Queanbeyan Players is delighted to invite performers to audition for our highly anticipated 2026 season of Les Misérables.
This globally celebrated masterpiece, with its sweeping score and timeless story of revolution, love, and redemption, demands a cast of exceptional vocal power and dramatic depth. Under the direction of our experienced creative team, we seek dedicated individuals to bring Victor Hugo’s epic novel to magnificent life on the Queanbeyan stage. If you have the vocal talent, commitment, and desire to join one of the greatest musicals ever written, we urge you to review this pack carefully and book your audition. We look forward to embarking on this extraordinary journey with you.
Queanbeyan Players is a community theatre group based in Queanbeyan, NSW. We are seeking adult performers across all ages, backgrounds and levels of experience to audition to be a part of our production of Les Misérables. We encourage everyone to audition, including performers who identify as a person with disability, BIPOC, First Nations, gender diverse, LGBTQIA+, neurodiverse and from any and all cultural backgrounds.
Synopsis
Set in early 19th-century France, Les Misérables is a sweeping story of redemption, justice, love, and revolution. At its heart is Jean Valjean, a man imprisoned for stealing a loaf of bread to feed his sister’s starving child. After nineteen years of hard labour, he is released but marked as a convict, shunned wherever he goes. A compassionate bishop’s act of mercy inspires Valjean to transform his life. Breaking his parole, he reinvents himself as a prosperous factory owner and mayor under a new identity.
However, Inspector Javert, a rigid and duty-bound police officer, becomes obsessed with hunting him down, believing the law must always prevail over compassion.
Among Valjean’s factory workers is Fantine, a young woman dismissed unjustly and forced into poverty to support her daughter, Cosette, who is left in the care of the corrupt innkeepers Thénardier and Madame Thénardier. When Fantine falls ill, Valjean vows to care for Cosette after learning of her suffering. He rescues the child from the Thénardiers’ cruelty, and together they begin a new life, forever pursued by Javert.
Years later in Paris, a now-grown Cosette falls in love with Marius Pontmercy, a young idealist drawn into the fervour of a student-led uprising against oppression. As revolution brews, Marius must choose between love and loyalty to his friends, including the passionate Enjolras and the streetwise boy Gavroche.
During the barricade battles, Valjean’s path again collides with Javert’s. When Valjean spares Javert’s life instead of executing him, the inspector is shaken to his core. Unable to reconcile mercy with his strict sense of justice, Javert ultimately takes his own life.
At the barricade’s fall, Valjean rescues the wounded Marius and brings him to safety, fulfilling his promise to protect Cosette’s happiness. Marius and Cosette marry, but Valjean, believing his past makes him unworthy, quietly withdraws from their lives. When Marius learns the truth of Valjean’s sacrifices, he and Cosette rush to his side.
In his final moments, Valjean finds peace, watched over by the spirits of Fantine and the Bishop who once saved his soul. The story closes with a vision of hope and freedom, as the fallen rise to sing of a better world to come.
Jean Valjean
Jean Valjean is the hero of the show. It is his life journey that we follow. Jean Valjean is supposed to be stronger than other men, and so he should physically appear bigger than the other males. He should carry himself confidently onstage and come across to the audience as reasonably mature and paternal. Valjean’s capacity for change is his greatest asset throughout the story. The key to his character is his great humanity and compassion. The role of Jean Valjean is extremely vocally demanding, but also requires an incredible actor to fill the part.
Character breakdown
Les Misérables requires exceptionally strong vocalists with the dramatic depth to portray characters over a significant timeline.
Gender: Male
Vocal range top: A4
Vocal range bottom: G#2
Marius
Marius is a young man, the romantic hero of the story. He is impulsive, passionate, wilful, and headstrong. His moods change according to his circumstances. He is sweet and tender but also capable of great courage and compassion. Marius matures after “The Café Song” as a result of his experiences on the barricade. Marius should have a lovely, lyrical voice with a contemporary edge.
Gender: Male
Vocal range top: Ab4
Vocal range bottom: A2
Thénardier
Thénardier is the true villain of Les Mis. He is the embodiment of evil. That said, he should also possess a wicked sense of humour. He delights in cheating, robbing, defrauding, and blackmailing, and relishes every aspect of his schemes with glee. He is tough, greedy, brutal, lowbrow, crafty, and yet irresistible. He is also the comic relief of the production, though his comedy should be grounded in reality. Requires an excellent comedic actor who can portray a nasty edge. Vocally, the role is not incredibly demanding; actually, a character voice is best.
