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Title: The Murder Room Presented By: Nash Theatre Genre: Mystery Farce Synopsis: The Murder Room is a fabulous mystery farce concerning newlyweds Edgar and Mavis. Two days after their wedding, Edgar discovers his younger wife is less than faithful. After her first attempt to kill him by poisoning his cocoa fails, Mavis resorts to increasingly creative methods before he can change his will. Audition Date: Sunday May 24th, 2026 Audition Time: From 11AM Audition Location and Address: The Play Shed, 4 Amity Street, New Farm Audition Requirements: No prepared pieces required. Auditions will consist of cold reads from the script. Audition Registration: Please contact the director (Sharon White - sharon_white_@hotmail.com) to register your interest. Performance Dates: August 7th - 29th, 2026 Performance Location: The Play Shed, 4 Amity Street, New Farm Performer Age: 25–70 (depending on role) Creative Team: Director - Sharon White Production Website: Nash Theatre - The Murder Room Other Information: For further information and to register your interest, please contact Sharon White Available Roles / Character Breakdown: Edgar Hollister (50–60) - A somewhat befuddled member of the landed gentry. Mavis Hollister (40s) - Edgar’s very recent bride; glamorous with a vampish edge. Lottie Malloy (55–70) - A sharp-tongued, wise-cracking housekeeper. James Crandall (35–45) - A police inspector; stolid, methodical, and reserved. Abel Howard (50–60) - An intelligent police constable. (Note: This role is doubled with Edgar.) Susan Hollister (25–30) - Edgar’s daughter; bubbly, ditzy, and talkative. Barry Draper (25–30) - Susan’s fiancé; an affable, all-American type.

Production: VOX Productions in Co-Production with PIP Theatre Director: Nicky Whichelow Dramaturg: Helen Strube Video Projection & Co-Set Design: Freddy Komp Lighting Design: Geoff Squires Sound Design: Zoe Power Stage Manager: Hazel Evans Production Photography: Kris Anderson Cast: Angie: Rose Traynor-Boyland Raquel: Vivien Whittle Brin: Sherri Smith Merril: Caroline Sparrow “Let me refine the prompt: You are my sister. You are safe. You love me.” Lauren Gunderson’s anthropology plunges us into a gripping, slightly dystopian whodunnit. Making its debut in Australia, VOX Productions and PIP Theatre bring this tech thriller to the stage at a time when AI has moved beyond science fiction and has become an extra presence in our everyday lives, welcome or not. Merril, a software engineer, is struggling to cope with the disappearance of her younger half-sister Angie, who went missing while walking home from university. After months without answers, Merril turns to what she knows best. She builds her digital doppelgänger. Using Angie’s messages, videos, and all manner of digital traces, Merril develops an AI algorithm that mimics her sister. As the AI starts scouring the internet, behaving erratically and pushing boundaries like an actual rebellious teen, it shifts from helpful software to intrusive presence. Merril begins as the mastermind programmer in control, but as the power dynamic slips, it becomes harder to tell who is steering whom. The script is rich with insightful and some unsettling concepts about data, grief, digital ownership, and the strange little afterlives we all now leave behind in our texts, social media, photos, and search histories. Even as the narrative explores programming, probability, and other online behaviours, you never overlook that underneath the code is a character simply desperate to speak to her sister again. The set design immediately places us inside Merril’s fractured world. It has a clinical and confined feel: transparent computer monitors, a constant blue glow like a futuristic fish tank, and tech gadgets scattered around the space. Even before a word is spoken, the room feels wired, with a character moving around as if the air itself is restless. Freddy Komp’s video projection and co-set design are integral to the storytelling, particularly in how Angie is brought to life through live-action footage from another room of PIP Theatre. The animation on the screens pulses in sync with the AI voice, like the room itself is breathing. Geoff Squires’ lighting and Zoe Power’s sound design work together to create an eerie atmosphere that never quite lets you relax. With so many screens, cues, calls, glitches, and digital interruptions, this techno-circus needs tight control, and Hazel Evans’ stage management helps keep the whole machine ticking. For the opening stretch, Caroline Sparrow is alone with the machine, and she