TREVOR by Nick Jones


 “This production of Trevor does something that’s relatively rare: it makes you feel better than you did when you walked into the theatre. Having a rough day? See Trevor. It’s blisteringly fun, it’s unexpected, it’s challenging. it’ll make you laugh. And isn’t it good to laugh again?”

Cassie Tongue, TIME OUT ★★★★

“a highly entertaining, gemstone polished, force for good” Judith Greenaway ★★★★

“Wonderful stuff” Jason Blake, AUDREY ★★★★

OMAR + DAWN by James Elazzi


“an enthralling, illuminating drama of unrelenting toughness and humanity. Recommended without reservation” Diana Simmonds, STAGE NOISE

“full of heart and hurt - and unexpected collisions of Australian stories” Sean Maroney, The Music.com ★★★★ .5

impressive work by emerging Sydney playwright James Elazzi” Joyce Morgan, SMH

 ABC TV paid a visit to KXT to interview Shaun Rennie, Jamie Oxenbould and Di Adams and film some scenes from TREVOR.


the cast of CORAM BOY

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Directed by John Harrison & Michael Dean

With Rebecca Abdel-Messih, Lloyd Allison-Young, Violette Ayad, Alex Beauman, Andrew Den, Ryan Hodson, Tinashe Mangwana, Suz Mawer, Emma O’Sullivan, Gideon Payten-Griffiths, Ariadne Sgouros, Annie Stafford, Amanda Stephens-Lee, Petronella Van Tienan, Joshua Wiseman




Those words you wrote that have never been heard? We want them.

Storytellers Festival @ KXT is a 2-week pop-up celebration of playwrights and words. It’s an opportunity to showcase unproduced work, share and test writing that has never been heard, and come together as a playwriting community. The Festival is curated by playwright Joanna Erskine, in association with bAKEHOUSE Theatre.

Who’s eligible? Playwrights at any stages of their writing careers.

What are we after? There are two categories for submissions:

Spotlight Full-length, unproduced plays at, or close to, final draft stage. A small number of Spotlight plays will be selected for staged readings during the festival. Each Spotlight play will be presented once during the Festival.

House Lights Small pieces that you would like to share. It could be a scene, a short play, a song, a monologue, something that got cut from another work and has yet to find a home. We’ll curate each House Lights program using work submitted. We intend for each House Lights program to have two showings during the Festival.

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What’s the selection criteria? We are looking to program:

·         A diverse mix of playwrights

·         A diverse range of writing styles and content

·         Work that is ready, or almost ready for, production (Spotlight category)

·         Work that is ready to be tested with an audience, but may still be in development (House Lights category)

How will it work?
We'll be in touch around mid-July to let you know if your work has been selected.

This year we will pair you with a director who will select a cast for your play/excerpt. If you have your own team that you would like to work with, please let us know on submission.

Storytellers Festival is not about polished performances, it’s about hearing the words. Actors will have scripts in hand. There will be no set, a basic lighting state, and chairs for the actors. This is about the script, not the production. 

What’s in it for writers? Storytellers Festival is a showcase of new work. The Festival provides an opportunity to share work and invite people to hear your work, to further generate audience interest in new Australian writing, create new networking opportunities for writers, and encourage industry to hear work that is ready for production. Last year many writers connected with directors, producers and other artists taking these relationships forward with their work. A number of writers had their work programmed or continued developing their work following its Festival presentation.

Ticket prices will be kept low to encourage repeat audience attendance throughout the Festival. Box office will cover costs (minimal) after which 100% of remaining box office will be shared as a remuneration for participating writers, in both Spotlight and House Lights categories.


How do I submit? Submit your application via the link below

You will be asked to:

·         Provide basic contact details

·         Provide a brief writer’s bio

·         Tell us which program/s you are applying for

·         Upload your script (Word or PDF)

·         Upload a headshot you’d be happy to use for promotion 

Submissions must be received by 5pm Sunday 30 June 2019.

Actor call out We welcome expressions of interest from actors for readers for the Festival. Please note, participation is voluntary and unpaid. Please send a one page CV and recent headshot (portrait) to storytellersfestival@gmail.com. Please title your email and headshot "2019SF_Actor_Name".

