Dead Bat on the Night Shift Presented by: Observatory Theatre Venue: PIP Theatre Date attended: 27 August 2026 Written by: Samantha Hill Director / Set Design / Costume Design: Lachlan Driscoll Dramaturg: Emma Churchland Vision Designer: Freddy Komp Sound Designer / Stage Manager: Hannah Page Lighting Designer: Noah Milne Photography: Images by Anderson / Creative Futures Photography Content warnings: Coarse language, sexual references, misogynistic and racist language, fake firearm, gunshots, staged violence, fake blood, haze, and sudden flashing lights. “Hey Siri. How to murder...?” Written by Samantha Hill and presented by Observatory Theatre at PIP Theatre, Dead Bat on the Night Shift centres on Sloane (Claire Pearson), an intelligent, withdrawn employee who's come up with a dramatic plan to improve workplace morale. Her solution? Give her boss a permanent vacation. Six feet under. To be fair, Dave is the worst. I just recently watched 9 to 5, and it seems like I picked an excellent week for watching fictional office tyrants. Darren King as Dave sits comfortably among those men who mistake a tiny bit of managerial authority for evidence of their own superiority. He’s a sexist, racist bully who’s extremely comfortable making everyone else squirm. The audience kept up a chorus of groans whenever Dave launched into another revolting scene. You could feel the reaction ripple through the room, especially from the women hearing a fictional man say something we’ve all, unfortunately, heard some version of before. King gives Dave exactly the kind of cringey swagger that makes him painfully familiar. When we walk in, Sloane is already onstage, rocking the ultimate comfort combo of a hoodie, sweats, and a fanny pack. She’s giving the wall her best dissociative stare. Around her is a deliberately miserable office of grey surfaces, boxes, and a whiteboard covered in the sort of workplace nonsense that suggests somebody attended a management seminar and returned with several markers and no useful ideas. Customer service has rarely looked so bleak. Claire Pearson does a lot of the heavy lifting in this show, with Sloane onstage for almost the entire 150 minutes. She doesn’t say much for long stretches, instead expressing herself through internal asides, sudden outbursts, quirky facts, and wonderful facial reactions. Some parts of Sloane's character might really resonate with neurodivergent folks. She retreats into facts rather than socialising, likes systems that make sense to her, struggles to express emotion directly, and seems way more at ease planning a complex murder than chatting about the weather at work. There are even binders involved in said planning. She is also enormously capable, yet almost none of her strengths are valued in a workplace more interested in whether she can perform the expected version of customer-service friendliness. Pearson understands the power of stillness. Sloane is like a pressure cooker for most of the play, holding everything in and giving very little away. You can tell there’s always far more happening underneath than she knows how to express. So when that restraint finally cracks, it really hits. At one point, Sloane screams, and the sound went straight through my soul. It was like years of frustration, grief, rage, and all the words she has never been able to say coming out at once. Much of that history takes physical form through Clara (Ellen Hardisty), Sloane’s deceased mother and ultimate ghostly bully. She taunts Sloane, puts her down, and voices the cruellest things Sloane believes about herself. With exposed brain tissue and torn clothing from the car accident that killed her, Clara is a pretty horrifying sight (and that’s before she opens her mouth). But what she represents is even worse. She becomes the embodiment of Sloane’s unresolved abandonment, carrying the damage left by a mother who gave her up to foster care. Hardisty also plays another Clara, completely unrelated to Sloane’s mother. Office Clara is firm, quiet, and strong, carrying her own private grief. Hardisty separates the two women beautifully, giving one a vicious, needling presence and the other a quiet resilience. The doubling also works nicely in a play so interested in identity and the versions of people we create in our own minds. And then there is the dearly departed bat. Sloane finds a dead bat outside work and starts carrying it around. Calum Johnston’s puppet is macabre, peculiar, and somehow increasingly companionable as it begins to “speak” to her. That is the