BEING DEAD (DON QUIXOTE) by Kerith Manderson-Galvin


6 - 10 MARCH

Written & performed by  KERITH MANDERSON-GALVIN


"a glorious mess with a serious purpose" Daily Review

A dangerous quest of literary theft, build-your-own identity and post-anarchy. Being Dead (Don Quixote) steals from Cervantes, Barbie™ and instant porn.  Don Quixote is the idol you deserve.


Kerith Manderson-Galvin’s sensational and ever evolving signature work has alienated and captivated audiences and now debuts in Sydney at KXT. Infamous Queer Femme Kerith Manderson-Galvin (AKA Unofficial Kerith Fan Club) rips off the original rip-off artist Kathy Acker et al. in this ongoing project purposefully rewritten to Manderson-Galvin’s own shifting identity. 

From the chaotic and critically acclaimed company that brought Sydney ‘Puntila/Matti’, ‘The Eternity of the World’, and ‘Unsex Me’ - MKA Theatre of New Writing.

Additional Text Kathy Acker / Miguel de Cervantes / Barbie Commercials
Composer/Musician Jules Pascoe
Lighting Jason Crick
Scenography Kerith + Tobias Manderson-Galvin
Production MKA


"real beauty at its heart" Cassie Tongue, TIME OUT

"perversely delightful...something magical" Suzy Wrong, SUZY GOES SEE

"it exists to make one feel" SYDNEY ARTS GUIDE




THE CAROUSEL by Pippa Ellams


30 & 31 March 7.30 pm

a part of the KXT2018 STEP UP FESTIVAL

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Christa and Jamie are sisters. Together they are embarking upon the treacherous transition between girlhood and womanhood. Christa wants Jamie to start living, Jamie refuses to leave the house.

Written by Pippa Ellams and directed by Hannah Goodwin, The Carousel was shortlisted for the Rodney Seaborne Playwrights Award in 2015 and was developed through ArtsLab. Fresh off the back of a successful season at Merrigong, this strictly limited run of The Carousel will close KXT's Step Up Festival .


In March 2018 we're dedicating a month to The Next Big Thing. Come meet our Step Up team and take a peek at their work. Discover new plays in development. Take a first glance at the work of some of Sydney's newest and most exciting emerging artists: writers, directors, producers, designers all testing their wings.

At KXT we're investing in risk. 

DIRECTOR / ACTOR Hannah Goodwin is a member of the KXT2018 Step Up team. She spoke with AUDREY JOURNAL “Artists come to KXT to earn their stripes,” says actor-director Hannah Goodwin. “I haven’t worked here before now but I know artists are coming here because they can be ambitious.”



ROTTERDAM by Jon Brittain  

in development 5 - 11 MARCH

STAGED READING Sunday 11 March 3.00 pm FREE


WITH: Ella Prince, Phoebe Lane, Bobbie-Jean Henning, Travis Jeffery



This Olivier Award-winning comedy tells a contemporary love story from a refreshing and intimate perspective, taking us on a very funny and very human ride through questions about gender, identity, family and love.

Consultant: Nathan Juhansz

Produced by Amy Morcom; Stage Manager: Jessica Pantano;  Sound: Caitlin Porter

made possible by the support of the Australian Theatre for Young People

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In March 2018 we're dedicating a month to The Next Big Thing. Come meet our Step Up team and take a peek at their work. Discover new plays in development. Take a first glance at the work of some of Sydney's newest and most exciting emerging artists: writers, directors, producers, designers all testing their wings.

At KXT we're investing in risk. 

INJEST by Georgina Adamson



27 - 29 March

With: Jesse Alston, Hudson Emery, Madelaine Osborn  

fast, funny and accessible, INJEST is a set menu of ridiculousness, using food to explore the questionable habits of society and pushing them to the grotesque. What’s for dinner? Sweat, blood, vomit? Would you like fries with that?

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Sound Design: Alexander Lee-Rekers Set Design: Camille Ostrowsky Stage Manager: Hannah Tonks 

EVE BECK is a member of the KXT2018 STEP UP TEAM: 15 new and emerging practitioners: designers, directors, writers, producers, actors, and technicians. the KTXT team has worked closely with each member of the team to create a bespoke program of support.

DNA by Dennis Kelly


Directed by Claudia Barrie

15 - 24 March

With: Millie Samuels, Bardiya McKinnon, Alex Malone, Emm Wiseman, Liam Nunan, Jane Watt, Jess-Belle Keogh, James Fraser, Alex Beauman, Holly Fraser and Jeremi Campese



When 10 teenagers in desperate need for approval do something inconceivable, will it tear them apart, will it drive them insane, or will someone come out of the shadows and give them all a way out?

