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Casting Conflict of Interest Policy ​ 1. Purpose The purpose of this policy is to help casting panels engaged by Be You Group to effectively identify, disclose and manage any actual, potential or perceived conflicts of interest in order to protect the integrity of Be You and manage risk. It is to be read in line with Be You’s Conflict of Interest policy , the ACNC’s Managing Conflicts of Interest guide , and Be You’s Diversity & Inclusion Policy . ​ 2. Objective The Be You board (called the ‘board’ in this policy) aims to ensure that casting panels are aware of their obligations to disclose any conflicts of interest that they may have, and to comply with this policy to ensure they effectively manage those conflicts of interest as representatives of Be You Inc. ​ 3. Scope This policy applies to the members of a casting panel engaged by Be You. ​ 4. Definition of conflicts of interests A conflict of interest occurs when a person’s personal interests conflict with their responsibility to act in the best interests of the charity and the project being cast. Personal interests include direct interests as well as those of family, friends, or other organisations a person may be involved with or have an interest in (for example, as a shareholder). It also includes a conflict between a casting panel members’ duty to Be You and another duty that they have (for example, to another organisation or show). A conflict of interest may be actual, potential or perceived and may be financial or non-financial. ​ These situations present the risk that a person will make a decision based on, or affected by, these influences, rather than in the best interests of the charity and must be managed accordingly. In a casting context, these conflict of interest may take the form of: A panel member having taught the auditionee in the past while in the employ of a school, for more than one lesson or more than sporadically; There has been a relationship with the auditionee in the past where the panel member had power over them (for example, has directed them in another show); The auditionee has previously or currently paid a panel member for services rendered (for example, as a singing teacher); The panel member has helped the auditionee through the process (provided coaching, song choices etc) that could be perceived as giving them inside knowledge; The panel member and auditionee would objectively be considered friends (ie they meet up regularly in groups or solo, they message each other on social media etc); The panel member has previously seen the panel member perform and has followed their career in a public way (as in you may draw links between the panel member and the auditionee through their public social media interactions); The panel member has trained or worked with an auditionee as a peer in class or in a show, or any work in or out of the performing arts industry; It is the responsibility of each person on the casting panel to disclose and manage any of the actual, potential or perceived conflicts of interest above, and share judgements with the panel to make an ultimate group decision on how to manage them. This policy applies to any conflicts within the casting panel, as there may be a relationship where someone may wish to agree with a fellow panel member - this should be managed by the whole panel. ​ The Casting Director and casting team will be considered to have worked closely enough with all auditionees to only have to disclose actual conflicts of interest, as it is reasonable to assume that they would have potential and perceived conflicts as part of their day-to-day work. ​ 5. Policy This policy has been developed because conflicts of interest often arise, and do not need to present a problem to the casting process if they are openly and effectively managed. It is the policy of Be You as well as a responsibility of the board, that ethical, legal, financial or other conflicts of interest be avoided and that any such conflicts (where they do arise) do not conflict with the casting panel’s obligations to Be You. ​ Be You will manage conflicts of interest by requiring casting panel members to: avoid conflicts of interest where possible identify and disclose any conflicts of interest carefully manage any conflicts of interest, and follow this policy and respond to any breaches. ​​ Procedure Introduction The purpose of this procedure is to lay out how the above policy will be applied to an audition setting. This is in no way an exhaustive list of steps to take, though is a bare minimum. This process assumes a first round audition will be by video submission, though can be applied to in-person auditions by asking panel members to leave the audition room. Process If you declare a conflict of interest at any stage throughout this process, there will be no point in which this conflict of interest will be lifted. If there is any confusion as to whether a conflict of interest may change, the interested party must have permission from the CEO to change it. Before receiving applications If any member of the casting panel would like to invite someone to audition, their details should be given to the Casting Director to invite on their behalf. This will put the panel member and auditionee at arms’ length and does not create a perceived conflict for the auditionee. There will be no pre-casting of a show or project, and as such any views panel members have about wanting a particular cast member for a particular role must be disclosed before receiving applications, as this will allow for transparency for the rest of the panel members. Applications close Upon receipt of applications, panel members are to disclose any conflicts based on the name