Gender: Male
Vocal range top: G4
Vocal range bottom: C2
Enjolras
Enjolras is the student leader. He is handsome, brave, and daring, although youthful. He combines his revolutionary ideals with strong, charismatic leadership. Enjolras must inspire the students to fight and, ultimately, to die for their beliefs. On the barricade, he should dominate everyone else physically and vocally. He should be a natural leader oozing with charisma and have a very strong high baritone or a tenor voice.
Gender: Male
Vocal range top: G4
Vocal range bottom: A2
Javert
Javert is the inspector who serves as antagonist to Jean Valjean. Javert is unswerving in his belief that men cannot change for the better. "Once a thief, always a thief" is his mantra. He is a dedicated policeman with a profoundly strong sense of duty. Unlike Valjean, Javert's attitudes are rigid and unmovable. He is stern, forbidding, and lacking in compassion. Javert should be a talented actor who can convincingly stand up to Jean Valjean. Javert should have a rich baritone voice and be a good singer.
Gender: Male
Vocal range top: F#4
Vocal range bottom: F2
Eponine
Eponine is the Thénardiers’ daughter. Living hand to mouth, she survives by helping her father in his life of crime. She is a young girl who is streetwise and tough but also sensitive and lonely. This tragic character is hopelessly in love with Marius. She bravely follows Marius to the barricades in the hope that they will die there together. She sings one of the most famous numbers in the show, “On My Own,” and should be an excellent actress and singer with a contemporary edge to her voice.
Gender: Female
Vocal range top: E5
Vocal range bottom: F3
Fantine
Fantine is the beautiful, young girl who, abandoned by her lover, is left to fend for herself and her daughter, Cosette. She is rejected by society and forced through circumstances to sell herself. She is a brave woman defeated by life who clings to her dignity. Requires a performer with a powerful voice that is more mezzo (or alto) than soprano.
Gender: Female
Vocal range top: Eb5
Vocal range bottom: F3
Madame Thénardier
Wife of Thénardier. They are partners in crime. She is coarse and vulgar, romantic, greedy, manipulative, evil, and larger than life. She is mean and nasty to Little Cosette. The role calls for an actress with excellent physical comedy skills who is also a good musician with a good sense of rhythm.
Gender: Female
Vocal range top: D5
Vocal range bottom: G#3
Cosette
Cosette is Fantine’s strong-willed, loving daughter. She is an intelligent, inquiring, personable girl; she is not in any sense a sappy, romantic heroine. She falls instantly in love with Marius, changing her world and her priorities. The role calls for an excellent singer with a lovely, lyrical soprano voice.
Gender: Female
Vocal range top: C6
Vocal range bottom: Bb3
Young Cosette
Young Cosette is Fantine’s daughter and the Thénardiers’ ward, forced into child labour. She is underfed and bullied. It is essential that Young Cosette be as physically small and innocent as possible. Young Cosette sings “Castle On A Cloud,” so she must have a sweet voice and tap into the emotion in the song. This role will alternate with Young Eponine.
Gender: Female
Playing age: 8-10 (stage age 10)
Vocal range top: C5
Vocal range bottom: A3
Gavroche
Gavroche is a streetwise urchin who likes to hang around with the students of the ABC Society. He is left to fend for himself and lives by his wits in the streets of Paris. Gavroche is brave, witty, and arrogant, with a fantastic, unchanged voice. He must have strong stage confidence and vocal projection. He needs to be a good enough actor to believably die onstage.
Gender: Male
Playing age: 9-13 (stage age 12)
Vocal range top: G5
Vocal range bottom: B3
Young Eponine
Young Eponine is the pampered daughter of the Thénardiers. She taunts Young Cosette. The role requires no singing or speaking.
This role will alternate with Young Cosette (see Young Cosette’s requirements).
Gender: Female
Playing age: 8-10 (stage age 10)
Bishop Of Digne
The Bishop is a good man who saves Valjean’s soul through showing compassion. His kindness carefully establishes the premise of the show. This powerful role requires a nice baritone voice and a good actor.
