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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.

Home, I’m Darling Presented by Swich Up Productions Attended: 18 July 2026 Written by: Laura Wade Directed by: Martie Blanchett Assistant Director: Simone Behrendorff Set Design: Adrian Carr Lighting: Doug Brimblecombe Sound: Brendan Dieckmann, Seven Yuenyang and Martie Blanchett Stage Manager: Pru Valentine Costumes: Simone Behrendorff and team Intimacy Coordinator: Ellen Axford Choreography: Madz O’Hare Photography: Kris Anderson and Isaac Frommelt “You are wasting your life, when you could choose not to!” In Judy’s world, every day is a matinee performance of domestic perfection. Judy (Lauren Ryan) and Johnny (Michael Civitano) are a modern married couple who have agreed to live as though it is the 1950s. Johnny goes to work while Judy cooks, cleans, mends, gardens, and runs the household like a sitcom super-wife. She abandoned her corporate career to pursue what she calls “a deep, quiet kind of happy.” From the outside, it's all twirly skirts, freshly baked treats, and jive dancing. Meanwhile, the bills are piling up and the happy housewife smile is starting to ache. Swich Up Productions sets up the retro world of Home, I’m Darling with jukeboxes, vintage posters and smartly dressed staff. This company has a keen eye for detail and knows how to draw its audience into the experience, making the venue an active part of the production rather than simply somewhere to watch it. The old Cambrian Centre in Booval is a great fit for this nostalgia-soaked play. It becomes a gingham wonderland where Judy’s version of the past comes alive. Adrian Carr's set design is also crafted with great attention to detail. It features pastel shades of yellow, pink, and mint green, complemented by a checkerboard floor, retro appliances, antique furniture, and delicate dishware. Even the fridge hums! The sourcing alone must have involved raiding every op shop, grandma’s kitchen, and vintage marketplace within driving distance. The practical details help sell the illusion, right down to the real tea, actual meals, and household props. Judy’s routines feel properly lived in as she moves through them with practiced ease, always pouring, serving, or fussing over something. Martie Blanchett’s direction folds these actions into the characterisation to keep Judy busy while she works just as hard to keep every conversation determinedly rosy whenever it threatens to become too candid. Lauren Ryan is wonderful as Judy, appearing in every scene and guiding the audience through the gradual disintegration of her carefully orchestrated life. She plays the part with a perky voice and stiff cheerfulness, like she is starring in her own episode of The Donna Reed Show. Her clothes are immaculate, her home is spotless, and every “I’m not upset!” comes through a smile clenched so tightly it practically needs WD-40 to loosen up. Lauren adjusts Judy’s behaviour around each different character: adoring wife with Johnny, proudly hospitable with Fran, defensive with her mother, and increasingly guarded when Alex begins asking the questions everyone else has been wondering. “It’s not like it’s a religious cult!” A well-placed flashback reveals that the arrangement was Judy’s idea, born from her love of a nostalgic 1950s fantasy (with the discrimination and restricted choices carefully edited out). As more details emerge, it becomes clear that she is also using that fantasy to escape modern work, uncomfortable feelings and difficult conversations. Lauren makes Judy’s growing desperation feel completely believable. Maintaining the masquerade becomes more compulsive, and every question starts to feel like an attack on the identity she has chosen. Michael Civitano gives Johnny an affable quality that suits the early sitcom styling. He plays him as a husband trying very hard to keep the peace, please his wife and hold their chosen lifestyle together, even as the pressure around money boils beneath. His blunt line, “How can you be tired? You don’t do anything,” drew an audible reaction from the audience, hitting with the sting of something blurted out in a heated argument that you immediately wish you could take back. His chemistry with Lauren makes their marriage as believable as a sitcom marriage can be, complete with paraded joy and delightful dysfunction. At the performance I attended, director Martie Blanchett stepped into the role of Sylvia (Judy’s hippie mother), covering the role usually played by Linda Shapcott. Sylvia punctures the romantic mythology of the household from the moment she arrives. She has very little patience for her daughter’s cartoon version of the past, while Judy reacts to her prodding with the defensiveness of a teenager being told she does not know everything. Blanchett’s major monologue is one of the production’s most powerful moments. Sylvia reminds Judy that the decade she adores was not a permanent swirl of pastels, patterns and domestic cuteness. Women had fewer choices, little independence and were expected to tolerate far more than Judy’s glossy version of history allows. Blanchett grounds the monologue in Sylvia’s concern for her daughter as she watches Judy willingly surrender choices that previous generations of women fought to gain. “That’s what life was like for women in the ’50s. Fear." Courtney Murrin is the master of saying a lot without uttering a word as Fran. She reacts to Judy’s performance with curiosity, concern and even a little delight at the tea, cake, gossip and marital drama unfolding around her. Fran’s relationship with Marcus offers a more modern marriage for comparison, though not necessarily a healthier one. Jamie Spence plays Marcus with the perfect level of unpleasantness - complete with roving eyes, faux charm and the self-assurance of someone who has never once questioned whether he might be the problem. Liz Ball makes a strong impression as Alex, Johnny’s assertive new boss, despite having only a handful of scenes. She walks into their house, takes in the décor, and starts asking the burning questions we have all been quietly wondering. Liz gives Alex a confident, no-nonsense presence that bounces nicely off Judy’s highly managed hospitality. Her easy rapport with Michael also makes the “work wife” tension very clear, much to Judy’s discomfort. The costume magic by Simone Behrendorff (and her fabulous team) sees Judy strut her stuff in one adorable getup after another, with the watermelon dress stealing the spotlight. Her evening cocktail gown paired with a fox fur wrap is so retro that even Alex quips, “I feel like I'm in Mad Men.” With petticoats, pantyhose, heels, pin curls, and neck scarves, Judy inhabits the woman she believes she needs to be. Madz O’Hare’s choreography lets her groove through her favourite decade with swing and jive moves. That style is no walk in the park, but the cast handles it well! Sound by Brendan Dieckmann, Seven Yuenyang and Martie Blanchett, along with Doug Brimblecombe’s lighting, maintains the inviting domestic world even as life inside it becomes less comfortable. Some bouncy tunes keep the production transitions moving, with tracks like “It’s Got to Be Perfect” and “Working My Way Back to You” offering cheeky insights into the characters' state of mind. Martie Blanchett’s direction enables their somewhat unnatural lifestyle to unfold with unexpected naturalness. The themes emerge through household routines, conversations and compromises that quickly stop seeming cute. Living without modern conveniences becomes less whimsical, frugality starts to look like deprivation, and self-sufficiency leaves Judy increasingly isolated. The play has plenty to say about the value of domestic work, but its strongest point is about choice and what happens when all that care travels in only one direction. It gives new weight to the advice in Judy’s 1949 household manual: “A good wife listens more than she speaks.” The audience at this performance was wonderfully responsive (and there was plenty to react to!). Swich Up Productions has created a funny, clever and carefully detailed production that begins with happily ever after already in place, then explores what happens when the characters can no longer perform it. It certainly sparked plenty of discussion on the drive home. For one evening, I was happy to visit Judy’s retro world. And I was equally happy to return to my own, with my twenty-first-century rights intact.

