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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.

Title: Treasure Island: Young Pirates of the Caribbean Presented By: Allegory Theatre Qld Inc. Genre: Adventure / Pantomime / Musical Play Synopsis: Set sail for Skeleton Island in this adventurous adaptation of Treasure Island, filled with pirates, buried treasure, mutiny, treasure maps and pieces of eight. The story follows Jim Hawkins, an ordinary young person who is swept into an extraordinary voyage after becoming involved in the search for hidden treasure. Aboard the Hispaniola, Jim encounters a colourful crew and the treacherous Long John Silver, before being drawn into a dangerous race to reach the treasure first. The production includes musical numbers, physical storytelling and roles for both singing and non-singing performers. Audition Date: Sunday 26 July 2026 Audition Time: 11:00am – 3:00pm Auditions will be held in approximately one-hour group sessions, with no more than ten performers in each session. Audition Location and Address: Picabeen Community Centre, 22 Hoben Street, Mitchelton QLD Audition Self-Tape Due (if applicable): Video auditions must be received by the end of Sunday 26 July 2026. Audition Requirements: Provide a performance CV, if available, and a recent headshot or clear photograph. These may be brought to the audition or emailed to allegorytheatre@gmail.com. Performers wishing to be considered for a singing role should prepare up to one minute of a song with a recorded backing track on a device that can connect to a Bluetooth speaker. A short group singalong may also be included, with lyrics provided. Auditionees will learn a simple dance routine. No formal dance training is required. Wear comfortable clothing suitable for movement. Participate in cold readings from the script. Applicants may also list special skills such as juggling, acrobatics, musical instruments, mime, improvisation, comedy or dance. Audition Registration: Complete the audition registration form Performance Dates: Wednesday 30 September – Sunday 4 October 2026 Performance Times: Wednesday 30 September: 11:00am Thursday 1 October: 3:00pm Friday 2 October: 3:00pm Saturday 3 October: 11:00am and 3:00pm Sunday 4 October: 11:00am Performance Location: St Matthew’s Hall, Church Road, Mitchelton QLD Rehearsal Dates: Orientation and first script read-through: Wednesday 29 July 2026 Regular rehearsals will continue on Wednesdays and Sundays. Technical and dress rehearsals: Sunday 27 September: 9:00am–5:00pm + Monday 28 September: 2:00pm–5:00pm Rehearsal Times: Wednesdays: 6:30pm–9:30pm + Sundays: 10:00am–2:00pm Some Monday evening rehearsals or extended Sunday rehearsals may be added later if required. Wednesday hours may be adjusted for younger performers. Rehearsal Location: Picabeen Community Centre, 22 Hoben Street, Mitchelton QLD Other information: Performer Age: Ages 6 to adult Creative Team: Playwright: Kathryn Schultz Miller Production Website: https://www.katzacting.com.au/allegory-theatre All cast members must attend the technical rehearsals and every performance. Successful performers must become financial members of Allegory Theatre Qld Inc. Annual membership fees are $25 for adults, $15 for concession holders or adult students, $10 for performers under 18, or $60 for a family of two adults and two young people. Enquiries: allegorytheatre@gmail.com Available Roles/Character Breakdown: All characters may be played by performers of any gender. Some roles may be doubled. Jim Hawkins - The young central character who joins the voyage to Skeleton Island. Storytellers - Active participants who help narrate and perform the action: Black Dog Sea Legs Sam/Sarah One-Eyed Tom/Tess Hurricane Hal/Hattie Mum - Jim Hawkins’ mother. Billy Bones - A pirate. Blind Pew - A pirate. Doctor Livesey - The doctor aboard the Hispaniola. Squire Trelawney - A nobleperson involved in the treasure expedition. Captain Smollett - Captain of the Hispaniola. Hispaniola Crew / Pirates - The crew members later join the pirate mutiny: Moby Dick Crooked Arrow Tattoo Charlie/Carla Dancin’ Dan/Danielle Honest Abe/Abby - A member of the Hispaniola crew who does not join the pirates. Long John Silver - The treacherous pirate leading the race for the treasure. Ben Gunn - A marooned pirate living on the island. Residents of Skeleton Island Bimini Callaloo Junkanoo Picadillo Mango

