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Title: 9 to 5 The Musical Presented By: Beenleigh Theatre Group Genre: Musical Comedy Synopsis: Set in the late 1970s, 9 to 5 The Musical follows three very different women pushed to breaking point by their sexist, arrogant and dishonest boss, Franklin Hart. Violet is an experienced office manager repeatedly overlooked for promotion, Doralee is judged and isolated because of rumours spread by Hart, and Judy is entering the workforce after the collapse of her marriage. When a series of misunderstandings and wild fantasies spirals out of control, the women find themselves holding Hart captive and taking over the company. With Hart “otherwise engaged,” Violet, Judy and Doralee transform their workplace, introducing changes that support the people who actually keep the business running. Featuring music and lyrics by Dolly Parton, the musical combines friendship, revenge, workplace satire and empowerment with country, pop and contemporary musical theatre. Audition Information: Saturday 15 August: Dance tutorial: 9:00am–9:30am General Dance Call 1: 9:30am–10:00am General Dance Call 2: 10:00am–10:30am Advanced Dance Call: 10:30am–11:30am Sunday 16 August: Individual auditions: 9:00am–6:00pm in ten-minute appointments Callbacks, by invitation only: Wednesday 19 August from 7:00pm Audition Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Audition Self-Tape Due: Saturday 15 August 2026 at 6:00pm Video auditions are available for performers unable to attend in person. Contact info@beenleightheatregroup.com for the submission requirements. Audition Requirements: Prepare two contrasting song excerpts, each between 30 seconds and one minute: One musical theatre song in the style of the production, such as contemporary musical theatre, country, pop or rock. One song in any genre that demonstrates your individual vocal strengths and personality. Songs from 9 to 5 must not be used. Backing tracks must be pre-cut and supplied on a device suitable for a wired connection using Lightning, USB-C or auxiliary input. All auditionees must attend a general dance call. A tutorial video will be available in advance, with an optional teaching session held before the calls on 15 August. Performers auditioning for featured roles that double in the ensemble must attend the Advanced Dance Call. Those auditioning for Violet, Judy or Doralee are strongly encouraged to attend it. Prepare one of the acting sides supplied in the audition pack, choosing the character with whom you most closely align. Redirection or an additional cold reading may also be requested. Audition Registration: Book an audition appointment Audition Pack: Download the audition pack Scheduling: Performance Dates: 20 November – 5 December 2026 Performance Times: Friday 20 November: 7:30pm Sunday 22 November: 2:00pm Friday 27 November: 7:30pm Saturday 28 November: 2:00pm & 7:30pm Friday 4 December: 7:30pm Saturday 5 December: 2:00pm & 7:30pm Performance Location: Crete Street Theatre, Corner of Crete and Kent Streets, Beenleigh QLD 4207 Rehearsal Dates: First rehearsal: Monday 24 August 2026 Bump-in: Sunday 20 September Promotional photoshoot: Monday 21 September Sitzprobe: Sunday 25 October Technical period begins: Sunday 8 November Media preview: Monday 16 November Bump-out: Sunday 6 December – compulsory Rehearsal Times: Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Sundays: 2:00pm–7:00pm Other Information: Production Website: Beenleigh Theatre Group Auditions Warnings: Sexism and workplace harassment References to infidelity and divorce Drug use Strong language and sexual references Staged intimacy Stage combat Physical restraint and kidnapping Heavy staged physical contact for the role of Franklin Hart Performer Age: 18+ This production will not accept applications from performers under the age of 18, including for the role of Josh. Creative Team: Director: Ruby Thompson Musical Director: Alex