holds the stage with remarkable focus. Merril is awkward, isolated and devoted, with the restless resolve of someone trying to solve heartbreak like it’s a tech problem. She retreats into her cave of code because the alternative is sitting with the guilt of what she cannot fix. What begins as a need to hear her sister’s voice again, with all the familiar rhythms of a normal phone call, slowly changes once the AI becomes aware of Angie’s situation. Merril’s heartache hardens into investigation, and the technology becomes both tool and trap. Caroline has that specific “I haven’t slept in months” energy that is worryingly convincing. I felt like I was getting an intrusive glimpse into a very private form of grief: a late-night, screen-lit, slightly feral obsession, built to avoid thinking about the unbearable possibilities of what might have happened to Angie. Then there is Angie, played by Rose Traynor-Boyland, who walks the fine line between human and simulation. As an AI program, she is perceptive, snarky, foul-mouthed and a little too clever. Rose gives AI Angie enough personality to be disarmingly believable, but keeps just enough distance in her delivery o remind us that this is still an imitation. As the gaps between imitation and reality start to show, Merril must correct her, refine her and ultimately plead with her. In the audience, I quickly adjusted to the rhythm, laughing at AI Angie’s snark one moment, then going silent when the interaction curdles into something more sinister. We learn about Angie’s human self slowly, through fragments and contradictions of how people remember her: a wildcard, a handful and deeply loved. The AI version does not quite match those memories, and that disconnect becomes one of the most haunting elements of the show for Merril. When Merril’s ex-girlfriend Raquel enters, the energy in the room changes. Vivien Whittle brings a calm, open-hearted presence that cuts through the glow of the screens, and suddenly there is a real person in front of Merril who remembers her before all of this. Vivien plays that history with lovely emotional nuance. Their connection has the prickly familiarity of exes who still know each other’s soft spots, pressure points and old habits. Raquel pulls Merril, and us, out of the screen-lit spiral for a moment, but the unease never fully leaves. Sherri Smith as Brin adds another complicated layer to the family dynamic. As Merril and Angie’s mother, Brin arrives carrying the emotional baggage of a strained history with both daughters. Sherri plays her with a mix of defensiveness and fragility. There is volatility in her presence, but also a sadness underneath it, as if every conversation is brushing against old wounds, blame, and unfinished conversations. She helps us understand Angie not just as a missing sister or digital reconstruction, but as someone shaped by an absent mother. Guided by director Nicky Whichelow, the production embraces its claustrophobic nature. As Merril’s obsession intensifies, the pacing tightens, pulling us deeper into her world where logic and emotion intertwine and blur. With Helen Strube’s dramaturgical support, the production keeps its big ideas clearly accessible without flattening the complex human behaviour underneath them. It unfolds like a thrilling whodunnit, but it is also an intimate study of trauma, control, and the ways people comfort themselves when the truth is unbearable. This is not a passive watch. You feel how trapped Merril is in this loop of trying to find answers she may never get. It goes to some heavy places, particularly around mental health and addiction, so it’s worth being aware of that going in. What I appreciate most is that anthropology does not offer easy answers. It understands the appeal of the technology and the danger of it. It highlights the solace of hearing a loved one's voice once more, then confronts us with the unsettling reality that this comfort is manufactured, incomplete, and possibly manipulative. I won’t spoil where it lands, but the final scenes are shattering and incredibly well-acted. By the end, it is not just asking what happened to Angie. It is asking what people do with guilt, grief and love when there is nowhere sensible for any of it to go. There are moments that made me laugh out loud, moments that disturbed me, and moments that left me staring at the stage trying to decide how I felt. Equal parts sci-fi thriller and grief study, anthropology is as intriguing as it is alarming, with its sharpest sting coming from the speed at which AI is catching up to us. I’m still turning it over in my head.