strange charm of Samantha Hill’s writing. The absurdity keeps opening little doors into something sadder. For all its dark comedy, Dead Bat on the Night Shift has a real soft spot for the odd little families that form in terrible jobs. You might hate the workplace itself, but sometimes the coworker beside you is the only reason you make it through another shift. Jaxon Norman gives Jonathan an instantly gentle quality. He’s helpful and sweet without needing a flashing “Nice Guy” sign above his head. In Sloane’s world, where she expects criticism, abandonment, or misunderstanding, simple kindness really counts. Clarise Ooi brings bright, distinctly Gen Z energy to Aysu. She’s the lively uni student of the group, full of youthful optimism and momentum. Jenna Murphy became one of my favourite recurring presences throughout the show. Pamela, bless her heart, is a bit of a doormat but stays relentlessly positive despite being injured (wrist guard and all). Murphy keeps popping up as a Centrelink worker, gun seller, glow-worm tour guide, and plenty more. Her comic instincts make each one distinct, and by the time another variation of “Pam” appears, simply recognising her becomes part of the joke. Lachlan Driscoll’s direction keeps us firmly inside Sloane’s world. She becomes our guide, speaking directly to us through narration and asides, while completely zipping up around the people actually standing beside her. Those moments are invisible to everyone else, and sometimes all it takes is one quick glance out to us (very The Office) to say exactly what she’s thinking. The world around her stays fluid too, with rapid scenes, actors shifting between characters, and simple visual changes moving us between settings. Driscoll's costume design tells us plenty as well. Sloane begins in clothes built around comfort, practicality, and invisibility, as though being unnoticed is preferable to being perceived. Later, she changes onstage into more conventionally professional clothing, making the transformation part of the storytelling. Jonathan’s preppy young-adult look suits his gentle manner, Aysu is unmistakably a Gen Z uni student, Office Clara dresses with sensible Gen X practicality, and Pamela’s brighter colours match her determined positivity. Dave, meanwhile, is just... Dave. Freddy Komp’s vision design extends Sloane’s inner world through drawn projections of buildings, beaches, caves, offices, bookshelves, and other environments. Their chalkboard-like style gives the whole thing a hand-drawn quality, as though we’re watching Sloane’s imagination sketch the world around her. Noah Milne’s lighting and Hannah Page’s sound are woven tightly into the action. A lot of the comedy relies on cues landing at exactly the right moment, and they do. Voiceovers, gunshots, flashes, and sudden shifts between Sloane’s external and internal worlds all land with sharp timing. Lastly, motifs of bats, twelves, and tarot cards appear throughout the story, tying into ideas of cycles, fate, prediction, and whether our futures are already set or still ours to mess with. One line cuts straight through all of it: “How dare you dream so small for your life?!” That, far more than the murder plot, feels like the challenge at the centre of Hill’s play. Samantha Hill began writing Dead Bat on the Night Shift 20 years ago as a young graduate feeling stuck, uncertain, and unseen. That backstory adds another dimension now. The frustrations of thankless work are funny because, let’s face it, they’re still painfully familiar for plenty of us. But the play also understands why telling someone to “just quit” or “find something better” can be wildly unhelpful. Choice gets complicated when life has taught you to expect very little. Sloane even goes through the torturous process of Centrelink and JobSeeker (iykyk), turning the whole thing into a bureaucratic circus. Quitting a lousy job is one thing. Then comes figuring out what’s next, proving you deserve assistance, dealing with judgement from strangers, filling out a thousand forms, and somehow staying sane through all of it. Sloane may be very good at planning a murder, but figuring out what she actually wants from her own life is much harder. For all its terrible bosses, maternal trauma, murder prep, and dead bats, Dead Bat on the Night Shift still has a surprising amount of heart. It will particularly appeal to audiences who enjoy black comedy, theatrical absurdity, and character-driven contemporary writing. It’s weird, funny, and is certain to catch you off guard.