Angus Choreographer: Jackson Poole Stage Manager: Harley Roy Other information: All intimacy, combat and restraint scenes will be choreographed with performer safety and wellbeing prioritised. Auditionees are encouraged to disclose any relevant boundaries or limitations during the audition process. This is an inclusive casting process. Auditionees may apply for any role regardless of age, race, ethnicity, gender identity, cultural background or disability, except where identity is integral to the text. Successful performers must become financial members of Beenleigh Theatre Group for 2026. Membership costs $10 and must be paid before the first rehearsal. Known rehearsal and performance conflicts should be disclosed during the audition process. Available Roles/Character Breakdown: Violet Newstead Female-presenting | Playing age: 40–50 | Vocal range: F3–D5 The company’s Head Secretary and Franklin Hart’s administrative assistant. A capable single mother who is ambitious, outspoken and repeatedly overlooked despite keeping the office running. Requires strong acting and excellent comic timing. Doralee Rhodes Female-presenting | Playing age: 20–30 | Vocal range: G3–E5 A spirited and capable young employee who is unfairly judged because of her appearance and Hart’s rumours. Requires strong country/pop vocals and a convincing Southern or Texan accent. Judy Bernly Female-presenting | Playing age: 30–35 | Vocal range: Ab3–F5 The nervous new employee entering the workforce after her husband leaves her. Initially insecure and inexperienced, Judy gradually discovers independence and confidence. Requires strong contemporary vocals and good comic timing. Franklin Hart Male-presenting | Playing age: 30–50 | Vocal range: C3–Gb4 The company’s sexist, egotistical and dishonest executive. Able to perform superficial charm but generally arrogant and self-serving. Requires an outstanding comic actor with confident vocals. Includes staged combat, restraint and heavy physical contact. Roz Keith Female-presenting | Playing age: 30–45 | Vocal range: G3–C5 The office gossip and Hart’s devoted informant. She is infatuated with him and desperate for his approval. Requires an excellent character actor with a strong belt voice. Joe Male-presenting | Playing age: 25–35 | Vocal range: B2–G4 A kind and genuine young accountant who is attracted to Violet. Dwayne Male-presenting | Playing age: 25–30 | Vocal range: E2–G4 Doralee’s supportive and affectionate husband. This performer will also appear in the ensemble. Josh Male-presenting | Playing age: 15–20, cast with an actor aged 18+ Violet’s awkward teenage son. The performer will also appear in the ensemble. Missy Hart Female-presenting | Playing age: 20–35 Franklin Hart’s wife, unaware of much of her husband’s true behaviour. This performer will also appear in the ensemble. Maria Female-presenting | Playing age: 20–35 | Vocal range: F4–D5 A bright and energetic secretary in Hart’s office. This performer will also appear in the ensemble. Dick Male-presenting | Playing age: 30–40 Judy’s unfaithful soon-to-be ex-husband. He is an ordinary man who has aged less gracefully than he imagines. This performer will also appear in the ensemble. Kathy Female-presenting | Playing age: 25–40 | Vocal range: G4–D5 An office secretary with a fondness for gossip. This performer will also appear in the ensemble. Margaret Female-presenting | Playing age: 25–40 An office secretary with a tendency to drink. This performer will also appear in the ensemble. Tinsworthy Male-presenting | Playing age: 35–50 Hart’s superior and Chairman of the Board. A fundamentally decent man who may understand more about Hart than he initially reveals. This performer will also appear in the ensemble. Ensemble Any gender | Adult performers | All vocal types Approximately eight to ten strong singer-dancers who will portray office workers, police officers, hospital employees and the featured supporting roles listed above.