Director call out We welcome any applications from directors interested in being part of the Festival. Please note, participation is voluntary and unpaid. Please send a one page CV and recent headshot (portrait) to storytellersfestival@gmail.com. Please title your email and headshot "2019SF_Director_Name".

Questions? Contact Festival Director Joanna Erskine at storytellersfestival@gmail.com



★★★★ ★★★★ ★★★★ ★★★★


presented by White Box Theatre + Hasemann Ball and Rada

though provoking …weirdly entertaining – Broadway World

hilarious and heartbreaking – State of the Art

The energy of a committed cast binds you to your chair – Audrey Journal



presented by Montague Basement 

A visceral experience – Suzy Goes See

feels fresh half a century on and half a world away – Audrey Journal

A vibrant piece that stands out amongst Sydney's theatre scene – Playwave



devised and directed by Roshelle Fong


will have you both laughing and crying. Just be prepared to do some pretty strange things for the sake of customer service – theatre travels



… TO HANNAH GOODWIN 2019 recipient of the ATYP Rose Byrne scholarship for Emerging Female Leader in the Arts. Hannah is a bAKEHOUSE Artistic Associate. She was a member of the KXT Step Up team in 2018, a part of the directing team on Justin Fleming’s Dresden, and directed collaborator Pippa Ellam’s production of The Carousel, featured in the 2018 Step up Festival at KXT. In September she directs A Girl in School Uniform (Walks into a Bar) for KXT2019.


… TO JAMES ELAZZI recently announced as a member of the STC Emerging Writers Group. We’re thrilled to be hosting the world premiere of James’ first full length play OMAR AND DAWN, presented by Apocalypse Theatre Co + Green Door Theatre, directed by Dino Dimitriadis with Maggie Blinco, Lex Marinos, Antony Makhlouf, Mansoor Noor playing July.


Congratulations to the other members of the group: Wendy Mocke; Enoch Mailangi; and Jordyn Fulcher. You can see Jordyn on stage in the cast of DOING now playing in the Bordello Room for KXT Popupstairs


Jasper Lindsay Lee has just finished up a run in ATYP’s Follow Me Home

Emma Wright wrapped a long season in the lead role in Pygmalion at the New theatre, heading into auditions for the first season of her play Hairworm (seen last year in the Storytellers festival) before a tour with monkey baa. Emma is currently on Step Up placement on the Outhouse Production of TREVOR, previews Friday 14 June

Bernadette Fam’s production company Green Door ran a hugely  successful season of James Elazzi’s Lady Tabouli as part of Griffin’s Batch Festival

Amy Sole launched her company Puddle or Pond, and is now about to head into her first staging of her original play Doing, in the Bordello as part of KXT’s Popupstairs program from xx June. Cast includes fellow step up team member Nicole Pingon last seen in the Little Eggs sold out season of The Rime of the Ancient Mariner for JackRabbit theatre 

Emily Buxton has just wrapped of a run of of Deb Oswald’s The Peach Season 

Hannah Fulton’s comedy squad The General Public ran a sell out season as part of Melbourne’s comedy festival 

Lucia May was in the cast of Mercury Fur just closed after an acclaimed season at KXT. Jodi Robinowitz jumped on board the show for her step up placement after closing the Seymour centre season of her play Samo is Dead

Earlier in the year Jules Orcullo has worked with all sorts of legends developing her play TWENTY ONE SIXTY FIVE at Q Theatre. Most recently she was on the development tram for Belvoir’s Fangirls by Yve Blake 

over achievers…


Hi-Jacked Rabbit… what’s THAT about?


Providing opportunity and support for new companies, new artists and new work is a part of the bAKEHOUSE DNA. We’ve been doing it since we first kicked off eleven years ago, and we formalised it all at KXT in 2018 with the Step Up program. We’ve had the great privilege of being in the room when someone falls in love with acting and when a new play is born. When a half-made play finds its way. We’ve taken a chance on new designers and young directors and we’ve seen them rise to the occasion and flourish. New companies have launched at KXT, and emerging companies have built their work.

In their few short years of producing, JACKRABBIT THEATRE  have supported an incredible amount of new Australian work, backing first time writers, emerging producers and young directors in a way that few other indie companies in Sydney can match.