Title: Take The Stage 2026 Presented By: Elements Theatre Co. Genre: Community Performance Showcase / Variety Performance Synopsis: Take The Stage is a free community performance showcase celebrating local talent, creativity, and confidence. Open to performers of all ages and experience levels, the event welcomes singers, dancers, actors, musicians, comedians, and variety performers. Participants can perform solo, as a duo, or as part of a group. Rather than operating as a competition, Take The Stage has no judges, scores, or prizes and is designed simply as an opportunity for members of the community to perform and share their talents. Audition Date: Saturday 19 September 2026 Audition Time: From 12:00pm. Individual audition times will be allocated after registrations close. Audition Location and Address: Elements Theatre Co., 1A/131–135 Old Pacific Highway, Oxenford QLD Audition Requirements: Prepare the act you intend to perform in the final showcase if selected. Maximum performance length is 4 minutes. Solo, duo, and group performances are welcome. Acts must be family-friendly and suitable for audiences of all ages. If using music, bring your track on your phone or USB. If using props or equipment, bring these to the audition and ensure they can be set up quickly. Costumes are welcome but are not required at auditions. Wear comfortable clothing and appropriate footwear suitable for your act. Arrive 15 minutes before your allocated audition time for check-in, warm-up, and to meet the team. Performers will present their act to the coaching team and may receive questions or feedback. Applicants under 18 must provide parent/guardian details. Audition Registration: Take The Stage 2026 Registration Form Registrations close Monday 7 September 2026 at midnight. Audition Pack: Take The Stage 2026 Information Pack Performance Date: Sunday 4 October 2026 Performance Times: 3:00pm and 6:00pm Performance Location: Elements Theatre Co., 1A/131–135 Old Pacific Highway, Oxenford QLD Rehearsal Dates: Friday 2 October 2026 – Free Performance Workshop Rehearsal Times: 1:00pm–6:00pm. Successful acts will select a one-hour workshop session, with each act receiving approximately 10 minutes of one-on-one coaching within the open workshop setting. Warnings: Acts must be family-friendly and suitable for audiences of all ages. Please note the studio is located upstairs and is accessed via stairs. There is currently no wheelchair access. Those with accessibility requirements are encouraged to contact Elements Theatre Co. prior to the event. Performer Age: All ages and experience levels. Production Website: Elements Theatre Co. – Event Calendar Other information: Registration, auditions, the Performance Workshop, and the performance opportunity are all free. Successful performers will attend a free workshop on Friday 2 October to polish their act in the performance space. Coaching may cover stage presence, microphone technique, movement, timing, and audience engagement. On performance day, performers should arrive 30 minutes before their concert time, completely performance-ready with costume, hair, makeup if applicable, correct footwear, props, and accessories. General enquiries: info@elementstheatreco.com.au Available Roles: There are no set characters or theatrical roles. Applications are open to a broad range of acts, including: Singers Dancers Actors Comedians Musicians Magicians Spoken word performers Variety performers Other unique performance acts Solo performers Duos Groups

My Sunny Boy Presented by: Spotlight Theatrical Company Venue: Spotlight Theatre Date attended: 30 August 2026 Written by: Amy McDonald Director: Helen Maden Stage Manager: Pat Apelt Set Design: Helen Maden Props: Dianne Lamb Costumes: Helen Maden and Amy McDonald Lighting: Thomas Bell Sound: Helen Maden and Simon Fox Photography: Vargo Studios (Clay English) “Travel safe, take care, f*ck off.” Audrey Hart is a loving, fiercely protective mother and a woman with plenty to say. Her advice to her son always begins with “my love.” Her patience for her ex-husband is non-existent. And any attempt at emotional restraint around the new wife tends to end somewhere around sarcasm, swearing, or a well-placed insult. Written by Amy McDonald and presented by Spotlight Theatrical Company, My Sunny Boy is a contemporary Australian comedy about separated families, old resentments, surprise pregnancies, and the horrifying discovery that if you raise an independent son, he may eventually have the audacity to become independent! Audrey once expected a very different life for herself. She and husband Ted were preparing to welcome their first baby when he revelaed that he was leaving Audrey for his much younger mistress, Vanessa (who was also pregnant!). Great timing, Ted. Years later, Audrey has rebuilt herself in a quirky seaside town, where she raises their son George, teaches belly dancing with free-spirited Bodhi, befriends her eccentric neighbour Leo, and has created a life that is messy, colourful, and entirely her own. George is now seventeen, and Ted offers him the chance to spend a year living with his family abroad. Where George sees travel, education, new experiences, and more time with his dad and half-brothers. Audrey sees a year of being left behind and, worse, being replaced. Naturally, she takes this extremely well... “I hold on tight and let go lightly." Helen Maden’s set gives us the lowdown on Audrey’s life from the get-go. The split-stage set is packed with plants, photographs, and knick-knacks that make a home feel properly lived in. The porch goes even further, with a surfboard, climbing flowers, roughed-up shoes, and enough coastal decoration to make their lifestyle immediately obvious. Inspired by McDonald’s