DNA by Dennis Kelly takes you on an intimate journey into the twisted minds and lives of 10 British teenagers that will leave audiences asking themselves, "Is it right to protect the many at the expense of the individual?"

Produced by: Bardiya McKinnon & Alyssa Stevenson; 

Set Design: Ella Butler; Sound Design: Sean van Doornum; Lighting Design: Liam O'Keefe

Stage Manager: Rebecca Waters Photography: Clare Hawley

In 2017 Last One Standing theatre formed to present a short fringe season of DNA at Erko Town Hall. It was a first look at an exciting show that put 10 teenagers on a stage with no adults in sight, the voice of youth. Those first performances showed enormous promise and bAKEHOUSE jumped on board. come see it now, with Claudia Barrie directing, and a gun design team working in at KXT.


In March 2018 we're dedicating a month to The Next Big Thing. Come meet our Step Up team and take a peek at their work. Discover new plays in development. Take a first glance at the work of some of Sydney's newest and most exciting emerging artists: writers, directors, producers, designers all testing their wings.

At KXT we're investing in risk. 


Start your year of theatre at KXT with JackRabbit: “we keep it fast and we keep it loose” 


TONSILS + TWEEZERS has been included in Audrey's pick of Seven Shows to Shake Up your January READ ABOUT IT HERE

Will O'Mahony's "enigmatic and personal work about friendliness and friendship" (David Zampatti, The West Austalian) is directed by rising star Michael Abercromby with a cast featuring Hoa Xuande, Megan Wilding, Travis Jeffery and James Sweeny. 

Previews Friday 12 January 7.30 pm - short season, book now

I’m thrilled to mention KXT in the Guardian - this tiny, tiny space sandwiched between bars in a multi level pub, making risky, exciting choices again and again
— Cassie Tongue

click on the link for What's On and What's Up Next at KXT

all the news & giveaways


What a year it's been up the cross - thanks for sharing KXT2017 with us!
But before we all wind down the year and head into seasonal celebrations and festive fun, make sure you find time to head into KXT for one last show...

its not easy to capture an audience at this time of the year. Few theatre companies are game to try. But if you can find the time, a ticket to this darkly entertaining A CHRISTMAS CAROL is one of the few real bargains out there
— Jason Blake - Audrey

click on the link for What's On and What's Up Next at KXT 



Doppelgangster Co-Director Dr. Tom Payne talks about the company’s extraordinary new show Puntila/Matti, which is currently on at KXT as part of the Sydney Fringe.

My theatrical schooling took place in Wales. And in Wales there aren’t any theatres. It’s a historical thing - something to do with not being able to find a flat piece of land on which to site a seating unit. So, for want of a proscenium arch, people have been making shows in barns, on beaches and in ruined castles for the best part of half a century. The Welsh National Theatre isn’t even in a theatre; it’s a loose association of web designers that meet fortnightly in a bus shelter in Cardiff and text each other tips on social integration.

It was through National Theatre Wales that my Doppelgangster Co-Director Australian Dadaist poet Tobias Manderson-Galvin and I first met. We were sharing a bunk bed at a Rudyard Kipling inspired anti-theatre retreat run at the Girl Guide’s Headquarters in mid Wales; run, as I recall, by Robert Baden-Powell’s granddaughter. At one point Tobias and I tried to build a stage, but the other participants stole the curtains and ritually burned it to the ground. Then we were sent to our room and that’s when we came up with Doppelgangster.

So, with Puntila/Matti we’re reacting against that anti-theatrical sentiment. We’re trying to find a new way. I tentatively term it theatre-specific theatre. It’s basically like site-specific theatre, but there are fewer distractions and it’s a bit warmer. In the title roles, Grace Lauer and Tobias move like actors in a Robert Wilson play on speed. Musically, Jules Pascoe’s score is a jazzier and more imposing version of John Cage’s 4’ 33”. Visually, Antoinette Barboutis’ scenography is reminiscent of the invisible art works of Yoko Ono, Yves Klein and Andy Warhol, but with some well-chosen graphics and a splash of pink. Textually, Tobias’ Epic reinterpretation of Brecht is a weave of many interesting words, often his own. Dramaturgically, Kerith Manderson-Galvin and myself have carefully negotiated all of these elements, in a style close to what the Germans were describing as ‘post-dramatic theatre’ back in the 1990s, long before the term was translated into English and replaced ‘contemporary performance’. Although, artistically, I like to think we’ve moved on from all that

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With this in mind, I propose a new phase. I like to refer to it as ‘post-(contemporary dramatic performance)’. In fact, what you have with Doppelgangster’s Puntila/Matti is ‘post-(contemporary theatre-specific dramatic performance)’. It’s new, and the inclusion of brackets means that audiences will most likely find it tough going to begin with. We expect walkouts. But it’ll catch on, and eventually it will be assimilated into the mainstream and the Germans will publish a useful student textbook called Post-(zeitgenössische theaterspezifische dramatische Aufführung). After a few years, Tobias and I will grow old and fat and die, like Puntila, by the pool, sipping mocktails, with pages from an aging copy of a first edition Kipling floating on the surface of the water. 

