb 2026 Season: February 7th, 2026 Title: An Improvised Musical with The Tuning Forks Presented By: Bigfork Theatre Genre: Improvised Musical Comedy Synopsis: An entirely improvised musical created live on stage by The Tuning Forks. Using audience suggestions, the performers invent songs, characters, and a full musical story in the moment—no script, no rehearsal, and no two shows ever the same. Performance Dates: February 7th, 2026 Performance Times: 7PM Performance Location and Address: Big Fork Theatre, 252 Saint Pauls Terrace, Fortitude Valley, QLD, 4000 Ticket Costs: Online - $15 At the door - $20 Ticket Link: Buy Tickets - An Improvised Musical with the Tuning Forks Duration: 90 minutes Production Website: Big Fork Theatre - An Improvised Musical with the Tuning Forks Other Information: This performance is fully improvised; audience participation and suggestions are encouraged. Bigfork Theatre is wheelchair accessible and offers accessible seating. Patrons with specific accessibility needs are encouraged to contact the venue in advance for assistance. Previous Next

< Back BALLET: Sleeping Beauty - Fever, QUT Gardens Theatre 21 Feb 2026 Season: February 21st - August 1st, 2026 Title: Ballet of Lights: Sleeping Beauty in a Sparkling Show Presented By: Fever Genre: Dance / Ballet / Family Performance Synopsis: Step into a world where light and movement intertwine. In this mesmerising reinterpretation of Sleeping Beauty , classical ballet is transformed by glow-in-the-dark costumes and stunning choreography, creating radiant visual magic. Suitable for audiences of all ages, this unique performance brings the beloved fairy-tale to life in a dazzling and unforgettable way. Performance Dates: February 21st, 2026 April 24th, 2026 June 13th, 2026 August 1st, 2026 Performance Times: 4PM & 6PM - February 21st, June 13th & August 1st 6PM & 8PM - April 24th Performance Location and Address: QUT Gardens Theatre, Queensland University of Technology, 2 George St, Brisbane City QLD 4000 Ticket Costs: $48 - $81 per ticket Ticket Link: Buy Tickets - Ballet of Lights: Sleeping Beauty Warnings: General audience performance; recommended that children are supervised. Recommended Age: 5+ (children under 16 should be accompanied by an adult) Duration: 60 minutes Creative Team: Choreographed and produced as a Ballet of Lights experience by Luma Artistas S.L. Production Website: Fever - Ballet of Lights: Sleeping Beauty Other Information: Presented in Brisbane at the QUT Gardens Theatre, a wheelchair-accessible venue. Arrive early for best seating within your ticket zone, and check the Fever app/email for session details and any special requirements. Fever is a global event discovery platform connecting audiences with immersive cultural and live-entertainment experiences. Previous Next