Title: A Chorus Line Presented By: Queensland Musical Theatre Genre: Musical Synopsis: Winner of nine Tony Awards and the Pulitzer Prize for Drama, A Chorus Line is one of the most celebrated musicals of all time. Set on the bare stage of a Broadway theatre during a high-stakes audition, the story follows a group of dancers competing for a coveted place in the chorus of a Broadway musical. As the audition progresses, each performer is challenged to reveal not just their talent, but their personal journey, sharing stories of ambition, sacrifice, heartbreak and triumph. Through humour, vulnerability and unforgettable music, A Chorus Line celebrates the lives of the performers who dedicate everything to the stage. Audition Dates: Saturday 8 August & Sunday 9 August 2026 Dance Audition (Saturday 8 August): Group 1: 9:00am–10:30am (General Dance) Group 2: 10:45am–12:00pm (General Dance) Advanced Dance Call: 12:15pm–1:45pm Singing & Acting Auditions: Saturday 8 August: 3:00pm–5:30pm Sunday 9 August: 10:00am–4:00pm Audition Location and Address: St Peter Chanel School Hall, 41 Chaprowe Road, The Gap QLD Audition Self-Tape Due (if applicable): Video auditions are accepted for the initial audition only if you are unable to attend in person. Applicants invited to callbacks must attend in person. Audition Requirements: Register online before auditioning. Attend the compulsory general dance audition. Those auditioning for Cassie, Mike, Richie, Larry, Val, Judy, Connie, Sheila, Maggie or Bebe must also attend the Advanced Dance Call. Prepare two contrasting musical theatre song excerpts (approximately 32 bars/1 minute each). Only one selection may be from A Chorus Line. Bring backing tracks or sheet music (with marked cuts) if using the accompanist. No a cappella auditions. Participate in a cold reading from the script. Wear comfortable dance clothing and appropriate dance shoes. Audition Registration: https://form.jotform.com/261861647979881 Audition Pack: https://static1.squarespace.com/static/5b5d65a3e74940a00d46abcf/t/6a59f8a462e07b7798369e67/1784281252928/QMT-A-Chorus-Line-Audition-Package.pdf Performance Dates: 20–29 November 2026 Performance Location: Twelfth Night Theatre, 4 Cintra Road, Bowen Hills QLD Rehearsal Dates: Commencing Sunday 16 August 2026 Additional intensive rehearsals include: Sunday 1 November (Compulsory Sitzprobe) Additional full Sunday rehearsal in October (date TBA) Technical rehearsals, dress rehearsals, bump in and bump out (compulsory) Rehearsal Times: Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Sundays: 1:00pm–5:00pm (some Sundays may commence from 11:00am) Other Information: Performer Age: 16+ Creative Team: Director: James Rogers Musical Director: Julie Whiting Choreographers: Mike Lapot & Holly Leeson Production Website: https://www.queenslandmusicaltheatre.com/a-chorus-line-auditions Callbacks (if required) will be held on Tuesday 11 August from 7:00pm (by invitation only). Strong dance ability is required for most principal roles. All known rehearsal conflicts must be declared at the time of audition. Successful cast members must become financial members of Queensland Musical Theatre. Successful cast members are required to pay a production fee. Adult cast members must hold (or be willing to apply for) a Blue Card or exemption. Cast members are expected to assist with publicity and promotion of the production. Available Roles/Character Breakdown: Zach (Playing Age: 30–50) A successful Broadway director and choreographer running the audition. Demanding, emotionally guarded and authoritative. Non-singing. Larry (Playing Age: 25–40) Zach's assistant and dance captain. An exceptional dancer with confidence, authority and excellent technique. Non-singing. Cassie Ferguson (Playing Age: 25–40) Vocal Range: A3–D#5 A gifted dancer and former star struggling to regain her place in the chorus. Passionate, vulnerable and emotionally complex. Sheila Bryant (Playing Age: 30–40) Vocal Range: E3–Bb5 The oldest and most experienced woman in the chorus. Glamorous, witty and cynical, masking childhood pain with confidence and humour. Diana Morales (Playing Age: 20–35) Vocal Range: G3–F#5 Warm, intelligent and grounded. A strong singer and storyteller who naturally becomes an emotional leader. Valerie "Val" Clark (Playing Age: 20–35) Vocal Range: G#3–C#5 Confident, funny and ambitious. Boldly practical about the realities of show business. Maggie Winslow (Playing Age: 20–30) Vocal Range: A3–A5 Gentle and vulnerable. Found