Gender: Male
Vocal range top: E4
Vocal range bottom: A2
Featured Ensemble Tracks and Soloists
The following named roles will be filled by experienced ensemble members. Auditionees should indicate interest in these featured roles, which require strong vocal power, dramatic versatility, and commitment.
ABC Society Students (Named): Combeferre, Feuilly, Courfeyrac, Joly, Prouvaire, Lesgles, Grantaire.
Thénardier’s Gang (Named): Montparnasse, Babet, Brujon, Claquesous (May be mixed gender).
Soloists (Named): Bishop of Digne, Foreman, Girl 5 (Factory Girl), Old Woman, Bamatabois, Pimp, Fauchelevant, Farmer, Laborer, Sailors, Constables, Judge(s), Major Domo, Army Officer.
The Ensemble: This track forms the backbone of the production, covering the Convicts, Factory Workers, Working Girls, Revolutionaries, Wedding Guests, Onlookers, and other vital characters that create the tapestry of 19th-century Paris. Versatility and powerful choral singing are essential.
Audition information
Book your auditions here on our website.
If no audition slots are available, please email auditions@queanbeyanplayers.com to join the waiting list.
Age Restrictions
All adult roles available in "Les Misérables" are limited to age 18 and above (i.e. you must be at least 18 at the time of performance).
Children auditions and ages
Three children’s roles (Young Cosette, Young Eponine, and Gavroche) are available. Minimum age is 8, stage age should be 10 for Cosette and Eponine, 12 for Gavroche. Three girls and two boys will be cast for these roles. The girls will alternate roles. Children need to book a singing/acting audition (1 session only) online to be held on Sunday 23 November, please let us know if adjustments need to be made.
Adult auditions
All adult auditionees will be required to book an individual singing/acting audition and a group movement audition.
Please book your vocal and movement audition times online, and please make sure you have booked both sessions! Your headshot is also required at time of booking.
Understudies and swings will be cast for certain roles.
Singing and acting
Please prepare one song NOT from Les Misérables that best showcases your vocal range and acting ability for the character you are seeking. Given that Les Misérables is a sung-through production, your own choice song must clearly demonstrate your acting ability through song. Please choose one complete song (not from Les Misérables) that aligns with the vocal and emotional demands of your desired character.
In addition, certain roles (listed below) must also prepare one sung excerpt from Les Misérables. This excerpt is crucial for assessing vocal suitability for the actual score. (Refer to the Detailed Requirements below for specific excerpts.)
Backing tracks of the Les Misérables excerpts will be provided to auditionees in advance of auditions to prepare and to use at audition.
Please bring a backing track (we will have a Bluetooth speaker available) or sheet music for your own choice song. In addition to the Bluetooth speaker, an accompanist or our MD will be available to accompany you if required. You are also welcome to bring your own accompanist. Singing acapella is not acceptable.
If you’re auditioning for more than one role, please sing the song for the role you want most and list the other roles you’re interested in on the online form. Please note the callback song assigned for each role.
Movement
A short movement call will be held for all auditionees (principal and ensemble) to assess spatial awareness and physical presence. This will require auditionees to perform tasks based on set requirements and to think on their feet. Please wear comfortable clothes and appropriate footwear.
Video auditions
If you are unable to attend the auditions, we will accept a video audition. The production team will evaluate your video audition with the same criteria and standards as the live audition. However, you should make sure that your video is clear, audible, and well-edited.
No movement audition will be required for video submissions.
Please ensure you complete an audition form, available here, and provide a video file that can be played on a phone (mp3, mp4,vid, etc). If you have any issues, please email auditions@queanbeyanplayers.com
Video Audition Requirements
To be considered via video, your submission must include the following two prepared pieces:
External Song: Your full, chosen song (not from Les Misérables) that demonstrates your acting ability and suits the vocal demands of the character you are interested in.
Mandatory Excerpt: If you are auditioning for a principal role, also upload your prepared sung excerpt from Les Misérables (as detailed in the Audition Pack).
Please ensure you are accompanied by a backing track or instrumental accompaniment (no acapella submissions).