In January 2018 they kicked off the KXT season with Will O’Mahoney’s wonderful Tonsils + Tweezers. And we wondered what might happen if they had a home.

Well, this happened...

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Hi-JackedRabbit presented by JackRabbit Theatre, in partnership with bAKEHOUSE Theatre Co, Little Eggs, and Cross Pollinate productions, and made possible by the support of KINGS CROSS HOTEL



The bAKEHOUSE STEP UP team consists of 10 new and emerging practitioners: designers, directors, writers, producers, actors, and technicians. KXT works closely with each member of the team to create a bespoke program of support, and facilitate opportunities to work alongside some of indie theatre’s leading practitioners.


26 February - 1 March

JACKRABBIT THEATRE kicked off their Hi-Jacked Rabbit season with a double bill of what they do best: new, fast, and loud

TWO’S A COMPANY by Sarah Greenwood

Have you suffered through love before? Come and commiserate.

Dir: Charlie Davenport

With: Sarah Greenwood, Jack Scott, Brittany Santariga, Will McNeill, Shannon Ryan and Emma O’Sullivan

TECHNICAL: Charlie Vaux | PHOTOGRAPHY: Clare Hawley



We’re here. We’re Queer. We have everything to fear. A Mardi Gras Sketch Comedy

“Creative and clever, the work encompasses virtually all that is resonating within our immediate zeitgeist, effectively shaping itself into a condensed representation of our life and times. highly recommended”

- - Suzy Goes See

Written and Performed by
Salem Barrett-Brown, Danni Paradiso and Rory Nolan

TECHNICAL: Charlie Vaux | PHOTOGRAPHY: Clare Hawley

things to know if you’re coming to see a show at KXT…

• we’re on the second floor of Kings Cross Hotel, across the road from the coke sign.

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from the ground floor bar: head up the stairs to level 1 balcony bar - - you’ll see this sign on the door by the pool table.


make a pit stop at the bar as you walk past. You can bring your drinks into the theatre. 

TIP: maybe buy a show drink? Each season the cool cocktail makers at KX hotel come up with a themed drink to go with the show. Right now it’s the Vaudeville Spritz, a little bit of strawberry infused rose inspired French fun. Show drinks are all only $10 

• nearest bathrooms are on that level too

• yep, there’s an excellent kitchen in the hotel with excellent food. But make sure you arrive early, cause you can’t bring food into the theatre. Not sure if you’ve got time? Then let the bar staff know you’re going to the show and check to make sure


• if the stairs are a problem for you then we have lift access to the theatre. We’ll pop down before the show and check to see if anyone needs a hand. It’s a little bit of a rigmarole but we’re super happy to get that done for those of you that need it: accessible theatre is important to us. But it’s not a convenience thing - our stage managers are really busy getting the show on for you - if you can make your way up without assistance it’s an easy walk, so please do head on up. 

• doors at KXT open 30mins before the show. Sometimes we might be a little late opening: we’re an indie venue and there’s only a few people getting stuff done. We’re super grateful to our audiences for their patience 

15 mins before the show is due to start we’ll open up the foyer. We keep that closed because of the open layout of the theatre. Sometimes actors need to warm up and we want them to be able to get ready for the show. 

• Seating at KXT is not reserved, and there are no bad seats! They all have great sight lines (and none of them have cushions ...) So there’s no need to queue up. 

• from time to time we might start the show late. We try to make sure we start at 7.30 but sometimes everyone arrives at box office at 25 past 7 and it’s not possible to process that many tickets quickly. You could help us get started on time by picking up your ticket earlier. Why not get in when doors open at 7.00 then go buy that drink? 

BUT don’t count on a late start! Mostly we get it going on time, and like all indie venues KXT doesn’t admit latecomers. NO REFUNDS for latecomers

• our FOH personnel are all volunteers. If you’re unhappy about something please don’t give them an earful! We need these kind and generous people to give up their nights and weekends to keep the theatre going and they deserve our thanks! If you’ve got a concern about KXT or the hotel then the best way to deal with that is to email us via the contact us page in the website 

we like to stage shows that other venues wont do: risky unknown stuff. So sometimes they’re a bit racy with a bunch of content warnings. Or they’re new. Or it’s adult content. Don’t be offended! You can read up on the shows over on the website. It’s good to do that before you book your ticket

• KXT admits under 18s. We love our young theatre goers, and want you to fall in love with KXT and come back for years and years and years! But KXT is in the most regulated area in Sydney, so be prepared to say hi to security ++ if you’re under 30 KXT runs discount nights just for you: Thursday is our $20 for 20s, the cheapest ticket in town. Book online and bring ID. 

