Full-Time Course

Showfit is one of Australia’s premier full-time musical theatre programs.

Based in Melbourne, it offers an intensive one-year course with the option of a second year for students wishing to further develop their training. Participants work closely with leading musical theatre educators and industry professionals from across Australia and abroad.

The program provides a comprehensive foundation in all core areas of musical theatre. Training is designed to be practical, flexible, and industry-relevant, with a personalised approach that supports each student’s development.

The syllabus includes acting techniques (with a focus on Stanislavsky fundamentals), voice, movement, scene work, improvisation, audition preparation, and the history of musical theatre. Graduates frequently progress to further study at leading institutions such as WAAPA, VCA, and NIDA, while others move directly into professional performance careers.

Meet the Team

A black and white portrait of a smiling woman with short dark hair, light-colored eyes, and wearing a textured top.
  • - Head of Course

    Leanne danced professionally for over 23 years in shows such as Evita, Oklahoma, Song and Dance (where she was nominated for an “Adam Award”), Cats (as the original Dance Captain), Possum Magic and Joseph and the Amazing Technicolor Dreamcoat (Dance Captain and lead dancer). Her extensive TV work includes; The AFI Awards, The Don Lane Show, The Mike Walsh Show and several variety specials. From 1993 to 1995 Leanne was Resident Director of Cats throughout Asia and Australia and Resident Choreographer on Sunset Boulevard at the Regent Theatre. In 1998 she was Associate Choreographer with Anthony Van Laast for The Boy From Oz and continued to maintain the choreography throughout its Australian run. In 1999 she was flown to London by Paul Dainty to meet with Arlene Phillips, the director of Saturday Night Fever, to consult on casting the show in Australia. She was also Associate Choreographer on Happy Days the Arena Mega Musical, original casting consultant on Mamma Mia, Choreographer for the Production Company’s, Mack and Mabel and choreographed Putting It Together at Chapel Off Chapel.

    Leanne has dedicated her professional life to resident directing, choreographing, performing and teaching. With more than 40 years experience in the performing arts industry, she brings a broad repertoire of experience.

    At Showfit, Leanne has drawn on her extensive knowledge to assemble some of Australia’s finest Musical Theatre teachers.

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  • - Director of Acting

    Katherine has worked with a number of Australia’s leading mainstage and independent theatre companies, as well as playing to festivals both nationally and overseas. Her theatre credits include: Cosi (Melbourne Theatre Company/Sydney Theatre Company); Abigail’s Party, Three Little Words, The Cherry Orchard, Apocalypse Bear Trilogy, Cloud Nine, and Explorations: A Streetcar Named Desire (Melbourne Theatre Company); You and Me and the Space Between (Malthouse Theatre/MIAF/Terrapin Puppet Theatre); The Histrionic and Baal (Sydney Theatre Company/Malthouse Theatre); The Wild Duck, and Elektra Orestes (Belvoir); Conversation Piece (Lucy Guerin Inc/Belvoir); Tame, OT: Chronicles of the Old Testament (Malthouse Theatre); The Eisteddfod (Stuck Pigs Squealing/Malthouse Theatre/Brisbane Powerhouse/Downstairs Belvoir); Gilgamesh (Uncle Semolina & Friends/MIAF/Sydney Opera House/Barbican UK/Festival of Australian Theatre in China); Smashed (Griffin Independent); I Heart John McEnroe (Uninvited Guests/Theatreworks); Dybbuks (Chamber Made Opera/Theatreworks): Duets for Lovers and Dreamers (Insite Arts/45downstairs) and 3XSisters (Hayloft Project). As a writer she co-devised and performed in Xenides – The Musical, and co-adapted for the stage Anton Chekhov’s The Cherry Orchard, both for Black Swan State Theatre Company of WA.

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  • — Director of Music

    Mathew Frank has worked throughout Australia and internationally as a Musical Director, Conductor, Composer, Performer and Vocal Coach. Mathew was most recently composer/sound designer for MTC’s An Ideal Husband, Lady in the Van, Born Yesterday and Skylight. Previously he was the Musical Director of Jerry’s Girls, La Cage Aux Folles and The Pirates of Penzance for The Production Company. Other shows include; A Funny Thing Happened on the Way to the Forum with Geoffrey Rush at Her Majesty’s Theatre, Private Lives (composer/musical director), Next to Normal and The Drowsy Chaperone for the Melbourne Theatre Company.

    Mathew was also the Associate Musical Director on the Company’s productions of Poor Boy, The 25th Annual Putnam County Spelling Bee (and STC season), Urinetown (and STC season), and the Assistant Musical Director on The Sapphires. He was Musical Director/Arranger of the smash hit Britney Spears: The Cabaret, which has played London & Adelaide, Sydney, Brisbane and Melbourne over the last 5 years and recently did the same jobs on Rhonda Burchmore’s Vinyl Viagra and Christie Whelan- Browne’s Show People for the Adelaide Cabaret Festival.