comfort in dance after an emotionally difficult childhood. Connie Wong (Playing Age: 25–35) Vocal Range: C4–D5 Small in stature but full of confidence and humour. Self-aware and determined. Bebe Benzenheimer (Playing Age: 20–28) Vocal Range: F#3–C#5 Sensitive, insecure and earnest. Wants desperately to prove she belongs. Judy Turner (Playing Age: 20–35) Vocal Range: G#3–E5 Chatty, funny and delightfully awkward. A strong dancer with excellent comic timing. Kristine Urich-DeLuca (Playing Age: 20–30) Vocal Range: Cb4–Eb5 Sweet, anxious and unintentionally hilarious. A capable dancer who simply cannot sing in tune. Mike Costa (Playing Age: 20–30) Vocal Range: F3–G#4 An energetic New Jersey dancer with exceptional tap skills, charm and confidence. Paul San Marco (Playing Age: 24–32) Vocal Range: C#3–F#4 One of the show's most emotionally demanding roles. Quiet, vulnerable and deeply honest. Don Kerr (Playing Age: 25–40) Vocal Range: D3–F#4 A mature, dependable and grounded performer with a family. Calm and practical. Greg Gardner (Playing Age: 20–35) Vocal Range: D3–F4 Sophisticated, stylish and dryly humorous. Bobby Mills III (Playing Age: 20–35) Vocal Range: Eb3–C4 A natural comedian who hides vulnerability behind humour and theatricality. Richie Walters (Playing Age: 20–35) Vocal Range: D3–E5 Athletic, charismatic and full of infectious enthusiasm. Strong singer and dancer. Al DeLuca (Playing Age: 25–35) Vocal Range: E3–G#4 Kristine's devoted husband. Patient, supportive and grounded. Mark Anthony (Playing Age: 18–23) Vocal Range: E3–G#4 Young, eager and optimistic. Innocent and unintentionally funny. Additional Opening Audition Dancers (Playing Age: 18–35) Featured in the opening audition sequence before being cut. May also perform in featured dance moments, the finale, and cover principal roles.

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 CHORAL: Festival of Australian Music - Brisbane Chamber Choir 31 July 2026 Season: July 31st - August 1st, 2026 Title: Festival of Australian Music Presented By: The Australian Voices and Brisbane Chamber Choir Genre: Choral Music Festival / Classical Music Synopsis: Celebrate the richness and diversity of Australian music in this inspiring two-day festival showcasing the nation's finest composers, performers and choirs. The Australian Voices and Brisbane Chamber Choir present the inaugural Festival of Australian Music (FOAM), bringing together artists, audiences, educators, composers, conductors and music lovers for a dynamic celebration of Australian music and storytelling. The festival features four concerts, a Massed Festival Choir, workshops, presentations and professional development opportunities, providing an immersive experience for performers and audiences alike. Whether attending a single concert or participating across the full festival, FOAM offers a rare opportunity to engage deeply with Australian choral music in a collaborative and inspiring environment. Performance Dates: July 31st - August 1st, 2026 Performance Times: Friday Festival activities commence from 4:00pm 7:00pm Concert – Brisbane Chamber Choir & Aura Consort Saturday 12:30pm Concert – Brisbane Chamber Choir, Wilston State School Chamber Choir, TSAC Choir & Fairholme College Choir 3:00pm Concert – The Australian Voices, The Grammarphones, Centenary Junior Choir & Centenary Senior Choir 7:00pm Gala Concert – St Peters Lutheran College Chorale, Lumens Chamber Choir, Brisbane Chamber Choir, The Australian Voices and the Massed Festival Choir Additional workshops, presentations and choir rehearsals are held throughout both days. Performance Location and Address: St Ignatius Church, 30 Kensington Terrace, Toowong QLD 4066 Ticket Costs: Adult Full Festival Pass (includes catering and all concerts) – $105 Student Full Festival Pass (includes catering and all concerts) – $60 Adult Day Pass – $50 Student Day Pass – $25 Opening Concert – Adult $45 | Concession $20 Closing Gala Concert – Adult (with supper) $60 | Adult (concert only) $45 | Concession/Student $30 Saturday Concert – Adult $30 | Concession $15 (Under 16 free) Saturday Package (one daytime concert + Gala Concert) – $80 Family Ticket (2 Adults + 2 Students, two Saturday concerts) – $70 Choir Group Performers (15+ members) – $45 (with catering) or $20 (without catering) per person Ticket Link: Buy Tickets - Festival of Australian Music Recommended Age: Suitable for all ages. Duration: Varies depending on the selected concert