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 DANCE: Red - QLD College of Dance, Princess Theatre 2 Aug 2026 Season: August 2nd, 2026 Title: RED Presented By: Queensland College of Dance Genre: Dance Showcase / Contemporary Dance Synopsis: RED is the Queensland College of Dance's annual performance showcase, celebrating the artistry, passion and technical excellence of its dancers. Featuring a dynamic program of contemporary and commercial dance works, the production highlights the creativity, versatility and dedication of QCD students in a professional theatre setting. Performance Date: August 2nd, 2026 Performance Time: 7:30PM Performance Location and Address: The Princess Theatre, 8 Annerley Road, Woolloongabba QLD 4102 Ticket Costs: Table Seating - $79.95 each Ticket Link: Buy Tickets - Red Recommended Age: Suitable for all ages. Duration: Approximately 2 hours, including interval. Cast: Students of the Queensland College of Dance. Production Website: QCD - Red Other Information: A maximum of 20 tickets may be purchased per customer. Dress code applies at The Princess Theatre—thongs and steel-capped shoes are not permitted. The Princess Theatre offers wheelchair-accessible entry, accessible toilets and accessible seating. Patrons requiring accessible seating or additional assistance are encouraged to contact the venue or Ticketmaster before booking. Previous Next

< Back BURLESQUE: Risqué Cabaret - LDC Productions 2 Aug 2026 Season: August 2nd, 2026 Title: RISQUÉ Cabaret Presented By: LDC Productions Genre: Cabaret / Burlesque / Contemporary Dance Synopsis: Step beyond the velvet curtain and into RISQUÉ , an immersive cabaret experience where fantasy takes centre stage and seduction meets spectacle. Featuring daring fire performances, contemporary dance, burlesque, provocative costumes, immersive lighting and live vocals, RISQUÉ creates a world of elegance, temptation and mystery. With hypnotic music, breathtaking choreography and moments that blur the line between audience and performer, this bold and sensual production invites audiences to enter curious and leave changed. Performance Date: August 2nd, 2026 Performance Time: 6PM Performance Location and Address: Mo's Desert Clubhouse, 6/36 Central Drive, Burleigh Heads QLD 4220 Ticket Costs: General Admission – $59.20 Ticket Link: Buy Tickets - Risque Cabaret Warnings: Strictly 18+ event Adult themes and sensual content Burlesque and provocative costumes Fire performances Theatrical lighting and effects Recommended Age: 18+ only Duration: Approximately 4 hours 30 minutes. Production Website: LDC Productions - Risque Cabaret Other Information: This is a limited-capacity event. Mo's Desert Clubhouse is a fully licensed venue, and all guests are required to present valid identification on entry. The venue's bars offer cocktails and drinks, while El Ranchero provides pre-show food and dining options. Mo's Desert Clubhouse has wheelchair-accessible areas. Patrons requiring accessibility assistance are encouraged to contact the venue before booking. Previous Next