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Sister Act Presented by Savoyards Director: Andrew Cockroft-Penman Cultural Consultant: Matthew McKenzie Musical Director: Sally Faint Choreographer: Natalie Lennox Lighting: Gabrielle Burton Sound: Ethan Houley/David Sowdon Costume Design: Kim Heslewood Wig, Hair and Makeup: Lynne Swain Scenic Design: Kaitlin Hague Photography: Sharyn Hall “You mean I gotta go incog-negro?” Sister Act is like that one friend who shows up to a low-key dinner party with a karaoke machine. Inspired by the beloved film, it tells the tale of disco diva Deloris Van Cartier, whose life takes a wild detour when she witnesses a murder and is placed in witness protection at a convent. Suddenly, she's a nun in disguise, navigating a world of strict rules, routines, and a no-nonsense Mother Superior. But when Deloris gets her hands on the struggling choir, she does more than just change their tune. Rudo Banya steps into Deloris Van Cartier like the spotlight has been personally waiting for her. She has the sass, glamour, and quick-fire reactions the role needs, along with a wonderfully funky voice that sits right in the groove of the disco-driven score. Her Deloris knows exactly how to hold a room, whether she is chasing fame, dodging danger, or trying to survive convent life without completely losing patience. As the show goes on, Banya lets Deloris soften without losing her sparkle, which makes her bond with the sisters feel earned, not just inevitable. As Mother Superior, Beth Lowe is one of the production’s great pleasures. She runs on dry humour, restraint, and the permanent expression of a woman that is one more tone-deaf hymn away from snapping. Lowe never has to push too hard for laughs; so much of the comedy comes from watching her try to remain holy while Deloris causes spiritual and musical mayhem around her. “I Haven’t Got a Prayer” is one of the strongest numbers for me. In a score full of big group numbers, this quieter solo cuts through because of Lowe’s control, clarity, and beautifully measured frustration. Wednesday Reign is lovely as Sister Mary Roberts, giving her that gentle, soulful quality of a wallflower used to shrinking into the background. When she finds her voice in “The Life I Never Led,” it is like watching a caterpillar transform into a butterfly. It is a beautiful turning point, and Reign gives it sincerity, stillness, and a voice that immediately stands apart. It is hard to describe without reaching for the usual reviewer clichés, but there is something truly unique about her sound; you want the whole convent to stop and listen. Emma Brack attacks Sister Mary Patrick with the terrifying optimism of someone who has never once considered being chill. She leads “It’s Good to Be a Nun” with absolute conviction. The number is tight, well-rehearsed, and full of character from all the sisters. By the time Brack is roller skating, her cheerfulness has officially exceeded convent speed limits. Helen Beauchamp and Constanza Acevedo Burckhardt also make the most of their featured moments, and across the ensemble, the nuns each have their own little pockets of personality. That is one of the joys of this show: it gives so many women room to be more than background figures. Every time the sixteen nuns shuffled on, I found myself scanning the group to see who was doing what. Watching them evolve from heartfelt but hopeless choir to glittery disco divas is great fun. “Raise Your Voice” captures that charming stage where confidence precedes before perfection, and the sparkly wimples are the kind of whimsical, fabulous design choice I expect from this show. Lachie Gleadhill delivers a highly natural performance as 'Sweaty' Eddie, complete with an authentic Philly cop accent. He finds the sweet spot between nervous, hopeful, and painfully uncool. “I Could Be That Guy” is especially fun because Gleadhill starts with an intentionally lacklustre vocal delivery, then lets the number burst into a vibrant disco fantasy where his actual voice gets to shine. It shows us exactly who Eddie wishes he could be, helped along by groovy ensemble choreography and a great lift from the orchestra percussion. Warryn James shines as Monsignor O’Hara, balancing church respectability with just enough theatrical flair. He captures the church’s growing excitement as the choir moves from humble parish ensemble to accidental religious girl group. Lonnie Toia nails the gang boss presence for Curtis, rocking the perfect look and voice like he was born for the role. He keeps the threat of the story present while still fitting into the musical’s comic world. “When I Find My Baby” is a fun villain number, especially with his three minions backing him up in perfect harmony. William Chen is a standout among the trio as TJ, bringing big comic commitment and strong dance ability. Together with Joshua Langdon as Joey and Montil Djumapili as Pablo, they turn “Lady in the Long Black Dress” into a super fun disco break, packed with falsetto, swagger, and some