of participants alone. If identified, panel members are not to watch the auditionee’s first audition. They may provide a reference for the auditionee directly to the Casting Director which may be used if there is a need to break a tie in future. They are not allowed to make this reference known to the rest of the panel and must recuse themselves from all discussions (whether simply not speaking, or leaving the room - where appropriate). All conflicts must be disclosed to the whole panel transparently. Call back If video call backs are used, the above applies. In person, all panel members must declare their conflict of interests to the room (where appropriate to do so, as it would be expected in a small group but not expected in a dance call). This should take the form of “I am conflicting out of discussions about NAME because REASON”. Each panel member should have a turn in disclosing. If a panel member is conflicted out of discussing all people in the room, they must leave the room at this point. Casting We consider it appropriate for all panel members to be in the room when discussing the casting of a show, as they will have declared all conflicts until this point. The panel will decide how best to manage the casting process when discussing a conflict of interest, though the person conflicted out may not try to influence or coerce the panel in any way, verbally or otherwise. It may be appropriate to ask the conflicted person to leave the room. The Casting Director may break any ties at this point using the feedback provided by conflicted panel members. If there becomes a situation where there is a deadlock and not enough panel members are without a conflict of interest to discuss in a meaningful way, the Casting Director may make the final decision on casting. If this point is reached, all panel members, conflicted or not, may appeal to the Casting Director and speak freely about their reasoning. The Casting Director’s decision is final. If after casting the show it becomes apparent that a conflict of interest was not declared and should have been, and as a result has undermined the integrity of the process, the panel member will be asked to resign from any further involvement in the project, and will be barred from taking part in future projects with Be You Inc.

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Be New 2024 Our Shows When Henry by John Sharp and Ben Hunter Dive into a world where love, manipulation, and the pursuit of perfection collide in "When Henry." Experience an audacious musical journey that explores the dark and light of human relationships, the complexities of time travel, and the eternal quest for a flawless existence. Will Paige and Henry's love survive the ultimate test, or will the manipulation of time unravel the fabric of their destiny? This show challenges the notion of what it means to truly love and be loved, making us question: If we could change our past, should we?. ​ A Wake to Remember by Samantha Wong "A Wake to Remember" invites you on an emotionally charged journey through friendship, unrequited love, and the pursuit of dreams deferred. Dive into a story where the past and present collide at a wake, offering a second chance to confront unspoken truths and heal old wounds. This drama-comedy, infused with singer-songwriter-style music, explores the complexities of growing up, death, and the enduring power of friendship. If "The Last Five Years" touched your heart, prepare to be moved and motivated by the poignant yet humorous exploration of life's what-ifs and the music that binds us. Performers in Residence Be New Theatre Workshops Casting Call ​ ​ We are seeking five storytellers to join us on exploring these emotionally compelling journeys, set to culminate in a showcase at The Lawler theatre, Southbank, Melbourne. ​ Cast details to come What have we done so far? Every week was allocated to one writer and their show. In each session, we did a deep dive into whatever material has been selected and explore its structure, adherence to theatrical conventions and how it fits within the structure of the show as a whole. Each writer had a team of performers in residence who learned and provided feedback on their specific show. The focus weeks alternated, allowing writers and performers in residence enough time to process feedback, make changes or write new material before the next session. Everyone attended every week, even if it's not 'your week'. It was incredibly valuable to contribute to the work of others as writers or performers, and thinking critically about musical theatre structure and composition benefited our own understanding of each work. The final showcase will allow each writer to share the product of their hard work with family and friends, as well providing them with footage for use as part of a promotional showreel for the writers and performers. THE TEAM Harry Tibballs : An analyst at heart and a literal doctor during business hours, Harry brings a critical eye to the structure and thematic flow of musical theatre writing. A performer and champion baker, he supports a balanced and measured approach to writing. ​ Laura de Iongh : A performer, director, and choreographer, Laura's area of interest is in creating meaningful characters that connect with audiences. A psychology graduate, she incorporates her knowledge of human behaviour into her approach. ​ Daniele Buatti : A composer, music director, vocal coach, and kinesiologist, Daniele brings a holistic approach to music and storytelling. A teacher and mentor in every sense of the word, he brings a depth and breadth of knowledge to the program. ​ Our team is supported operationally by Mikaela Innes and Bradley Dylan. ​ Everyone involved is a volunteer .

