We've got a bit of time coming up at KXT...

Do you want to come join us at the Cross? We've got a bit of time coming up for new companies, new work that's ready to go, emerging artists, developments. Drop us a line to bakehousetheatrecompany@gmail.com with EOI 2017 in the subject line and tell us what you've got in mind. You never know, we might just have what you're looking for!

But don't get confused... this is NOT our call out for 2018! That will happen in August.

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KXT2017 RISKY BUSINESS... breaking it down

13 seasons * 15 plays *2 festivals * 4 world premieres * 9 Australian premieres * 8 female directors * 7 male directors * 8 Australian plays * 14 female writers * 5 male writers * 4 script developments * 6 female producing teams * 7 new plays * 3 major diverse projects * 2 international co-productions * 7 first time teams * 5 companies returning * 6 directors returning

1. KXT champions new work: 4 world premieres ~ 8 Australian premieres ~ 4 script developments

one had the right to write because other people needed news of the inner world, and if they went too long without such news they would go mad with the chaos of their lives”
Arthur Millar

 

2. KXT supports new AUSTRALIAN writing: 8 Australian plays ~ 4 script developments

Writers are magicians: they conjure worlds out of words filling blank pages with people and places where once there was nothing. When we invest in Australian writing we play a part in creating the voice the next generation will hear, respond to and build on. 

 

3. KXT aims for (and exceeds) gender parity: 8 female directors ~ 7 male directors ~ 14 female writers ~ 5 male writers

In 2017, DTC (59% women), Belvoir (50%) and Griffin (50%) achieved gender parity in their programming of writers and directors. Sydney Theatre Company (34%) and Ensemble Theatre (16%) have male-dominant seasons, again. It should be noted that Griffin did not achieve gender parity in its independent season programming (40%). - WiTS

 

4. KXT invests in diversity: 3 major diverse projects

bAKEHOUSE is committed to providing a platform for the often unheard voices of Sydney.

The voice of Sydney in 2017 is indigenous. It is Australian, American, English Irish, Chinese, Arabic, Japanese, Korean, Vietnamese. It comes from Sierra Leone, Zimbabwe, the Congo, Rwanda, South Sudan, New Zealand, India, the Philippines. And many more. It is no longer white and English - it is much, much more. 

I’ve been wracking my brain trying to think of a play produced in Sydney over the past decade set in modern day Africa. Credit to bAKEHOUSE Theatre Company for staging it [Black Jesus] and believing it can find an audience. It should”
Jason Blake, SMH

 

5. KXT invests in the arts community: 7 first time teams ~ 2 international co-productions ~ 5 companies returning ~ 6 directors returning ~ 2 festivals

KXT is a not for profit organisation set up to support the local arts industry. It is run entirely be volunteers and neither KXT nor bAKEHOUSE makes any money from the venue. By opening the door to new companies, and by welcoming back others, we aim to play a role in the development of a sustainable arts ecology. 

bAKEHOUSE has been kicking around the curated seasons and venues for hire for a while now. We're a self-funded company - like many of you - and we're still here due to the loyalty of our audience and the extraordinary generosity of the artists we've collaborated with. At KXT we've attempted to put in place processes that consider the needs of indie companies, providing them with an opportunity to create viable new work that inspires audiences and artists alike. For now that means subsidising hire and supporting companies in a way that will help them pay their artists. And we see this as an investment in the cultural life of Sydney 

We're here to support the game changers and the risk takers. 

 

 

done and dusted!

So Mardi Gras at KXT wrapped up last weekend. Over the last two weeks we've played host to Montague Basement's kaleidoscope; 2 series of artworks by Phillip Patterson and Lauren Marshall; Kin in development and a forum on telling trans stories, featuring our very special guests Paul Capsis and Natasha Io; and Elegies, our first musical at KXT.

Big shout out to Montague Basement, who continue their support of trans artists with Charlie O'Grady's Telescope showing at the Sight & Sound Festival later in the year. 

And a bigger shout out to the Red Line guys. We've done 2 weeks of late shows and we're cooked! How do they do it? Passion? A love for all artists? Cocaine? We're picking they've made a pact with Satan. Somewhere in the basement of the Old Fitz is a portrait of Sean, Vanessa and Andy looking like they're about a hundred and fifty years old. 

Paul Capsis in the house!

We had our first taste of celebrity at KXT last night, as Paul Capsis joined the post-show panel for the play in development, Kin. The play is about a trans-woman returning home to visit her father on his deathbed. But the reunion sets family members scratching at old wounds...

Vibrant post-show discussion ensued, led by the freakin' fabulous Natasha Io - was the trans character "made palatable" for the general public? Can a cis-gender man play a trans-gender woman? Who has the right to tell these stories? And how do trans-women manage to strut so damn good in stilettos?