unserious romantic strategies. The band, led by Musical Director Sally Faint, does excellent work with Alan Menken’s score, giving it the rhythm, groove and disco pulse it needs. The cast has strong solo and featured vocal moments, especially from Banya, Lowe, Reign and Gleadhill. Some of the larger group vocals could still tighten in blend, particularly when harmonies sit underneath movement or dialogue, but you can feel the cast throwing themselves into the score. If there was one area that needed a little more heavenly intervention on opening night, it was sound. The eternal battle! And to be fair, this is a nightmare of a show to mix, with what appears to be every single person wearing a mic. Natalie Lennox’s choreography has a lot of fun with the show’s disco world, pulling from Motown, funk, girl-group, gospel performance style, and a few hip hop touches in the nun choir version of “Take Me to Heaven.” The cast handles a lot of movement across the night, and the nuns in particular have impressive stamina. “Sunday Morning Fever” has strong drive and staging, although some of the dialogue underneath is difficult to catch. Visually, the production has some striking moments. The scenic design by Kaitlin Hague, with stained glass windows, bar setup, fringe glitter curtains, neon signage, neon cross, and disco ball, all helps build the contrast between sacred space and showbiz excess. Gabrielle Burton’s lighting adds plenty of colour or heavenly spotlights. Kim Heslewood’s costumes and Lynne Swain’s wig, hair, and makeup design do a huge amount of work in selling the 1970s world full of sequins, afros, sparkly boots, and even sparkly wimples. There are endless wigs in this production — truly, an entire spiritual journey in synthetic hair! Director Andrew Cockroft-Penman leans into the fun of that clash: disco confidence crashing into convent discipline, nightclub sparkle meeting Catholic restraint, and Deloris landing in a place where “blend in” is very much not her natural setting. The pace is snappy, and the big scenes are busy without tipping into chaos. Except for the convent chase scene, of course, which is a comedic whirlwind of staged mayhem. Having Matthew McKenzie credited as Cultural Consultant adds value, given the story is set in 1970s Philadelphia and brings together Black disco culture, Catholic settings, and the social dynamics of Deloris suddenly disappearing into convent life. In the end, Sister Act is about sisterhood, community, courage, and the terrifying but wonderful act of stepping forward and letting yourself be heard. Savoyards’ production has plenty of sparkle, plenty of heart, and enough nuns in glittering headwear to make even the most reluctant churchgoer consider joining the choir.

The 25th Annual Putnam County Spelling Bee Presented by: Hanson Creative Venue: BackDock Arts Director / Choreographer / Designer: Emma Hanson Assistant Director: Lucy Wilding Music Director: Benjamin Richards Photography: Pip Suschinsky and Mia Lierich “Adulthood brings its own peculiar rejections.” I had better use some fancy vocabulary in this review, given the circumstances... This was my first time seeing The 25th Annual Putnam County Spelling Bee, and it didn’t take long to see why people speak about it with such fondness. Hanson Creative’s production at BackDock Arts was part musical, part competition, part group therapy session for overachieving, socially awkward kids trying to spell their way to glory. It was a lexical battlefield with juice boxes! The show follows six young contestants as they navigate parental pressure, perfectionism, perception, and their own blossoming personalities. Each child brings something different to the competition: overachiever Marcy Park, politically aware Logainne Schwartzandgrubenierre, homeschooled Leaf Coneybear, intense William Barfée with his “magic foot,” lonely Olive Ostrovsky, and returning champion Chip Tolentino, who is dealing with some inconvenient puberty-related distractions. Emma Hanson took on the roles of director, choreographer and designer, with Lucy Wilding assisting and Benjamin Richards leading the music. Hanson’s direction balanced broad comedy with real vulnerability, which is essential in a show that could easily become a parade of wacky characters if the audience did not care about them. The scenes and songs may seem silly, but they require an enormous amount of precision in both direction and choreography from Hanson. The small set resembled a school gym, complete with posters and banners, lettered wooden blocks, an adjudicators’ table, and the all-important microphone. It had the look of a community event assembled with care. Plus, it gave the cast lots of space for the fast-paced action. BackDock Arts was a perfect fit for this kind of close-up comedy. The audience gets pulled into the spelling bee almost immediately, not just as spectators but as part of the competition! Three members of the audience are always roped in to join the bee and I salute them. The chosen participants (only