    With writing partner Dean Bryant, he composed the musical Prodigal, first produced at Chapel Off Chapel in 2000 (Green Room Award for Best Original Score) and revived at fortyfivedownstairs. Prodigal became the first Australian musical produced in New York City, with its Off-Broadway debut at the York Theatre Company in 2002. Other shows with Bryant include Once We Lived Here (Green Room Award for Best New Musical) fortyfivedownstairs, My Brilliant Career, Virgins: A Musical Threesome (six Green Room nominations) Malthouse and presented at the New York Musical Theatre Festival, and an adaptation of Sonya Hartnett’s The Silver Donkey. With 20 years experience in the musical theatre profession, Mathew has combined his skills to direct and develop one of the most elite musical theatre courses in the country.

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  • — Dance Coordinator


    Freya List is a Melbourne based performer and exciting new choreographer. Freya attended Centrestage before completing her full time training at Spectrum Dance and an Internship at Broadway Dance Center. Freya trained and performed throughout Europe and the US, and has taught/ choreographed around Australia, Singapore, Cambodia, Laos and India where Freya worked with CERES Global teaching dance in communities. Freya’s choreography can most recently be seen in ‘The Children’ by MTC, the ‘Kabaret Dietrich’ cabaret and the Eden Swan live show at Melbourne Spring Fashion Week. Freya’s screen credits include The Doctor Blake Mysteries, The Pacific, Neighbours, Utopia, Good Morning America and TVC’s for Toyota, carsales.com.au and Norwich Insurance.

    Freya also has her choreography being featured on the Australian Dance feature film ‘UP HERE’, and music videos for Hopium, Sex on Toast and Braille Face. Freya is also the creator of the event series Playing Field that brings together the music and dance industries. Freya has been a performer and choreographer for many corporate and industry events as well as her own show ‘Half Full’ at Theatreworks. Freya performed in Kim Adam’s ‘4 Letters’ and choreographed shows for Paul Malek’s ‘Collaboration The Project’ and ‘Project Y ’. Freya’s approach to dance incorporates many disciplines and encourages everyone to find their own style and unique way of storytelling.

Emily Milledge

“Showfit was the best possible preparatory course I could have asked for in terms of making real industry connections and gaining insight into the professional performance world. It provided me with a rich learning environment that fostered individual creativity and most importantly, allowed for maximum growth as a performer and as an artist.”

Beau Woodbridge,
(recently seen in the leading role of Evan in STC’s DEAR EVAN HANSEN)

“Showfit was exactly what I needed as a performer when I needed it, making the jump to pursuing Musical Theatre and Acting as a career. It gave me the time with and accessibility to first class creatives and teachers, with hours of hands-on practical classes. It allowed me to discover my true individuality as a performer, and what I can be capable of.”

Course Information

  • Monday 9.00am—3.30pm
    Tuesday 9.00am—3.30pm
    Wednesday 9.00am—3.30pm
    Thursday 9.00am—3.30pm
    Friday 9.00am—3.30pm

  • 1.1 PAYMENT OPTIONS
    If you are offered a place for 2025, then your financial obligations are as follows:

    TOTAL FEES FOR 2025 = $14,500
    Everyone who is offered a place in 2025 needs to pay a $2000 non-refundable holding deposit due
    by Monday December 9th December 2024.

    PAYMENT OPTIONS
    Option 1Early-bird discount
    One-off payment of $12,000 payable no later than January 24th, 2025
    $2000 + $12,000 = $14,000 $500 DISCOUNT OFF TOTAL FEES.

    Option 2Instalments
    Pay by Instalments of $3125 x 4 + $2000 = $14,500

    Instalment dates
    #1 24th January 2025
    #2 22nd April 2025
    #3 21st July 2025
    #4 6th October 2025

    1.2 PAYMENT METHOD

    Payment can be made by Cheque, Cash, or Direct Credit* into our account.

    Direct Deposit – Centrestage Group P/L
    ANZ BSB: 013 236
    Account: 489 734 439

    *(Please ensure you include your surname along with ‘SHOWFIT’ in the transfer details)

    1.3 LATE FEES

    All fees are expected to be paid by the due date on the issued invoice or, at the latest, by the second week of each term.
    If term fees still remain outstanding one month after the due date, a 10% late fee will be added to your invoice.

    If you require a payment plan, an email request must be sent to the accounts department only at accounts@centrestageschool.com.au requesting a payment plan to be set up with the suggested frequency of payments and amounts to be paid. An administration fee of $10.00 will be payable and added to each term invoice for which the payment plan applies.

    All payment plan payments must be finalised by the last week of the appropriate term and cannot be carried over into the following term unless discussed personally with Ian or Leanne White, and then an email forwarded to accounts confirming the same.