Character requirements
| Character | Prepared Song (Own choice) | Prepared Les Mis Excerpt |
|---|---|---|
| Jean Valjean | One full song showcasing powerful tenor and dramatic depth. | "Prologue": Bars 270-323. |
| Javert | One full song showcasing commanding baritone and stern authority. | "Stars": Bars 19-49. |
| Fantine | One full song showcasing mezzo/alto power and emotional vulnerability. | "I Dreamed a Dream": Bars 25-70. |
| Éponine | One full song showcasing powerful belt/mix and streetwise character. | "On My Own": Bars 104-147. Begin from 2nd verse – “In the rain” |
| Marius | One full song showcasing lyrical tenor and youthful passion/grief. | "Empty Chairs at Empty Tables": Bars 3-34. |
| Thénardier | One character song showcasing excellent comedic timing and a distinct vocal texture. | "The Innkeeper’s Song": Bars 121-170. |
| Madame Thénardier | One character song showcasing comedic flair and a coarse, powerful character voice. | "The Innkeeper’s Song": Bars 188-226. |
| Enjolras | One full song showcasing strong, high tenor/baritone and inspirational leadership. | "The ABC Cafe": Bars 17-37, and 60-77. |
| Cosette | One full song showcasing lyrical soprano quality and romantic innocence. | "Rue Plumet": Bars 6-32. |
Please note, the audition panel may interrupt you at any point during your song. This does not mean you are doing a bad job, we may have already heard what we need. If you are singing a song of your own choice, please consider which part of the song you really want the panel to hear.
If called back, the production team would like you to prepare the following excerpts. A repetiteur will be in attendance to accompany you for callbacks.
Call Back Requirements
| Character | Call Back Song |
|---|---|
| Jean Valjean/Javert | “Fantine’s Death” – Bars 57-91. |
| Marius/Cosette/Éponine | “A Heart Full of Love” – full song. |
| Fantine | “Fantine’s Death” – Bars 8-22. |
| Enjolras | “The ABC Café/The People’s Song” – Bars 124-147 of The ABC Café directly into bars 1-10 of The People’s Song. |
| Thénardier/ Madame Thénardier | "The Bargain" – Bars 62-149. |
| Gavroche | "The Beggars" – Bars 10-19. (Focus on cheeky bravado and quick-witted survival through patter.) |
| Young Cosette | "Castle On A Cloud" – Bars 23-54. Begin from 2nd verse “There is a room”. (Focus on quiet despair and emotional vulnerability.) |
Audition song selections
Callback song selections
Important dates, times and venues
Auditions
Auditions will be held at Queanbeyan Uniting Church, 13 Rutledge St, Queanbeyan
Adult Auditions
Saturday 15 November 10am – 10pm
Sunday 16 November 10am – 10pm
Saturday 22 November 1pm– 10pm
Children Auditions
Sunday 23 November 10am – 8pm
Callbacks
Callbacks, if required, will be held on Monday 24th or Thursday 27th Nov
Rehearsals beginning: Sunday, 7 December
Queanbeyan Uniting Church, 13 Rutledge St, Queanbeyan
Mondays 7pm – 10pm
Thursdays 7pm – 10pm
Sundays 1pm - 5pm (from March, 10am – 5pm, subject to change)
In Theatre – Production week
The Q – Queanbeyan Performing Arts Centre, 253 Crawford St, Queanbeyan NSW 2620
Saturday 16 May 9am – 5pm Bump in
Sunday 17 May Technical rehearsal
Monday 18 May 6.30pm – 11pm Dress rehearsal/ top and tail
Tuesday 19 May 6.30pm – 11pm Dress rehearsal
Wednesday 20 May 6.30pm – 11pm Dress rehearsal
Thursday 21 May 6.30pm – 11pm Final dress rehearsal
Performances
Friday 22 May Opening night
Saturday 23 May 2 show day
Sunday 24 May Matinee performance
Wednesday 27 May (tentative)
Thursday 28 May
Friday 29 May
Saturday 30 May 2 show day
Sunday 31 May Matinee performance
Wednesday 3 June
Thursday 4 June
Friday 5 June
Saturday 6 June 2 show day, closing night and bump out
_______
Sunday 7 June Bump out complete
Cast obligations
Cast members will be required to read our relevant policies and sign a code of conduct. Our aim at Queanbeyan Players is for everyone to have fun when doing a QP production and provide a welcoming and safe environment.
If you are unable to comply with QP’s policies and code of conduct, you may be asked to leave the cast.
Bump in will be on Saturday 16 May 2026. Performances will be 22 May – 6 June. Attendance at rehearsals during production week and at performances is mandatory.