affection for 1960s domestic décor, Maden creates a colourful home with personality in every corner. Even the front lawn gets involved once Leo arrives with his mower and headphones. He's apparently available at all times to perform garden maintenance, collect neighbourhood gossip, and insert himself into whatever family crisis is currently underway at the Hart household. The costumes by Helen Maden and Amy McDonald underline the contrast between George’s two families immediately. Audrey’s world is all beachy prints, flowing fabrics, dressing gowns, bare feet, and her pair of enormous green reading glasses, while Bodhi looks as though she may have wandered directly in from a music festival. Ted and Vanessa are much more restrained, with structured suits and considerably less tasselling. It’s essentially a fashion face-off between a beachside belly-dancing studio and a corporate boardroom. As director, Helen Maden cleverly uses the wider stage to establish separate locations rather than forcing every conversation to occur at Audrey’s kitchen table. She keeps the conversational script moving with natural blocking, interruptions, and constant movement through the spaces. The pacing is well defined, with scenes often ending on a revelation, cliffhanger, or killer line before snapping to blackout. At the performance I attended, those blackouts always earned applause before we were plunged back into the family chaos. The audience was especially responsive to Audrey, and it’s easy to see why. McDonald’s writing is at its funniest when affection and hostility occupy the same scene. When Vanessa shows discomfort about the past, Audrey simply replies, “That condition is called having a conscience, Vanessa.” Playing her own creation, McDonald sells every contradiction in Audrey. She’s loving, furious, spiteful, and vulnerable, with sarcasm and swearing doing very little to disguise how deeply she feels everything. Harrison Salter plays George as a genuinely likeable boy rather than a stock bundle of teenage angst. He and McDonald share an easy, affectionate mother-son rapport, full of casual teasing and kitchen-table familiarity. There’s something about him that reminded me of several boys I know who were raised by single mums, with that same emotional openness. Plus, his occasional frustrations come across as understandable rather than bratty. When he argues, “I deserve better stuff too”, it doesn’t come across as a rejection of Audrey. George loves his mum, but he also wants some of the opportunities his half-brothers have had. Peter Maden’s Ted feels immediately familiar as a daggy dad of three boys with an addiction to pastries. He’s attentive to George, eager to help, and clearly adores his son. Maden gets some great laughs from Ted’s awkwardness and reactions, but Ted can still be a bit of a prick (to both Audrey and Vanessa). The scenes with Audrey are especially entertaining because the two actors play that ex-partner history so naturally. They bicker, goad each other, slip into old habits, and still have a bit of spark underneath all the irritation. Ted has spent years being a good father to George, but the play never asks Audrey (or us) to forget why she’s angry with him. Josie Sargent plays Vanessa with a composure that avoids turning her into the obvious villain. She keeps trying to remain civil with Audrey, which is both admirable and, from Audrey’s point of view, incredibly irritating. Sargent holds her ground well against McDonald’s verbal attacks, while keeping Vanessa warm enough that she never comes across as smug or icy. Their scenes together are my favourites because every not-so-polite exchange carries years of resentment. Vanessa wants peace. Audrey would rather chew glass. Sargent is also much softer with Salter, and the affection between Vanessa and George comes across as genuine. Sienna Johnson portrays Bodhi as free-spirited, scattered, sexually confident, and genuinely sweet. Johnson plays her ditziness for plenty of laughs while still letting some vulnerability peek through. Her relationship with George did make me raise an eyebrow (five years feels rather more noticeable at 17 and 22), though the play acknowledges the age gap. Sienna Johnson and Amy McDonald develop a shift in Bodhi and Audrey’s relationship, as their workplace friendship grows into something more maternal. When Audrey speaks through tears about how she loved George while also resenting him after his birth, McDonald lets the humour fall away and the room becomes noticeably quieter. It’s a beautifully judged piece of acting from McDonald, who drops Audrey’s usual bravado and gives us a much more exposed version of her. Rob Kenna’s laid-back delivery makes Leo’s constant reappearances reliably funny, whether he’s mowing Audrey’s lawn, gossiping about locals, or grooving to Lady Gaga. There’s much more to him than comic relief, though. Leo is a later-in-life gay man with two sons from different mothers, and he becomes the person several characters confide in. I did wish the script gave Leo a little more room of his own. Much of his personal life is delivered through one-sided phone conversations. Considering how interesting his family history is, I’d happily have spent more time with him. There’s also an interesting thread running through McDonald’s writing about what it means to raise boys into men. George, Ted, and Leo all present very different versions of masculinity, while George is still working out where he fits among family expectations and all the other noise surrounding teenagers. I’d wholeheartedly recommend My Sunny Boy to audiences who enjoy contemporary Australian family comedy, parent-child stories, unapologetically blunt characters, and dialogue packed with terrific wit.