< Back Brendan Jelley Casting and Comms Director brendan@beyouinc.org Brendan is a Casting and Communications professional as well as passionate performer with experience in many areas of the industry. His performance journey includes Musical Theatre productions, dancing around the world on cruise ships, as well as working with contemporary and commercial dance companies. A proud member of the Be You Inc Operations team he strives for an industry of empowered performers, creatives and companies. He aims to promote a more diverse inclusive industry in his roles as Casting Director and Head of Communications. As an advocate for supportive environments in what can be a tough industry, Brendan always strives to challenge stigma, create opportunities, and share insight through experience.

< Back Isabelle Davis she/her Deb Born in Melbourne and raised in Shanghai, Isabelle graduated from the Western Australlian Academy of Performing Arts (WAAPA) with a Bachelor of Music Theatre in 2019 – just in time for the world to shut down. Isabelle used this time to focus on her music career, releasing her debut EP ‘Small World’ in September 2021 followed by her debut single ‘Faith in Rainy Days’ later that year. Isabelle then featured in ‘Find Me’ - the theme song of award-winning audio drama, The Realm Tree, as the voice of Talia Wick. While at WAAPA, she played Sherrie Christian in Rock of Ages and Jenny in Company. Isabelle feels immensely grateful to be returning to the theatre in Be You Productions’ Ordinary Days, and is looking forward to more to come.

< Back Jade Bohni she/her Jason Jade is a Melbourne based performer and has been involved in the local musical theatre scene for many years. Some of her recent performing credits include In the Heights (Camilla Rosario, OCPAC), If/Then (Kate, Theatrical) and Disenchanted (Pocahontas, PEP). Jade was also one of many talented local artists performing in the Live in Your Living Room Series hosted by Knox Arts and Events and SLAMS in 2020. Jade is very excited to be a part of this unique staging of Ordinary Days and has enjoyed working with this incredibly talented and inclusive group of performers and creatives at Be You Productions. Jade would also like to take this opportunity to thank her husband, Luke and their three beautiful children for their constant love and support.