Title: Away Presented By: Brisbane Arts Theatre Genre: Australian Drama Synopsis: Set during the summer holidays of 1968, Away follows three very different Australian families whose lives unexpectedly intersect while travelling along the Queensland coast. Tom, a warm and intelligent school student, is facing circumstances far beyond his years, while his devoted parents, Harry and Vic, try to protect him and make the most of their time together. Meg is beginning to challenge the expectations of her controlling mother, Gwen, while her father, Jim, attempts to keep the peace. Elsewhere, school principal Roy and his wife Coral are each struggling with profound grief following a family tragedy. As their separate journeys gradually converge, moments of humour, conflict and unexpected connection allow the characters to confront loss, rediscover hope and begin healing. Michael Gow’s enduring Australian play explores family, grief, love and the transformative power of compassion. Audition Date: Sunday 2 August 2026 Audition Time: 12:00pm–4:00pm Auditions will be held in one-hour workshop sessions, with up to ten performers in each group. Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: No prepared monologue is required. Auditions will be conducted in a relaxed workshop format and will consist of cold readings from the script. The production is seeking: Collaborative storytellers and team players Performers across a broad range of ages and experience levels New community-theatre participants Performers able to commit to the rehearsal and production period Performers of all genders, abilities, backgrounds and ethnicities are encouraged to audition. Audition Registration: Register for an audition session Audition Pack: Download the audition pack Performance Dates: Thursday 24 September 2026 - Friday 2 October 2026 Performance Location: C Block AuditoriumSouth Bank TAFE, 66 Ernest Street, South Brisbane QLD Rehearsal Dates: Rehearsals commence Wednesday 4 August 2026 and continue until Thursday 17 September 2026. Headshots: Sunday 23 August 2026 Production photos: Tuesday 25 August 2026 Bump-in: Saturday 19 September 2026 Technical rehearsals: Monday 21–Wednesday 23 September 2026 Bump-out: Friday 2 October 2026 following the final performance Rehearsal Times: Wednesdays: 6:00pm–9:30pm Thursdays: 6:00pm–9:30pm Sundays: Generally 12:00pm–4:00pm Technical rehearsals: 6:00pm–late Rehearsal Location: Wednesday rehearsals:Chermside Library, 375 Hamilton Road, Chermside QLD Thursday and Sunday rehearsals: Lavalla Centre, Room 858 Fernberg Road, Paddington QLD Technical rehearsals: C Block Auditorium, South Bank TAFE, 66 Ernest Street, South Brisbane QLD Warnings: Themes of grief, terminal illness, family conflict and bereavement. Creative Team: Director: Susan O’Toole Cridland Production Website: Brisbane Arts Theatre – Away Auditions Other information: Performers of all experience levels are welcome, including first-time community-theatre participants. Cast members must be available for all technical rehearsals and performances. Successful performers must become financial members of Brisbane Arts Theatre. Membership costs $40 and is valid for 12 months. Enquiries: away26@artstheatre.com.au or (07) 3369 2344. Available Roles/Character Breakdown: Tom (Male, late teens) Warm, intelligent and compassionate. A school student confronting circumstances far beyond his years and one of the emotional centres of the play. A slight English accent is required. Meg (Female, late teens) Bright, spirited and independent. She is curious about the world and beginning to challenge her mother’s expectations. Harry (Male, 40s–60s) Tom’s father. Hard-working, practical and deeply devoted to his family. A general English accent is required. Vic (Female, 40s–60s) Tom’s mother. Kind-hearted, resilient and protective. A general English accent is required. Gwen (Female, 40s–60s) Meg’s strong-willed and status-conscious mother. Often controlling, though ultimately motivated by fear and love for her family. Jim (Male, 40s–60s) Meg’s easy-going and thoughtful father. He is frequently caught between maintaining peace and standing his ground. Coral (Female, 40s–60s) A woman struggling with grief after a family tragedy. A complex and emotionally demanding role. Roy (Male, 40s–60s) Coral’s husband and a school principal. Reserved, dignified and carrying his own emotional burden. Miss Latrobe (Female, 30s+) A dedicated drama teacher whose school production opens the play. Rick (Male, 20s–30s) A holiday-maker whose chance encounter with Coral becomes significant. Leonie (Female, 30s–50s) A resort guest who provides both humour and insight. Master of Ceremonies (Any gender) A confident, charismatic and theatrical host. Ensemble Roles The ensemble may portray campers, holiday-makers, hotel guests, school-production performers and other featured characters. These roles are suitable for first-time performers, students and community members seeking stage experience without the pressure of a major role.