< Back THEATRE: Mama Does Derby - Brisbane Festival, Brisbane Powerhouse 3 Sept 2026 Season: September 3rd - 5th, 2026 Title: Mama Does Derby Presented By: Brisbane Festival in association with Brisbane Powerhouse Genre: Theatre/Drama/Family/Interactive Performance Synopsis: A single mum, a teenage daughter and a new life in a regional town where neither quite fits. Sixteen-year-old Billie is navigating the pressures of adolescence while her anxieties begin manifesting in unnerving ways. Mum, meanwhile, discovers rebellion and freedom in the sweaty, rough and radical world of roller derby. Combining theatre, real roller derby players, a live punk band and immersive spectacle, Mama Does Derby is a hilarious and heartfelt story about falling down, getting back up and befriending your demons. Performance Dates: 3–5 September 2026 Performance Times: Thursday 3 September – 6:00 pm Friday 4 September – 11:00 am and 6:00 pm Saturday 5 September – 1:00 pm and 5:00 pm Performance Location and Address: Powerhouse Theatre, Brisbane Powerhouse, 119 Lamington Street, New Farm QLD 4005 Ticket Costs: $49.90–$59.90. A booking fee of up to $7.20 may apply. Concession prices are available for full-time students, Health Care Card holders, pensioners and government-issued seniors. Ticket Link: Book tickets through Ticketek Warnings: Adult themes, coarse or strong language, references to domestic violence and mental health, theatrical smoke, haze, strobe and other lighting effects, live music and loud noise. Recommended Age: Ages 12+ Duration: 90 minutes, with no interval. Cast: Anna Lindner Elvy-Lee Quici Aud Mason-Hyde Annabel Matheson Antoine Jelk Benjamin Hancock Dylan Miller Calliope Jackson Joe Paradise Lui Featuring skaters from the Queensland Roller Derby League. Creative Team: Co-Creator and Director – Clare Watson Co-Creator and Writer – Virginia Gay Assistant Director and Choreographer – Larissa McGowan Designer – Jonathon Oxlade Lighting Designer – Lucy Birkinshaw Music Director and Performer – Joe Paradise Lui Sound Designer – Luke Smiles Story Consultant – Ivy Miller Skate Consultant – Jude “Vaderella” Gaffney Skate Consultant and Derby Assistant Stage Manager – Maddy “BB Gun” Wilkinson Production Website: Windmill Production Company – Mama Does Derby Other information: The box office opens 60 minutes before each performance, and theatre doors open approximately 15 minutes before the scheduled start time. A lockout may apply, meaning latecomers may not be admitted. Children aged 12 months and under may attend free when seated on a parent or guardian’s lap. All other patrons require a valid ticket. Groups of 10 or more should contact the Brisbane Powerhouse Box Office on 07 3358 8600 . The venue offers wheelchair access, assistive listening and approximately 50% visual content. Hearing loops are only available for seats booked in the Stalls. The Saturday 5 September performance at 1:00 pm will be Auslan interpreted and audio described. For accessible bookings, contact Brisbane Powerhouse on 07 3358 8600 or email boxoffice@brisbanepowerhouse.org . Previous Next

< Back MUSICAL THEATRE: The Choir of Man - Brisbane Festival 3 Sept 2026 Season: September 3rd - 26th, 2026 Title: The Choir of Man Presented By: Brisbane Festival, Andrew Kay and Nic Doodson Genre: Cabaret/Musical Theatre Synopsis: Welcome to the best pub in the world! This Olivier Award-nominated and internationally acclaimed production combines stunning harmonies, foot-stomping singalongs and a working bar onstage. Nine multitalented performers—powerhouse singers, musicians, tap dancers and slam poets—perform hits by Queen, Sia, Adele, Paul Simon, Guns N’ Roses, Avicii, Katy Perry and more. The result is an uplifting celebration of friendship, community and togetherness. Performance Dates: 3–26 September 2026 Performance Times: Thursday 3 September – 6:15 pm Friday 4 September – 7:45 pm Saturday 5 September – 8:45 pm Sunday 6 