Providing Access to casting briefs, opportunities and the industry Supporting artists to showcase their personal brand with confidence. Personalised Advice on how to sustain a successful career. Open Audition Briefs ​ It's hard to find auditions these days. Underground provides direct access for artists to career building opportunities and casting briefs without the need for agency representation. ​ All these opportunities can be found in one easy place for you. To access these audition listings, sign up here . It's free, and we won't spam you. Click here for Auditions Tell us about an audition Brand You ​ Now you have access to auditions, how are you going to get seen? We’ll help you to put your best foot forward, and get in the door of your next audition. ​ We’re all told we need good headshots, a CV, showreel etc. but we’re never supported in how to make these stand out and best represent ourselves. We can support you. Learn More Self Tape Feedback ​ Whether you have an important casting submission coming up or you're developing your new showreel, we can provide tailored feedback and advice to help you stand out. Get Feedback

Your journey within the music theatre industry is infinite . ​ We see so many talented people out there in the industry who are just waiting to catch a break. We’ve seen how those with degrees from certain schools are more likely to get in the room, and we spent a while looking in to the reasons this happens by interviewing people from all levels of the industry. One thing consistently came up: talent is not really that important, what IS important is the skills that lie in between. Preparation, Communication, Wellbeing. ​ These three skills aren’t being taught outside of the schools (often not even within) and without these skills, it’s hard for casting agents to assess you from an application to audition, let alone to then successfully aud ition and hit rehearsals with a professional attitude, self-awareness, and self-confidence. ​ You can go many places to learn how to sing, dance, and act – we’re interested in developing the spaces in between. ​ The Program Wellbeing for Performers How to take care of your mental health through mindfulness, meditation, managing your emotions, emotional intelligence, and dealing with anxiety. Communication Developing your personal brand, how you represent and market yourself, communication techniques for casting, and showing professionalism while being true to you Preparation Including audition prep, what's expected from you in rehearsal, and organising your life as a performer, and also how to show up to auditions and rehearsals with confidence Why is it called Maybe This Time? ​ When creating this program we wanted to create a professional preparation course for people who had the skills they needed in performance, but were looking to take their professionalism to the next level. We believe that a deepening of these professional skills lies in how you present yourself and live your brand as a performer, and while watching an episode of Schitt's Creek, our program director saw an embodiment of what we are trying to achieve.

< Back Nicole Rammesh she/her Deb Nicole is so grateful to making her Melbourne/Naarm Music Theatre debut in ‘Ordinary Days’ with Be You Productions. As part of the inaugural cohort of Elder Conservatorium's Bachelor of Music Theatre (Adelaide/Kaurna Land), Nicole played Ali in ‘Mamma Mia!’ in her graduating musical & featured in the choir for Storeyboard Entertainment's Chess (dir. Tyran Parke). Nicole assistant-directed and starred as the comic ingenue in Exeunt Production's ‘A Grand Night For Singing’ (dir. Erin James) at Adelaide Fringe 2022 before moving to Melbourne, where Nicole performed in Maybe This Time: An Empowering Showcase and as a featured artist in Broadway Unplugged. Other credits include Spring Awakening (ECMT), Cabaret (ECMT), Songs for a New World (ECMT), Miss Saigon (Metropolitan MT Company) #nofilter (Velvet Chase Productions). Nicole was a semi-finalist in the AOC Initiative 2020 (dir. Tarik Frimpong).

Are you an Emerging Artist? December 2022 - (152 of 156) - Broadway Unplugged 20221205 - Canon EOS 5D Mark III VU53469 Broadway Unplugged Resident Artists Broadway Unplugged Resident Artists December 2022 - (152 of 156) - Broadway Unplugged 20221205 - Canon EOS 5D Mark III VU53469 1/15 At Broadway Unplugged we give emerging artists the opportunity to take centre stage as a soloist, take an active role in choosing repertoire, meet professional artists, and provide a safe, supportive environment in which to learn and grow as a performer. Ready to submit an application? ​ Submit now ACCESSIBILITY A text copy of this brief can be found here for scr een reading software. Please contact us if you require any additional support during submission or during the audition process. We believe this process should be accessible and are happy to be