A full-length stage production is demanding, both in time and effort. It can be both physically and mentally stressful. If you have a medical condition, please communicate this to the production team or a committee member so we can support you during the rehearsal and performance periods and have an action plan in place.
If you are accepted into the cast, you must become a financial member of The Queanbeyan Players Inc. This is primarily related to insurance purposes. The Membership Secretary will be present at the first read-through/rehearsal to accept membership dues. Information about the cost of this and any additional costs will be sent to you if you are accepted into the cast.
Cast members are encouraged to take part in the physical construction of the show by assisting the production team with set building, painting, and maintenance during scheduled workdays outside of rehearsal times. Many hands make light work!
We run our shows on a very small budget. We are therefore unable to provide items such as shoes or make-up for cast members. You will be provided with costumes, and we are always happy to see people who can either make their own costume or can find someone to sew it for them. You may be requested to help make and/or paint scenery, and are required to help move the sets in and erect them at bump-in. If there are any reasons preventing you from helping with set building, such as existing injuries, please communicate this to the production team.
Please note that Queanbeyan Players Inc. pursues an alcohol-free policy during both rehearsals and performances.
You will be informed whether you are successful in the auditions by email or phone call as soon as possible after we finish auditions and call-backs. If you do not hear from us before the first rehearsal, please contact auditions@queanbeyanplayers.com.
Please fill out and submit the audition form and upload a headshot online.
Other rehearsal information
Being in a Queanbeyan Players show is both fun and rewarding; however, in order to have a quality production, we do require a certain amount of commitment from cast members. Queanbeyan Players invest significant cost, time and effort to stage a show and to also run the company during the year, therefore we must charge people money for tickets. Because we are charging audiences money, we need to provide as high a standard of community theatre production as possible. Please read these notes carefully and decide whether you can provide this level of commitment before you audition.
All Auditions and rehearsals will be held at Queanbeyan Uniting Church Hall, Rutledge St Queanbeyan – some rehearsals may be held at alternative venues when required however that will be confirmed and communicated prior to rehearsal dates.
Rehearsals are every Monday and Thursday 7:00 - 10:00pm and Sunday 1:00pm - 5:00pm and from March 10:00am - 5:00pm, commencing Friday 7 December, with a break over the holiday season from 18 December 2025 to 19 January 2026.
Both in rehearsal and during performances members of the Production Team are in charge and you will be expected to work to their direction. You may not be called for every rehearsal, or for the whole time, but you must attend every rehearsal you are called. We cannot halt rehearsals over school and public holidays. If you know you will be unavailable on these or any other dates, please let the team know at auditions. (We will not consider you ineligible for the cast, but we do need to know absences so that rehearsals can be structured accordingly.)
If you accept an offer for Les Misérables you will be expected to be available for rehearsals and performances on the schedule. Please list any conflicts with these dates on your audition form. A rehearsal schedule is produced at the beginning of the rehearsal period, but other dates may be included in the schedule from time to time in consultation with the cast.
Child Performer Supervision Policy
For the safety and compliance of our production, we ask that parents or guardians of the child performers (Gavroche, Young Cosette, and Young Eponine) be present during rehearsals and performances in which their children are called. QP can allocate a dedicated person to assist with supervision if needed.
A Supervision Parent Roster will be coordinated with the parents of child performers to ensure that at least one responsible adult is present at all times while the children are in the theatre or rehearsal space. We ask that this commitment be carefully considered and agreed upon before accepting a role.
Creative team
Dale Rheynolds - Director
Dale brings a strategic creative vision and over two decades of theatrical performance experience to this production.
Her artistic foundation was built from an early love of musical theatre—sparked by watching classic movie musicals with her mum—and strengthened when she successfully convinced her parents to let her begin dance training at age four. She later expanded this passion through formal studies in drama and voice, creating a well-rounded foundation in the performing arts.
Dale’s connection to Les Misérables runs deep. Having performed in the show twice in major Sydney productions, she experienced firsthand the immense power, emotion, and camaraderie that make it so extraordinary. Those seasons brought her immense joy, lasting friendships, and a deep appreciation for the show’s humanity and scale. Now, she returns to it not only as a passionate admirer but as a first-time director, bringing with her an intimate, lived understanding of its pacing, emotional intensity, and logistical scope.