September – 2:00 pm and 6:15 pm Tuesday 8 September – 6:15 pm Wednesday 9 September – 6:15 pm Thursday 10 September – 6:15 pm Friday 11 September – 6:15 pm and 8:45 pm Saturday 12 September – 6:15 pm and 8:45 pm Sunday 13 September – 6:15 pm Tuesday 15 September – 6:15 pm Wednesday 16 September – 2:00 pm and 6:15 pm Thursday 17 September – 6:15 pm Friday 18 September – 6:15 pm and 8:45 pm Saturday 19 September – 2:00 pm and 8:45 pm Sunday 20 September – 6:15 pm Tuesday 22 September – 6:15 pm Wednesday 23 September – 6:15 pm Thursday 24 September – 6:15 pm Friday 25 September – 6:15 pm and 8:45 pm Saturday 26 September – 6:15 pm and 8:45 pm Performance Location and Address: Magic Mirrors Spiegeltent – Festival Village, South Bank Cultural Forecourt, South Brisbane QLD 4101 Ticket Costs: $74.90–$120.00. Concession and student discounts are available. A $7.50 transaction fee applies. Ticket Link: Book tickets through QTIX Recommended Age: Suitable for all ages; recommended for ages 14+ Duration: 75 minutes, including a 15-minute preshow; no interval. Production Website: The Choir of Man official website Other information: Doors open 30 minutes before the advertised performance time. Booths must be booked as a complete group of six and are accessed by two steps. Groups of 10 or more should book directly through QTIX. The venue is wheelchair accessible. Accessible performances include: Auslan-interpreted performance – Sunday 13 September at 6:15 pm Audio-described performance – Sunday 20 September at 6:15 pm For accessible bookings, contact QTIX on 07 3840 7466 or email groups@qtix.com.au . Previous Next

< Back MUSICAL THEATRE: Sister Act - Toowoomba Choral Society 3 Sept 2026 Season: September 3rd - 5th, 2026 Title: Sister Act Presented By: Toowoomba Choral Society Genre: Musical Theatre/Comedy Synopsis: When disco diva Deloris Van Cartier witnesses a crime, she is placed in protective custody in the last place anyone would expect to find her—a convent. Disguised as a nun and struggling with its rigid lifestyle, Deloris uses her powerful voice, bold personality and love of music to transform the convent choir. Featuring an original gospel, soul and Motown-inspired score, Sister Act is a joyful celebration of friendship, sisterhood, self-discovery and finding your voice. Performance Dates: 3–5 September 2026 Performance Times: Thursday 3 September – 7:30 pm Friday 4 September – 7:30 pm Saturday 5 September – 2:00 pm and 7:30 pm Performance Location and Address: Empire Theatre, 54–56 Neil Street, Toowoomba City QLD 4350 Ticket Costs: Premium: Adult – $65 Concession – $55 Child under 15 – $55 General: Adult – $55 Concession – $45 Child under 15 – $45 Groups of 10 or more – $45 per person A $5 transaction fee applies to online bookings. Ticket Link: Book tickets through the Empire Theatre Warnings: Mild adult themes, references to murder and violence, staged violence, loud music and theatrical effects. Duration: 150 minutes, including a 20-minute interval. Cast: Deloris Van Cartier – Sophia Toomey Mother Superior – Jo Roberts Eddie Souther – Pete Gold Curtis Jackson – Alistair Park Sister Mary Robert – Sophia McDonnell Tina – Laura Sabri Additional principal performers and ensemble members from Toowoomba Choral Society Creative Team: Director and Stage Designer – Mary Quade Assistant Director – Sandie Black Musical Director – Nick Williams Assistant Musical Director, Vocal Coach and Répétiteur – Wendy Burns Choreographer – Holly Petersen Music – Alan Menken Lyrics – Glenn Slater Book – Cheri Steinkellner and Bill Steinkellner Additional Book Material – Douglas Carter Beane Based on the Touchstone Pictures film Sister Act , written by Joseph Howard Production Website: Toowoomba Choral Society Other information: Wheelchair seating and a limited number of Companion Card tickets are available. These must be booked through the Empire Theatre Ticket Office or by calling 1300 655 299 . Previous Next