• when we first started up not much was happening in the cross. But things are changing and there will often by bands, events or live music happening on other levels. We work closely with hotel management to control noise spill and we’re pretty sure it won’t disrupt your enjoyment of the show.

But if you do hear some distant sound we like to think of it as the sound of the cross coming back to life 

• questions? Problems? Concerns? Then message us via the website. But be patient, we’re unstaffed and it can take a few days for us to get back to you

what’s that about? KXT is completely unfunded. And we want to make sure all $$ got to the artists so we’re not paying anyone to reply to your emails. It’s our investment in the sustainability of independent companies. We’re kind of like a collective, a committed group of professionals working hard - for nix - to keep the doors open. We need you to know this so you’ll be kind to us! We work very hard because we believe that artists are the life blood of a city ...and the govt won’t yet give us any money.  


do you think we should get funding? Then contact city of Sydney council and tell them! We’ve asked a bunch of times but ... 

do you want to support our work? We’re mostly sorted for personnel but if you’d like to donate then get in touch! Every little bit helps 

• things are going well! but we’ve only been doing it for 3 years and we’re still building our venue loyalty. So we need you to help us spread the word. If you like the show please let everyone know. The price of a ticket goes some way towards offsetting the costs of the production - which is when artists get paid. We’ve had a few sold out seasons : which is AMAZING, Thank you!! But sometimes we’re surprised by good shows that play to small houses. Help us spread the word! 

• you can keep up by subscribing to our eNews, it’s got all the info. Or head over to our socials for the latest news as it happens 

KXT in the MEDIA

great to hear director Shaun Rennie and actor Jamie Oxenbould on ABC SYDNEY radio speaking with James Valentine about Outhouse Theatre Co, KXT and TREVOR. There’s some especially good chat about affordable theatre and the excitement of intimate spaces. FF through to about 25


on closing night of A LITTLE PIECE OF ASH the JACKRABBIT team welcomed in a crew from ABCTV’s The Mix. Playing on the Sunday show 5th May, then available on iView


“let’s talk about death baby…” Megan Wilding spoke with ABC RN about




in the Bordello Room (Level 4) a POPUPSTAIRS event presented by JACKRABBIT THEATRE


⭐️⭐️⭐️⭐️  1/2 THE MUSIC ⭐️⭐️⭐️⭐️⭐️ ARTS HUB


On a planet that can feel more disheartening each year, there’s a remarkable catharsis in laughing with strangers in a dark room” Playwright LIAM MAGUIRE speaks to Audrey Journal about the first full season in the HI-JACKED RABBIT season

“Creative and clever, the work encompasses virtually all that is resonating within our immediate zeitgeist, effectively shaping itself into a condensed representation of our life and times, as things stand at the moment…” SUZY WRONG on Dumpster Divas: Art v Garbage, a Sydney Mardi Gras event a part of the Hi-Jacked Rabbit double bill


“This debut play features two gay robbers and a hell of a lot of cocaine. Playwright John O’Donovan’s first full-length play …follows two young gay men in love, and the prospect of a marriage between two men hangs over much of the action. But this isn’t a play about marriage equality. Instead, it’s about the knottier stuff of gay lives in certain corners of the world, and the kind of people who’ll never be the poster boys for the progressive cause….”


ahead of the HI-JACKED RABBIT season, Charlie Falkner from JackRabbit Theatre writes for AUDREY JOURNAL “entertainment seems to have become a dirty word” what can theatre do that the The Big Bang Theory can’t?


The SYDNEY MORNING HERALD speaks with Jay James-Moody ahead of Squabbalogic’s season of HERRINGBONE: “Herringbone also marks the relaunch of James-Moody's production company Squabbalogic, which was on a two-year break due to Mormon”