(The answer, by the way? Years of practice!) Natasha and splendid company - kicking down the doors! 

KXT in 2016

INVISIBLE CIRCUS | November, 2016

INVISIBLE CIRCUS | November, 2016

KXT is the new kid on the block. Located in the heart of the city on Level 2 of the iconic Kings Cross Hotel, Sydney's newest theatre is just a short walk up the hill from the Old Fitz and down the road from Griffin.

We got things started late in 2015 with Lies, Lies and Propaganda's exhilarating production of Roadkill Confidential -

... intriguing, laden with ironic intelligence... stimulating and exciting.
— Kevin Jackson

Now bAKEHOUSE is kicking it up a gear. In 2016, KXT plays host to some of Sydney's indie theatre legends and trailblazers, continues to support small and emerging companies, and introduces you to some young guns on their way up. bAKEHOUSE continues its commitment to new work and development as well as its long-held practice of arts events, think-tanks and forums.

We’ve had amazing support from Sydney’s indie arts community and been able to put together a great program for 2016. We can’t wait to share it with you.
— Suzanne Millar, bAKEHOUSE Co-Artistic Director

First up is Anthony Neilson's blistering black comedy Year of the Family, presented by Tooth and Sinew, directed by Richard Hilliar, and running Feb 10-20.

The 2016 season features work from leading directors including Kate Gaul, Shane Bosher, Cathy Hunt, Rachel Chant, Glen Hamilton, Suzanne Millar, Paul Gilchrist and John Harrison. KXT will also host work from emerging companies and artists including Jetpack, Montague Basement, Oliver Burton and Stephen Lloyd Coombs.

It is our hope that KXT will be a place for exciting, passionate theatre that’s new, that’s ambitious, that is global in scope - theatre that inspires big conversations.
— John Harrison, bAKEHOUSE Co-Artistic Director

Highlights of the year include:

  • Mardi Gras at KXT - Featuring a restaging of indie hit Kaleidoscope (presented by Montague Basement), a trans story by writer Charlie O'Grady; a reading of the new work Kin, with a post-read Q+A panel featuring Paul Capsis; and a short season of the musical Elegies, A Song Cycle by Tony award-winning William Finn.
  • Black Jesus -  Long known as one of Sydney's few companies committed to staging culturally diverse work, bAKEHOUSE Theatre Company will stage the Australian premiere of Anders Lustgarten's powerhouse play. Set in 2015 in post-Mugabe Zimbabwe where a Truth and Justice Commission has been set up to investigate past atrocities, Black Jesus brings Africa to Sydney's stages, directed by Suzanne Millar and featuring a hot young African-Australian cast .
  • Invisible Circus - a month long festival of work by women, featuring three plays written and directed by some of Australia's foremost artists, who just happen to be women, including Cathy Hunt, Noelle Janaczewska and Kate Gaul. Co-curated by bAKEHOUSE Artistic Director Suzanne Millar and Siren Theatre's Kate Gaul, the festival is KXT's response to the ongoing issues surrounding gender parity in theatre.
  • The NIDA-bAKEHOUSE Collaborative Project - For many years, bAKEHOUSE has supported and mentored some of Sydney's most exciting young theatre-makers and this program allows us to provide a fully resourced process, with the selected graduates given the opportunity to participate in Sydney's indie theatre scene and a venue to showcase their work.
  • The Chesterfield - KXT's communal melting pot is about to kick off with performance platforms by Australian dance legend Tess de Quincey, featuring dance, jazz, spoken word and photography; a fundraiser for the heavenly St James Choir; classical music from members of Metropolitan Opera and brilliant conversations about refugees and migrants (Out of Africa), young scientists and the future of the world (Totally F#$*ked); and the how to make truly dangerous Art (Radical Art).
  • Diversity in development - a number of bAKEHOUSE projects in development will receive readings this year. Jatinga by Hindi Playwright Purva Naresh, commissioned through the bAKEHOUSE-Mumbai Cultural Exchange; Renee Lim's Falling Through Clouds; and The Laden Table written by women from Sydney's Jewish and Muslim communities.
  • Art installations - KXT's beautiful foyer has already played host to work from Blue Mountains-based artist Nick McKinlay and Suzanne Millar's impressions from her time in Mumbai. A sexy new installation from Lauren Marshall has just hit the walls and equally sexy work from Philip Patterson is on the way!
This is a sh$#tload of work... What were we thinking?!
— Andrew McMartin, KXT Venue Operations Manager

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So this happened. Last Thursday night a bunch of artists and supporters gathered at the newly minted Kings Cross Theatre for a low-key air-quotes launch. With a little 'l'. No big announcements. No rock stars. Just a chat. Chalk outlines on the floor. And some booze.

We had quite a good time...