  • Showfit prides itself on creating a space for students akin to that of a professional theatre company. In order to best prepare for the working standards of the arts industry, the following habits and behaviours must be formed and maintained throughout all studies.

    As a non-accredited course, SHOWFIT is not eligible for government support such as Centrelink or HECS-HELP; however, this independence allows the curriculum to remain contemporary and responsive to industry needs.


    2.1 STUDENT OBLIGATIONS

    Respect the dignity, rights and opinions of others

    • Students are to demonstrate and maintain the highest ethical standards in all studies

    • Students are to remain respectful of cultural, ethnic and religious differences

    • Students are are to acknowledge the contributions made by others and promote positive engagement with all activities

    • Students must promote equity and diversity in the workplace

    • Students must act against any form of harassment or unlawful discrimination

    • Bullying and harassment of any kind, will not be tolerated in or outside the studio walls and will lead to immediate dismissal of students involved if any breach of this commitment is acted upon

    • Students must maintain an environment that is accepting of and tolerant of diversity, and is free from intimidation, threat, humiliation and harassment

    • Students are to demonstrate the highest respect and value to the relationships with all teaching staff, peers and other faculty members at all times

    • Students are to embrace the spirit of co-operation and collaboration

    2.2 LATENESS

    • Ongoing absence or tardiness will not be tolerated, a doctors certificate must be provided to the Student co-ordinator in any cases a class is missed.

    • Any more than three offences of lateness will be addressed by the course co-ordinators, continued lateness may lead to potential dismissal from the course

    • Mobile phones are not to be taken into class, unless advised by a teacher to do so

    • Bare feet and footwear such as thongs will not be accepted in class unless it has been previously instructed by a member of staff

    • Any appointments must be attempted to be made outside the hours of Showfit classes (8.30am-3.30pm – Monday to Friday)

    • Failure to provide Medical certificates for missed attendance may lead to your dismissal within the course by the co-ordinators

    2.3 STUDENT DISMISSAL & REFUND POLICY

    We pride ourselves on providing the highest level of Musical Theatre tuition possible for young adults.  We are a privately run business that operates on a very specific budget, we offer a certain number of places in our course each year and our ability to maintain the standard of education we pride ourselves on is contingent on students being held liable to their commitment to the course for the entire year. Therefore our Dismissal & Refund Policy is structured in the following way:

    • If a student is subject to dismissal from the course for any reason, Showfit and/or Centrestage Group pty. ltd. is not held liable for refunds prior to or extending past the period in which the dismissal has occurred. 

    • If a student chooses to withdraw from the course for any reason, the student remains liable for all remaining annual fee instalment payments. No refunds will be issued.

    • Consideration will be given in exceptional circumstances for termination and withdrawals up to two weeks before the commencement of the course, but not once the course has commenced.

    STAFF: CODE OF ETHICS

    All Staff are expected to commit to the following code of standards and ethics

    Teachers are expected to abide by the ACT Public Service Code of Conduct and Code of Ethics which

    provides both a core set of standards covering the behaviour of staff in dealing with the public and a

    minimum set of behaviours expected of the ACTPS and its employees.


    3.1 OBLIGATIONS

    Teachers and staff are to adhere to the following:

    • acting in a manner which promotes confidence in the integrity of the public service and the profession

    • exercising reasonable care and skill

    • treating students, parents and colleagues with courtesy and sensitivity to their rights, duties and aspirations

    • protecting students from harm

    • being committed to students and their learning

    • organising learning to take account of the diverse social, cultural and special learning needs of their students

    • working in partnership with parents and carers

    • acting against any form of harassment or unlawful discrimination

    3.2 Respect the dignity, rights and opinions of others

    Teachers respect the dignity, rights and opinions of others by:

    • respecting cultural, ethnic and religious differences

    • valuing and acknowledging the contributions made by others

    • promoting an environment that is accepting of and tolerant of diversity, and is free from intimidation, threat, humiliation and harassment

    • promoting equity and diversity in the workplace

    3.3 Demonstrate high standards of professional practice

    Teachers demonstrate a high standard in teaching and learning by:

    • engaging students in their learning

    • working to achieve high level outcomes for all students

    • providing constructive feedback to colleagues that is considered and helpful

    • informing people of their rights and entitlements where appropriate


    3.4 Protect students from harm

    Teachers protect students from harm by:

    • recognising that students have a right to a safe and secure teaching and learning environment

    • reporting any reasonable suspicion of harm caused to students

    • supporting students who have been harmed

    • refraining from conduct that could assault or harm a student

    • refraining from conduct that could cause psychological damage to a student

    • refraining from sexual conduct with a student

    • refraining from harassing behaviour including sexual harassment

    • refraining from unlawfully discriminating against any person

Want to audition for the class of 2026?