called in at any time to help you - email casting@beyouinc.org We’re committed to treating you as an individual, so if you’re going to struggle to meet this deadline, need us to send you a reminder, or have needs you would like to put forward, please let us know in the audition form. What we’re looking for: We’re looking for people who are interested in personal and professional growth within a supportive and education-driven organisation. We would like our Resident Artists to: Have a desire to take their career into their own hands Possess a self-driven and self-motivated learning style Demonstrate a passion for performing solo and as part of an ensemble Love to learn new and challenging repertoire What we’re offering: ​ Our Resident Artists will, in addition to performing as a backing vocalist, be asked to perform repertoire in groups and be offered the chance to perform solo songs twice throughout the year. Performing and rehearsing alongside musical theatre professionals, our cohort have a unique opportunity to challenge themselves and grow as performers. In exchange for their time as volunteers, ou r Resident Artists will have access to one-on-one performance and career goal coaching, as well as access to other Be You initiatives and programs. If this has piqued your interest, we encourage you to submi t an audition. 2024 Performance Dates Must be available for shows on these dates: One Sunday in February (to be confirmed) April 8 June 3 August 5 October 7 December 2 All of th ese dates will require your attendance from 4:30pm, with the exception of our February show's call time of 12pm. ​ REHEARSALS We will hold four rehearsals on the Sunday evenings five weeks out from each show. There is an expectation that Resident Artists will work on their songs in their own time to ensure they are prepared for rehearsal, and our team will make every effort to support this. CASTING Be You is proud of our diverse community and want to ensure that people feel welcome and empowered in equal measure. Belonging and Balance are at the forefront of all that we do. As such, our casting process reflects our commitment as an organisation to ensure we are creating an inclusive environment with balanced representation. For more information, see our Abo ut Us page. We welcome with open arms performers who identify as Indigenous, Black, a Person of Colour (IBPOC), culturally, gender and body diverse, and people of all abilities. Please let us know how we may further reach out to you and support your application. AUDITION DETAILS We’re accepting video submissions for the first round and our open audition policy will apply. Everyone who applies will be seen. Please prepare a video with the following: A short introduction that introduces yourself and why you’d like to be a Resident Artist for Broadway Unplugged (roughly 30-45 seconds) One musical theatre piece (maximum of 32 bars, no longer than one minute) One non musical theatre piece (maximum of 32 bars, no longer than one minute) TIP! Choose material that best demonstrates your vocal and acting ability and approach the song as a monologue, with a strong sense of action and storytelling. We are all about authenticity at Broadway Unplugged, so we want to see honesty and passion in your performance. Ready to submit an audition? ​ Submit now SUBMISSIONS CLOSE: 11PM SATURDAY 28 OCTOBER After the initial video submission, our first call back will also be presented via video within a week of submissions closing. If you submit your initial audition earlier than the deadline, you may receive your call back material earlier too, and therefore have more time to submit. IN PERSON CALLBACKS: SATURDAY 11TH NOVEMBER SELF TAPE GUIDE: The self tape doesn't need to be studio quality Ensure that it has been recorded within the past three months, and is not a video of you in a stage performance Shoot the tape mid-shot to close-up (just below the shoulders to three inches above the top of the head) Reduce visual distractions for the viewer - filming against a blank wall is most ideal. You may use piano, recorded accompaniment, or sing a capella Don’t use reverb, autotune or other forms of electronic enhancement. We’d like to hear your authentic voice Don’t submit a showreel in place of your audition ​ ABOUT BROADWAY UNPLUGGED Broadway Unplugged's mission is to create a platform for performers to showcase their talent in a supportive and inclusive environment. It aims to provide opportunities for both emerging and established artists to perform and connect with the musical theatre community. It serves as a platform where artists can express themselves and contribute to the development of the emerging artistic community in Melbourne while also raising funds for charitable purposes. Everyone who is involved with Broadway Unplugged is a volunteer , other than our band and host, who are on a low stipend to maximise fundraising efforts.