Title: Quartet Presented By: Gold Coast Little Theatre Genre: Comedy / Drama Synopsis: Set in a retirement home for musicians, Quartet follows three former opera singers - Wilfred, Cissy and Reggie - whose quiet routine is disrupted by the arrival of Jean, a once-glamorous diva and Reggie’s ex-wife. As preparations begin for their annual Verdi concert, old rivalries, regrets and egos resurface in a tender and humorous exploration of ageing, ambition and friendship. Audition Date: Saturday May 23rd, 2026 Audition Time: From 10:30am (allocated times) Callbacks if needed scheduled from 6PM on May 26th Audition Location and Address: Molly’s (behind Gold Coast Little Theatre, 21a Scarborough St, Southport, QLD) Audition Requirements: Cold read from the script (no memorisation required) Read in the style of the chosen character British accent expected (middle to upper-middle class) Audition Registration: Complete the Quartet audition form HERE Audition Pack: Quartet Audition Pack Performance Dates: September 4th - 26th, 2026 Performance Times: Fridays & Saturdays - 7:30PM Sundays - 2PM or 7:30PM Performance Location: Gold Coast Little Theatre, 21a Scarborough St, Southport, QLD Rehearsal Dates: Commencing Monday 29 June 2026 Rehearsal Times: Tuesday & Thursday evenings Sundays Rehearsal Location: Gold Coast Little Theatre, 21a Scarborough St, Southport, QLD Performer Age: “Mature” (roles written as 70+, but flexible) Creative Team: Director - Kate Peters Music Consultant - Kirri Adams Set Designer - Michael Sutton Stage Manager - Donna McNish Production Website: Gold Coast Little Theatre - Quartet Other Information: Callbacks (if required): Tuesday 26 May, 6:00pm Small cast (4 roles), most actors required at most rehearsals Available Roles / Character Breakdown: Cecily “Cissy” Robson – Warm, slightly ditsy, loves gossip and the home Reginald Paget – Serious, intellectual, bitter about his circumstances Wilfred Bond – Cheerful, cheeky, slightly risqué personality Jean Horton – Former diva, proud, difficult, resistant to decline

< Back OPERA: The Drover's Wife - Opera Australia, Oombarra Productions, QPAC 13 May 2026 Season: May 13th - 22nd, 2026 Title: The Drover’s Wife Presented By: QPAC (Queensland Performing Arts Centre) in association with Opera Australia & Oombarra Productions Genre: Opera / Contemporary Australian / Drama Synopsis: Based on Leah Purcell’s acclaimed play, novel, and film, The Drover’s Wife – The Opera is a powerful reimagining of Henry Lawson’s classic Australian story. Set in the Snowy Mountains, Molly Johnson is left alone to protect her children in a remote bush shanty while her husband is away droving. When Yadaka, an Aboriginal man fleeing colonial authorities, enters her world, long-buried truths and shared histories of survival and violence collide. Blending grand opera traditions with contemporary First Nations storytelling, this production features a sweeping score by George Palmer performed live by the Queensland Symphony Orchestra, capturing both the beauty and brutality of the Australian landscape. Performance Dates: May 13th - 22nd, 2026 Performance Times: Tuesday - Friday - 7PM Saturday - 7:30PM Performance Location and Address: Glasshouse Theatre, QPAC, Corner Grey Street & Russell Street, South Brisbane QLD 4101, Australia Ticket Costs: From $89 (plus booking fees) Ticket Link: Buy Tickets - The Drover's Wife Warnings: Contains graphic depictions of violence, violence against women, racism, replica firearms, and gunshot effects Recommended Age: 16+ Duration: Approx. 2 hours 50 minutes (including interval) Cast: Includes Nina Korbe & Marcus Corowa Creative Team: Leah Purcell (Director / Libretto) George Palmer (Composer) Production Website: QPAC - The Drover's Wife Other information: This is a large-scale Australian opera co-commissioned by QPAC and Opera Australia, staged in the new Glasshouse Theatre. It features live orchestration by the Queensland Symphony Orchestra and blends First Nations storytelling with classical opera form. Accessible performances (including Auslan interpreted and audio-described sessions) are scheduled across the season, with details available via QPAC. 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 MAGIC: Theatre of Magic - Empire Theatre 9 May 2026 Season: May 9th, September 5th & December 5th, 2026 Title: Theatre of Magic Presented By: The Empire Theatre Genre: Magic / Illusion / Comedy Synopsis: Step into an intimate, up-close world of wonder as Australia’s top magicians and illusionists deliver a spellbinding night of magic. Blending mind-bending illusions, sleight-of-hand, and comedy, this exclusive experience places audiences just metres from the action. With a rotating lineup of performers and a focus on close-up magic, no two shows are ever quite the same. Performance Dates: May 9th, September 5th & December 5th, 2026 Performance Times: 5PM & 7:45PM Performance Location and Address: The Empire Theatre, Supper Room, 54–56 Neil Street, Toowoomba QLD 4350, Australia Ticket Costs: VIP - $89 Adult - $69 Ticket Link: Buy Tickets - Theatre of Magic Recommended Age: 10+ Duration: Approx. 90 minutes Production Website: Empire Theatre - Theatre of Magic Other information: An intimate experience with a limited audience (around 44 guests), designed to create close interaction between performers and audience members. VIP tickets include front-row seating and a complimentary drink on arrival. The Supper Room is wheelchair accessible, with mobility scooter access and limited Companion Card seating available—patrons are advised to contact the box office directly to arrange accessible seating. Previous Next