Drowning Ophelia Written by: Rachel Luann Strayer Presented by: Centenary Theatre Group Date Attended: 19 July 2026 Directed and Set Design by: Rhyll Bucknell Lighting and Sound: Brian Hobby Photography: Julie Collins and William McCreery-Rye “Lord, we know what we are, but know not what we may be.” Ophelia has been a familiar presence on Brisbane stages this year. Most of us know her story from Shakespeare’s Hamlet: a young woman overwhelmed by grief, driven towards madness and ultimately found drowned in a river. Taylor Swift has even recently added The Fate of Ophelia to the cultural conversation. Still, finding Ophelia sitting in a bathtub at the beginning of Drowning Ophelia raised a few new questions. Why is she there? Can the other characters see her? And is there actually water in that thing? Presented by Centenary Theatre Group and directed by Rhyll Bucknell, Rachel Luann Strayer’s Drowning Ophelia explores memory, repression and the confusing grief of losing someone you once loved, even when they were also responsible for your trauma. The play opens with Jane rummaging through a collection of costumes while Ophelia sings and splashes in the bathtub behind her. It appears that Jane regularly pays Edmund to join her in acting and improvisation exercises, moving through a medieval characters, Regency roleplay and a 1950s housewife fantasy. Why they started doing this is never fully explained... But what is clear is that Jane finds comfort in make-believe worlds she can construct for herself, where every costume, character and conversation can be controlled. Edmund commits to each scenario with amusingly grand seriousness, while both actors perform their roles with deliberate stiffness and awkwardness. Ophelia, however, refuses to follow the script or remain quietly in the bath. Because Edmund cannot see her, he is completely unaware of the battle for Jane’s attention unfolding beside him. As the production moves between the present, memory and imagination, Jane’s history gradually comes into focus. Ophelia appears to be a hallucination and a manifestation of Jane’s younger self, still demanding to be acknowledged. She seems able to speak only through quotations from Hamlet, along with fragments of Jane’s own words that she repeats as though trying to understand them. Whenever something draws Jane closer to thoughts of her older brother Adam, Ophelia sings and grows increasingly disruptive until she can no longer be ignored. It's a clever device, turning the past into something physical: trauma sitting in a bathtub, soaking wet, endlessly quoting Hamlet. Caitlin Swan gives Ophelia a restless, childlike quality at first, quietly singing to herself. But the longer Jane denies her existence, the more desperate she becomes. Swan turns that desperation into something completely raw, singing and shouting over the dialogue while splashing Jane in an attempt to force her attention. Despite spending much of the performance in the bath, Swan still finds plenty of physical and vocal variety within it. Also, the front row should consider itself warned: Ophelia is not shy with the water! Madelaine Harte gives Jane an expressive performance, particularly through her facial reactions. Jane’s tension sits buried beneath a numb appearance and a series of obsessive routines, with flashes of discomfort and panic breaking through while the rest of her remains tightly controlled. I would have expected to see that restraint unravel more as the memories become harder to suppress, but Harte still captures Jane’s emotional conflict convincingly. She also does a brilliant job of continuing her scenes with Edmund while her character (mostly) resists the urge to react to the commotion beside her. Federico Navarro has plenty of fun with Edmund’s theatrical side. He throws himself into each roleplay scenario with a suitably haughty delivery. At the same time, Navarro keeps Edmund’s genuine concern for Jane present throughout. A quieter scene gives him the chance to show the character’s empathy more openly, revealing greater depth beneath all the cosplay. Timothy De Vroome makes Adam unsettling from the outset, with a stiffness that leaves something slightly off about him even in the earlier memories. That discomfort works once the darker truth emerges, though I would have expected more warmth in his relationship with young Jane beforehand. A stronger glimpse of the brother she once adored would have made the betrayal more painful and helped us understand why her grief remains so tangled. Visually, the stripped-back set allows the different realities to overlap easily. The mostly bare stage contains a raised bathtub platform and a small café-style table and chairs. Ophelia’s white lace nightdress gives her a ghostly, innocent quality, while Jane and Edmund’s roleplay costumes are well designed. Brian Hobby’s lighting and sound helps separate memory, reality and imagination. The play is divided into two acts with an interval, and this is where I struggled somewhat. The script relies heavily on repetition, quotations, and introspection rather than building dramatic momentum, and I found my attention drifting. The material is meaningful, but the pacing kept me at an emotional distance when I wanted to feel more connected to Jane’s journey. Jane is not only processing childhood trauma. She is also mourning a brother who was once her playmate, protector and source of affection, while confronting the fact that he was also responsible for her abuse. The play does not offer a neat answer or suggest that forgiveness is the way forward. Instead, it focuses on the difficult process of acknowledging what happened and allowing the silenced part of yourself to speak. I would not describe Drowning Ophelia as a dark comedy. It's a confronting production centred on abuse, trauma and suicide. It's not quite my style of theatre, but I appreciated its unusual theatrical language, strong central metaphor and Caitlin Swan’s raw performance. It will likely connect most with audiences who enjoy quiet psychological drama and work that leaves space for interpretation rather than offering easy closure.