in Act 1) were excellent at spelling words, joining choreography when needed, and reacting in the moment. It takes courage to stand in the spotlight, all while fictional kids are having emotional breakdowns around you. The last audience member left standing kept getting words correct, which made the whole thing even funnier. Eventually, the last-resort Māori word arrived and did its job. (Props to Caleb Hocking's pronunciation of it!) The crowd was audibly enjoying themselves throughout, with plenty of snort-laughing and polite clapping for correctly spelled words like proud parents at an actual spelling bee. Kimberley Rigby brought sunshine and support to Miss Rona Peretti. She embodied the perfect former-champion-turned-host energy, taking the bee very seriously while genuinely caring about these strange little humans and their emotional well-being. Her vocals were especially beautiful in “The I Love You Song,” where her soaring soprano blended gorgeously with Reid McWha and Megan Hargraves. Isabella Hansen brought Mitch Mahoney to life as the comfort counsellor doing community service, marking each elimination with the solemn ritual it deserved. Caleb Hockings excelled as Vice Principal Douglas Panch, embodying the pedantic assurance of a man destined to wield a clipboard. He dished out progressively unhinged definitions with an official demeanour and deadpan wit, no matter how hilarious the “use it in a sentence” examples became. (My favourite was 'exclamation.') Panch is one of those roles where the actor has to control the pacing of the whole room, especially when audience participants are involved, and Hockings handled that brilliantly. The contestants each brought their own unique juvenile energy. They showed up with name tags and fully formed neuroses, like a bunch of precocious stress machines ready to go. Alicia Lorie as Leaf Coneybear may very well be my spirit animal. Leaf was gregarious in the way only a homeschooled child in a cape can be, and Alicia captured that strange little brain beautifully. Their “I’m Not That Smart” solo was wonderfully weird, using vocal modulation, puppet work, and adorable kiddie logic. Lara Anderson played Logainne, bringing a perfect lisp and a fierce little political-warrior intensity to the role. She had the focused determination of a child who has attended more political meetings than birthday parties, and her “Woe Is Me” was a great character number, capturing both Logainne’s aplomb and the pressure placed on her by her two dads. Meg Hargraves gave one of the strongest vocal performances as Olive Ostrovsky, the sweet, neglected and nervous contestant who finds comfort in words. “My Friend, the Dictionary” was beautifully sung and hinted at a lot going on beneath the surface. By the time the show reached “The I Love You Song,” alongside Kimberley Richards and Reid McWha, Hargraves had made Olive so sympathetic that the show’s heart grew three sizes. Varni Keioskie as Marcy Park was polished, terrifyingly capable, and one extracurricular away from total combustion. Her precise elocution made “I Speak Six Languages” a standout solo, presenting Marcy as the queen of bragging and the patron saint of overcommitted children. With a cameo from Jesus himself, the number became a glorious academic spiral of perfectionism, pressure and identity crisis. Reid McWha’s William Barfée was a theatrical little gremlin, full of rage, self-importance and deeply serious foot-based spelling technique. With a touch of Alan Cumming about him, Reid captured all the irritation, intelligence and strange magnetism the role needs. Dominic Ambrose handled Chip Tolentino’s spectacular adolescent downfall in “My Unfortunate Erection,” which is a hard song to pull off (pun intended). Throwing snacks at the audience mid-crisis, and the number brought exactly the kind of mortified teenage chaos the role needs. The ensemble work was one of the production’s strengths, with the cast easily shifting into other assorted roles without taking focus from the contestants. At times, they even gestured to people in the audience as “characters,” which suited the playful, semi-improvised feel. Standout group numbers like the cacophonous “Pandemonium,” “Goodbye” and “Second” captured the rising stakes of the competition while keeping the tone light. The band, led by Benjamin Richards, was precise and well-balanced in the space, supporting the cast through the score’s fast comic rhythms. Everyone in this cast must have studied hard — not only their spelling, but their timing, character work, and emotional nuances. This is a sesquipedalian (yes, I used a thesaurus) way of saying: quirky characters, great musical! Hanson Creative’s The 25th Annual Putnam County Spelling Bee celebrated the kids who are trying their best. On the surface, it is a musical about spelling increasingly difficult words. Really, it is about growing up, feeling out of place, wanting to feel special, and finding moments of connection through competition. I would call that a S-U-C-C-E-S-S.