A Search for Connection Acknowledgement of Country We would like to begin by acknowledging that we are meeting on the stolen lands of the Wurundjeri People of the Kulin Nation and paying our respects to the Traditional Custodians of the land on which we are gathered today. We would like to pay our respects to their Elders, past, present and emerging, and acknowledge all Aboriginal and Torres Strait Islanders and recognise their continuing connection to land, waters and culture. ​ We want to acknowledge how lucky and honoured we are to be able to share this land and continue the tradition of storytelling. The Story Ordinary Days is about acceptance, community, and finding connection – feelings that are in shorter supply after these less than ordinary days we’ve experienced. It tells the stories of four people struggling to connect. It’s made up of pieces that, like its characters, reveal themselves to be part of a much bigger story than we might have first imagined. It’s about realising that the pieces of our lives, as jumbled as they may seem, do fit together, even if we must shift our perspective to see it. As these four characters flounder through all-too-familiar everyday obstacles, they slowly edge closer to connecting with each other and to understanding that an ordinary event can have extraordinary effects. ​ Composed and Written By: Adam Gwon The Songs One by One by One Don’t Wanna Be Here The Space Between Let Things Go Dear Professor Thompson (Part 1) Life Story Dear Professor Thompson (Part 2) I’m Trying Saturday at the Met Favorite Places Sort - Of Fairy Tale Fine Big Picture Hundred-Story City Party Interlude Calm Life Story (Reprise) Gotta Get Out Rooftop Duet/Falling I’ll Be Here Beautiful Cast Combos for Each Show WEDNESDAY 26TH - 7:30PM Jason: Charlie Boscolo (he/they) Claire: Joe Howe (they/them) Deb: Isabelle Davis (she/her) Warren: Georg Gleeson (they/she) THURSDAY 27TH - 7:30PM Jason: Jade Bohni (she/her) Claire: Joe Howe (they/them) Deb: Isabelle Davis (she/her) Warren: Dan Hillman (he/him) FRIDAY 28TH - 7:30PM Jason: Jade Bohni (she/her) Claire: Joe Howe (they/them) Deb: Nicole Rammesh (she/her) Warren: Georg Gleeson (they/she) SATURDAY 29TH - 2PM Jason: Charlie Boscolo (he/they) Claire: Akansha 'AK' Hungenahally (she/her) Deb: Nicole Rammesh (she/her) Warren: Dan Hillman (he/him) SATURDAY 29TH - 7:30PM Jason: Jade Bohni (she/her) Claire: Akansha 'AK' Hungenahally (she/her) Deb: Nicole Rammesh (she/her) Warren: Georg Gleeson (they/she) SUNDAY 30TH - 7:30PM Jason: Charlie Boscolo (he/they) Claire: Akansha 'AK' Hungenahally (she/her) Deb: Isabelle Davis (she/her) Warren: Dan Hillman (he/him) OUR CAST Dan Hillman he/him Warren Full Bio Isabelle Davis she/her Deb Full Bio Akansha 'AK' Hungenahally she/her Claire Full Bio Georg Gleeson they/she Warren Full Bio Jade Bohni she/her Jason Full Bio Joe Howe they/them Claire Full Bio Nicole Rammesh she/her Deb Full Bio Charlie Boscolo he/they Jason Full Bio OUR PROD TEAM Bradley Dylan he/they Director Full Bio John Mondelo he/him Associate Music Director Full Bio Nabs Adnan he/him Producer & Stage Manager Full Bio Daniele Buatti he/him Music Director Full Bio Oliver Ross he/him Technical Director Full Bio Bronya Doyle she/her Assistant Director & Movement Director Full Bio Lana Davey they/them Associate Director Full Bio About Be You Productions Our point of difference is our priority: creating and supporting sustainable theatre. Run by Be You Group, Be You Productions have five main tenants:​ Focus on Storytelling Open Audition Process Minimal Budget Performers involved in Decision-making Transparent Budget Management Find Out More Acknowledgments Casting Director: Brendan Jelley (he/him) Casting Assistant: Daniel Steer (he/him) Marketing: Keyanna Burgher (she/her) & Brendan Jelley (he/him) Marketing Support: Daniele Buatti (he/him) Rights: ORiGiN Theatrical A Special Thanks To The Be You Board The MC Showroom

Become a member of Be You Group If you'd like to become a member of Be You Group Incorporated, please fill out this application form. ​ ​ Click here for more information on membership of an incorporated association ​ A link to our constitution and policies Apply to be a member I support the purposes of Be You I have read clause 2 of the constitution I want to subscribe to the newsletter. Apply Now Thanks for submitting!