When we’re done with the Sydney Fringe Doppelgangster would like to bring the show back to Wales and do it there; although, it could prove controversial, as we’ll have to build a theatre and ask everyone to stay off Snapchat.

Dr. Tom Payne

Twitter // | Website //

"young, lively and imbued with a feeling of magic" concrete playground

what's it all about?

IMAGES above: from bAKEHOUSE in development


bAKEHOUSE on opportunities * collaboration * diversity. Taking risks and saying Yes. And championing new and emerging artists, companies and work


Since opening 18 months ago, we’ve been thrilled to play host to  myriad of experienced and professional teams, and KXT has fast become known for quality work. A place where you can see the latest work from Phil Rouse, Mophead, Anthony Skuse, bAKEHOUSE, Outhouse, Claudia Barrie, Shane Bosher, Rachel Chant. We've also been excited to welcome in early stage directors, actors, producers, writers, designers, operators.  We love the fearlessness of youth, the ambition and passion that drives them headlong into risky and dangerous work. The drive to succeed and the willingness to fail. Some of the best bAKEHOUSE work has been bold, brave, ambitious. Occasionally flawed. Many times not. But we’ve been able to hone our craft because someone somewhere took a chance on us. They said Yes.

There have been a lot of No’s. We pitched The Laden Table and Jatinga to all the venues and companies over three years, and they all said no. We took a world premiere script by an award winning living Australian legend to some of Sydney’s most accessible curated seasons and they didn’t like it (it’s getting a London premiere in 2018 by the way). We got long listed for multiple seasons, and short listed for others and went to the meetings and wrote the submissions and they still said No. Sometimes we got invited in. For about 6 years we didn’t have enough experience. Then we'd been around too long. Then the work was too ambitious. The teams untried. The ideas too big. Or risky.

But we got enough Yes’s to make it work. To make the work.

Curating KXT has been a steep learning curve. It’s a circus act, juggling what’s best for a venue, the artists, the audiences. The community. Our partners. We want to keep it accessible and affordable. We want the work to be ambitious and new and exciting and challenging and entertaining. And successful. We want to nurture the existing audience and grow a new one. We want to help existing companies to sustainability, supporting those indie legends. While providing opportunities to new and emerging companies.

Its not possible to be all things to all people. But we’ve taken some time to reflect on what we’ve done, what we’re doing and what we want to do. And the next big thing is the next big thing.

the next big thing is the next big thing


We’ll work with each team member to shape their role at KXT. For some that may mean assisting on bAKEHOUSE productions, working with designers or directors. For others, it may be that we work with you on your script development. Or introduce you to people who might champion your work. Perhaps you just want to hang out at KXT, come to the shows, help out with FOH, learn how to operate the desk, sit next to some experienced designers, or producers, or directors. Maybe you want to come sit in on some rehearsals. Or find out about auditions. Help at auditions. Perhaps you've got a project you want to run that you reckon is a good fit for bAKEHOUSE & KXT. We'll grab a coffee and have a chat about it. 

You’ll get free tickets to the shows, opportunities to meet and work with some of Sydney’s indie legends, and the chance to pitch for full productions and developments.


In the first 6 months of 2017 KXT has hosted 3 developments, 1 staged reading, and 2 full productions of developments from 2016. We got the ball rolling on Danny & Hugo's  KXTeethcutting project. Patrick & Victor and Jacquline and Ryan from ARRIVE.DEVISE.REPEAT took another look at the gorgeous GOTTERDAMMERUG, and Montague Basement are ran their whirlwind season of BEFORE LYSISTRATA. We opened the door to FREEFALL productions for the Australian Premiere of White Rabbit Red Rabbit But we've been doing this for a while now: big love and a bAKEHOUSE shout out to Harry Tseng, Danielle Jackson, Monica Sayers, Alice Kheovong, Elijah Williams, Constantine Costi, Joshua McElroy, Clare Hennessey, John Goodway, Arisa Yura, Dino Dimitriadis, Michael Dean, Guy Simon, Ben Wood, Michael Costi, Randa Sayed, Eloise Winestock, Belinda Jombwe, Mansoor Noor, Suz Mawer, and a whole crowd of other wonderful artists who've been a part of a bAKEHOUSE project. Who said Yes.