Professionally, Dale’s expertise in the creative and marketing industry brings additional strength to her artistic leadership. Her strategic understanding of audience engagement, storytelling, and brand alignment ensures that her creative vision will be both artistically ambitious and commercially effective.
She is thrilled to bring her passion, experience, and creative vision together with an amazing creative team to deliver a compelling, heartfelt, and unforgettable staging of this timeless work.
Sarah Powell – Assistant Director
A lifelong passion for the stage fuels Sarah's commitment to theatrical excellence. Having performed in over 40 community theatre productions since her debut at age eight, she brings a deep, intrinsic understanding of performance and staging to the Assistant Director role.
Her love for Les Misérables is decades in the making, tracing back to seeing the original Australian cast in 1987 (a show her family will attest she later soundtracked her teenage years with!). This passion translated into performing in a seminal first NSW amateur production of Les Mis in 2000 at the Riverside Theatre, giving her a performer’s insight into the unique demands and immense scale of this epic work.
Professionally, Sarah is a certified Project Manager—a skill set invaluable for the logistical challenge of mounting a production of this size. She is adept at delivering complex projects, translating to an ability to manage the considerable technical and scheduling demands of the show.
Sarah's combined experience ensures she will be a vital support to the Director, offering a blend of keen artistic understanding of the narrative arc and the professional capacity to ensure the project delivers a clear, driving narrative of Jean Valjean’s impactful story on time and on budget.
Brigid Cummins – Musical Director
A multi-instrumentalist, accompanist, and piano teacher, Brigid holds a degree in musicology and a diploma in piano performance. A skilled performer both on keys and reed instruments, she is a highly sought repetiteur for both soloists and groups, working with Queanbeyan Players, Woden Valley Youth Choir, Australian Rugby Choir and the Warrani chorale. She has played in a number of award winning ensembles including the Blamey St Big Band, Brindabella Orchestra and Canberra City Band.
Brigid has previously been assistant musical director for Free-Rain’s 2023 production of Spamalot, Co-Musical Director for American Idiot (QP), garnering her one of two nominations for best musical direction alongside Nice Work If You Can Get It, which won the CAT Award for Best Musical.
Belinda Hassell – Movement Director
With over two decades of dedicated involvement in musical theatre, Belinda brings a wealth of experience and a sophisticated understanding of movement storytelling to every production.
Her extensive portfolio, primarily focused on Choreography, spans classic and contemporary works, ensuring versatility and a deep appreciation for diverse production needs. Career highlights include choreographing major seasons for Queanbeyan Players, such as My Fair Lady, Guys and Dolls, Oklahoma!, and the challenging modern narrative of Next to Normal. She began her theatrical journey with The Lion, the Witch and the Wardrobe with Phoenix Players.
Belinda is driven by a passion for creating movement that enhances and drives the narrative, ensuring that every step furthers the story. Her teaching background is comprehensive, covering jazz, tap, ballet, contemporary, ballroom, and Latin American styles—a versatility that allows her to meet the specific demands of any score or era.
Recently, Belinda's creative leadership has expanded to include co-directing roles. Her commitment to the theatre community is further demonstrated by her current membership on the Queanbeyan Players committee, where she recently co-ordinated the company's 60th celebration exhibition and concert, proving her expertise in both artistic vision and large-scale project coordination.
Jenna Hinton – Conductor
Jen Hinton is a multi award winning musical director hailing from Canberra. A drummer and percussionist, she has played with award winning ensembles such as Canberra City Band, Canberra Brass, Australian Wind Symphony, Women In Brass (Australia), Spectrum Big Band amongst others. A highly sought after musical director and conductor, Jen is a part of Canberra City Band Inc’s artistic staff, leading the John Agnew Band to two NSW State Band Championship titles and directing the Prism Jazz Ensemble, alongside founding the CW Big Band.
Jen has played as a pit musician and musically directed a number of musical theatre productions in the region for over a decade, selections include High Fidelity, Grease, Oliver, Oklahoma, Mamma Mia, Footloose, Joseph and the Amazing Technicolor Dreamcoat; and Next to Normal, for which she won the 2024 CAT award for best musical direction. In 2023 she received the Gold CAT award for her services to the Canberra Theatre Community.
Production Manager David Tricks
Stage Manager Rachel Laloz
Costumes Helen McIntyre
Questions
Please email us at auditions@queanbeyanplayers.com