Title: &Juliet Presented By: Gold Coast Little Theatre Genre: Pop Musical / Jukebox Musical Synopsis: &Juliet flips a familiar story on its head, imagining what might happen if Juliet chose a different ending. Driven by a soundtrack of contemporary pop hits, the show celebrates courage, identity, self-discovery and the freedom to write your own story. Audition Date: First round online auditions due by 5:00pm Saturday 25 July 2026 Callbacks: Saturday 1 August 2026 2:00pm - 6:00pm Callback Location and Address: NAPA Studios, 3 Stevenson Court, Burleigh Heads Audition Requirements: Submit a first-round audition video including: Approx. 90 seconds of a song in the style of the show or character One short monologue in the style of the character auditioning for Ensemble-only auditionees do not need to submit an acting piece Callback auditionees will attend a mover or dancer call Audition Registration: Register for an audition Audition Pack: Download the audition pack Performance Dates: 12 November - 5 December 2026. Performance Location: Gold Coast Little Theatre, 21a Scarborough Street, Southport Rehearsal Times: Mondays and Wednesdays: 6:30pm–9:30pm, Sundays: 2:00pm–6:00pm, extending to 8:00pm once rehearsals move into GCLT Rehearsal Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads Then Gold Coast Little Theatre, 21a Scarborough Street, Southport Performer Age:17+ Creative Team: Director & Choreographer: Kim Reynolds Associate Director: Emily Monsma Associate Choreographer: Cooper Swain Vocal Director: David Valks Stage Manager: Di Morgan Production Website: Gold Coast Little Theatre Auditions Other information: Questions: juliet@gclt.com.au Early submissions are encouraged. Cast members will be required to follow the production’s Safe Space Policy. All cast must be available for technical rehearsals, dress rehearsals and performances. Availability may affect casting. Available Roles/Character Breakdown: Juliet (female-presenting, early 20s) Pop soprano with strong belt. Fierce, passionate and full of life. A dynamic leader with humour, strength and emotional depth. Anne Hathaway (female-presenting, mid 30s–40s) Mezzo with strong belt. Smart, grounded and modern. Offers perspective, wit and emotional clarity as she co-authors Juliet’s new journey. William Shakespeare (male-presenting, mid 30s–40s) High baritone/tenor. Confident, theatrical and frequently outshone by others. Blends ego with vulnerability. Angelique (female-presenting, 35+) Mezzo with strong belt. Juliet’s nurse; bold, confident, flirtatious and warm, with strong comedic timing. May (non-binary/gender diverse, early 20s) Flexible voice type. Warm, thoughtful and self-assured. Explores identity, love and belonging with quiet strength. François (male-presenting, 20s–30s) Tenor. Earnest, kind-hearted and awkward. Finds courage through connection and self-expression. Lance (male-presenting, 35+) Baritone. François’s father. Traditional and proud, but with a soft centre and openness to change. Romeo (male-presenting, 20s–30s) Tenor. Charismatic, flamboyant and full of himself. A comic romantic lead with swagger and big personality. Shakespeare’s Players (all gender presentations, all voice types, 17+) A versatile ensemble who shape the worlds of the production through movement, vocals and storytelling.

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 MAGIC: Theatre of Magic - Empire Theatre 14 Feb 2026 Season: February 14th - December 5th, 2026 Title: Theatre of Magic 2026 Presented By: Empire Theatre Genre: Magic / Illusion / Comedy Synopsis: Experience an intimate, spellbinding night with Australia’s top magicians and illusionists. Hidden within The Empire, this up-close 90-minute show blends mind-bending illusions, comedy and close-up magic - a magical night out for all ages. VIP ticket holders enjoy front-row seating and a complimentary arrival drink. Performance Dates: February 14th, 2026 May 9th, 2026 September 5th, 2026 December 5th, 2026 Performance Times: 5PM & 7:45PM Performance Location and Address: Supper Room, Empire Theatre, 56 Neil Street, Toowoomba QLD 4350 Ticket Costs: VIP (limited availability) - $89 Adult - $69 Ticket Link: Buy Tickets - Theatre of Magic Warnings: General family-friendly content, recommended age applies. Recommended Age: 10+ Duration: Approximately 90 minutes Production Website: Empire Theatre - Theatre of Magic Other Information: This is an intimate magic experience with highly interactive performances. The Supper Room is wheelchair and mobility-scooter accessible, and Companion Card bookings are available through the Ticket Office or by phone. Patrons with access needs should contact the Empire Theatre Box Office to discuss seating and assistance options. Previous Next

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