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 MUSICAL: She Loves Me - Phoenix Ensemble 7 Aug 2026 Season: August 7th - 29th, 2026 Title: She Loves Me Presented By: Phoenix Ensemble Genre: Musical Theatre / Romantic Comedy Synopsis: The sweetest love story they never saw coming. Inside the warm glow of Maraczek's Parfumerie, Georg Nowack and Amalia Balash seem destined to disagree on everything. Yet unbeknownst to each other, they have formed a heartfelt connection through anonymous letters, each believing they have found their perfect match. As their workplace frustrations continue and their secret correspondence deepens, both dream of finally meeting the person who truly understands them. Based on the classic story that inspired beloved romantic comedies such as You've Got Mail , She Loves Me is a charming musical filled with humour, romance and unforgettable songs, celebrating the courage it takes to open your heart to love. Performance Dates: August 7th - 29th, 2026 Performance Times: Fridays & Saturdays – 7:30PM Matinees: Saturdays August 15th & 22nd – 2PM Performance Location and Address: The Tin Shed, Beenleigh Showgrounds, 60–74 James Street, Beenleigh QLD 4207 Ticket Costs: Adult – $45 Concession – $38 Adult + Program – $54 Concession + Program – $47 Group (10 Tickets) – $330 Member – $45 (promotional code required) Ticket Link: Buy Tickets - She Loves Me Warnings: Suitable for general audiences. Recommended Age: Suitable for ages 10+. Duration: Approximately 2 hours 45 minutes, including interval. Creative Team: Music – Jerry Bock Lyrics – Sheldon Harnick Book – Joe Masteroff Presented by Phoenix Ensemble Production Website: Phoenix Ensemble - She Loves Me Other Information: Adapted from Miklós László's Parfumerie , She Loves Me is one of musical theatre's most beloved romantic comedies. The story has inspired numerous film adaptations, including The Shop Around the Corner and You've Got Mail . Filled with warmth, wit and a beautiful score, the musical remains a timeless celebration of love, friendship and second chances. The Tin Shed at Beenleigh Showgrounds offers wheelchair-accessible entry, accessible parking and accessible toilet facilities. Patrons requiring accessible seating or additional assistance are encouraged to contact Phoenix Ensemble prior to booking. Previous Next

< Back REVUE: Fundergames - UQ Business Revue 7 Aug 2026 Season: August 7th - 8th, 2026 Title: The Funder Games: Catching Hires Presented By: UQ Business Association Genre: Comedy Revue Synopsis: The UQ Business Association's annual Business Revue returns with The Funder Games: Catching Hires —an original comedy production created entirely by students. Featuring hilarious live sketches, original music, filmed comedy segments and sharp satire, the revue takes aim at university life, internships and the corporate world with an energetic blend of theatrical comedy and sketch-show humour. Inspired by the fast-paced style of Saturday Night Live , this student production promises an evening of laughs, creativity and impressive production values. Performance Dates: August 7th - 8th, 2026 Performance Time: 7PM Performance Location and Address: Arcana, 46 Evesham Street, Moorooka QLD 4105 Ticket Costs: General Admission – $29 Ticket Link: Buy Tickets - Fundergames Warnings: May contain coarse language, adult humour and satire. Recommended Age: Recommended for ages 15+. Duration: Approximately 3 hours. Cast: Performed by students of the University of Queensland Business Association. Production Website: UQ Business Revue - Fundergames Other Information: The UQ Business Revue is an annual student-run production showcasing original comedy, live music and film created by University of Queensland students. This year's production, The Funder Games: Catching Hires , delivers a humorous take on university and professional life through an entertaining mix of sketches, multimedia and live performance. Arcana offers step-free entry and accessible toilet facilities. Patrons requiring accessibility assistance are encouraged to contact the event organisers prior to booking. Previous Next