or festival event. Cast: The Australian Voices Brisbane Chamber Choir Aura Consort The Grammarphones St Peters Lutheran College Chorale Lumens Chamber Choir Wilston State School Chamber Choir TSAC Choir Fairholme College Choir Centenary Junior Choir Centenary Senior Choir Massed Festival Choir Creative Team: Presented by The Australian Voices and Brisbane Chamber Choir Guest Presenters – Joe Twist and Rob Davidson Massed Festival Choir conducted by two leading Australian composers performing their own works Production Website: Festival of Australian Music Other Information: FOAM offers more than a concert experience. Participants can attend up to six workshops exploring creativity, composition, performance, leadership and the future of Australian music, rehearse and perform with the Massed Festival Choir, and connect with leading Australian composers, conductors, educators and performers. The festival also provides up to 17 hours of teacher professional development, with certificates of completion available for eligible participants. Catering is included for full festival participants. The venue provides step-free access, wheelchair-accessible seating and accessible amenities. Patrons requiring accessible seating or assistance are encouraged to contact the festival organisers prior to booking. Previous Next

< Back DANCE: Ya’Djin Spirit Women - QPAC 30 July 2026 Season: July 30th - August 1st, 2026 Title: Ya'Djin Spirit Women Presented By: The First Creatives, presented by Queensland Performing Arts Centre as part of Clancestry 2026 Genre: Dance Theatre / First Nations / Contemporary Performance Synopsis: Breaking cycles of silence. Ya'Djin Spirit Women is the first full-length production from The First Creatives, a multidisciplinary, intergenerational company led by First Nations women. Born from the Ya'Djin Women's Collective—a grassroots sisterhood of First Nations women survivors of sexual assault and domestic and family violence—the work is grounded in the shared stories of two Aunties from the collective. Through a powerful fusion of dance, theatre and film, the production explores colonial violence, dispossession, abuse, motherhood, Blak joy, connection to Country and healing. Meaning "speak," Ya'Djin is both a call and a commitment to truth-telling, resistance and breaking cycles of silence. This deeply moving work honours the women who created the collective while inviting audiences to reflect, listen deeply and help create safer futures for the next generation. Performance Dates: July 30th - August 1st, 2026 Performance Times: Thursday & Friday - 7PM Saturday - 6PM Performance Location and Address: Cremorne Theatre, Queensland Performing Arts Centre, Corner Grey and Melbourne Streets, South Brisbane QLD 4101 Ticket Costs: Adult – $35 Groups of 4+ – Discounts available Groups – From $25 per person A transaction fee of $7.50 applies per booking. Ticket Link: Buy Tickets - Ya'Djin Spirit Women Warnings: Coarse language References to rape Violence Family and domestic abuse Substance use Smoke and haze effects Cultural content advisory: contains images of First Nations women who have passed away Each performance begins with a smoking ceremony as audiences enter the theatre. Recommended Age: 15+ (children under 15 may attend at the discretion of a parent or guardian). Duration: 1 hour, with no interval. Cast: Performed by The First Creatives ensemble. Creative Team: Artistic Director – Allirah Fisher Creative Producer – Erika Jayne Goldsmith Lead Choreographer – Maddy Fisher Created and performed by The First Creatives Production Website: QPAC - Ya'Djin Spirit Women Other Information: Presented as part of QPAC's annual Clancestry festival, Ya'Djin Spirit Women is a powerful new work celebrating First Nations storytelling, resilience and healing. Developed through years of community collaboration, the production creates a culturally safe space where lived experience is transformed into moving contemporary performance. It honours the strength of First Nations women while inviting audiences into a shared journey of truth-telling, connection and hope. QPAC offers wheelchair-accessible seating, accessible parking, lifts, accessible toilets, hearing assistance systems, Companion Card acceptance and a Visual & Sensory Guide for the Cremorne Theatre. Patrons requiring accessible seating or additional assistance are encouraged to contact the QPAC Box Office on 136 246 before booking. Previous Next