AUDITIONS

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~~ AUDITION NOTICE ~~

MERCURY FUR

Set in a post-apocalyptic version of London's East End where gang violence and drugs terrorise the community, the protagonists are a gang of youths surviving by holding parties for wealthy clients in which their wildest, most amoral fantasies are brought to life. As the wheels start to fall off their slick operation, the gang ultimately have to decide how far they’ll go to save the ones they love and preserve their humanity. Philip Ridley’s controversial play MERCURY FUR is a violent premonition of a terror stricken world where only the faintest heartbeat of humanity remains.

Presented by White box Theatre and Hasemann, Ball and Radda.

Directed by Kim Hardwick; Lighting Design Martin Kinnane; Sound Design Ben Freeman.

AUDITION INFO:
Auditions will be held on the 11h & 12th of January during the day. 
You can request a perusal of the script by emailing hbrcreatives@gmail.com

REHEARSAL & SEASON INFO:
Actors will be needed for rehearsals from April 29th. The schedule will take in to account prior commitments.
Tech week begins May 20th.
The show will run from the 24th of May - 10th of June, 2019 at the King’s Cross Theatre.

ROLES:
Darren (M, age 16) 
Earnest and with good intentions, he has severe memory loss and reduced mental clarity from addiction to butterflies. Elliot’s younger brother.

Lola (M or F, 19) 
She is skilled in designing costumes and make-up for the parties. She is in a romantic relationship with Elliot.

Spinx (M, 21) 
Leader of the gang and Lola's brother. He looks after the Duchess with whom it is suggested he has an intimate relationship with. The rest of the gang are mostly fearful of him.

Duchess (F, 38) 
A frail and blind woman. She has mixed up her life history with the character of Maria from The Sound of Music. Elliot and Darren’s mother.

Party Guest (M, 23) 
The party revolves around his fantasy where he plays a soldier in a graphic Vietnam War recreation.

SUBMISSION INFO:
Submissions may be emailed to hbrcreatives@gmail.com by January 4th, 2019. 
Please include a current headshot and resume.

NB. This is a co-operative production so payment will be based on a profit share model. Artists will not be guaranteed any financial remuneration.

#KXT2019

KXT2019 LAUNCH PARTY 2 December at KX Hotel Rooftop imagery - Clare Hawley

STEP UP: In 2018 we rolled out the inaugural Step Up program, a part of our ongoing commitment to new and emerging artists. In March the Step Up Festival showcased the work of some of Sydney’s most exciting emerging talent and throughout the year we supported a group of upstarts on the Step Up team. We couldn’t be prouder of their achievements: keep an eye out for these bright young things of the future.

Amy Morcom; Beth McMullen; Derbail Kinsella; Elijah Williams; Eve Beck; Hannah Goodwin; Jessica Adie; Joshua McElroy; Kate Walder; Luke Carson; Rebecca Blake; Tabitha Woo; Tom Mesker; Trishala Sharma

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Applications for the 2019 Step Up team are NOW OPEN, and we’re looking forward to meeting a whole bunch of the city’s brightest talents.

We’re proud of our record supporting new work. Since 2015 we have championed new work from: James Raggatt, Charles O’Grady, Purva Naresh, Yvonne Perzsuk & Co, Pippa Ellams, Michael Costi, Tobias Manderson-Galvin, Justin Fleming, Melita Rowston, Tom Payne, Amelia Roper, Philip Rouse, Jessica Tuckwell, Clare Hennessy, and more.

With Dresden, Jatinga, The Laden Table, Night Slows Down and Visiting Hours, bAKEHOUSE has brought to the KXT stage 5 ambitious new works in less than 3 years. And in 2018 we supported the development of Human Activity, Katie Pollock’s response to her time in Mumbai as part of the bAKEHOUSE Cultural Exchange (bACE); From Malapo to Miller, Winnie Dunn’s first play being developed at Casula Powerhouse, and we began work on StoryLines with Cana Community.

New companies have been born at KXT, while young companies have found their feet: in 2018 we hosted Last One Standing Theatre, Manifesto Theatre, Pip and Han Inc, The Anchor, Haseman, Ball & Radda, and more. Seasons at KXT mix new and emerging artists alongside established and experienced ones. In 2018 directors Kristine Landon-Smith, Kim Hardwick, Claudia Barrie, Suzanne Millar and Jessica Arthur shared the season with James Raggatt, Hannah Goodwin, Eve Beck, Rebecca Blake and Sarah Hadley.

this year we’ve seen a closing gap between independent and mainstage with performers, designers, writers and directors going from our corner of the Cross onto mainstages STC, Bell, Belvoir, Griffin and more. The bAKEHOUSE partnership with Justin Fleming continued with Dresden, while at the same time Justin’s Misanthrope played in the Opera House. Jessica Arthur first worked at KXT as one of the directors on a KXTeethcutting play read in 2017, and was back with her company The Anchor for the October season Two Hearts. Megan Wilding kicked off her year in JackRabbit’s production of Tonsils + Tweezers by Will O’Mahoney, our first season of the year, before heading into Blackie Blackie Brown at STC, and she’s headed back to KXT in 2019 directing her exciting original work A Little Piece of Ash Daniel Monks started his year in the beautiful Are We Awake, written by Charles O’Grady and then went onto play the lead in Malthouse’s lauded production of The Elephant Man. The KXT stage was home to seasoned professionals and first time performers

COMMUNITY:  bAKEHOUSE has a long commitment to diversity and inclusivity. In 2018 work at KXT included 42 actors from non-anglo backgrounds. Shout out to the directors and producers getting it right.

We have an established record of community engagement, working closely with not for profits as varied as the All Saints African Centre in Blacktown, Apne Aap Women’s Collective in Mumbai, the KBHAC, Loyola College in Mt Druitt, the refugee art project and SSEG to name just a few.  In 2018 we value-added to the KXT experience with the chesterfield series which continued to deliver Radical community engagement and Rapid response to burning issues. Through the year we worked with producers to raise awareness and funds for many orgs, including the Blue Knot Foundation, lymphoma Australia, NOW the Australian response to Metoo, Careflight, the lung foundation of Australia; we held conversations around the greater issues at the heart of the plays; we hosted masterclass and workshops; guests from places like Chris O’Brien’s Lighthouse Hospital, and live music and art exhibitions. With the support of the city of Sydney we have begun to roll out KXT Crossroads, a program that sits at the intersection of art and community. 

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The KX theatre precinct continues to thrive as cast and creatives move across all venues. Alex Berlarge produced Ironbound at KXT, directed There Will Be A Climax at Old Fitz, and Cry Baby at the Hayes. Claudia Barrie jumped on board Last One Standing Theatre’s production of DNA, directed the hit You Got Older and her production of Eurydice is now running at Old Fitz. in 2019 Last One Standing Theatre produces Alice in Slasherland at the Old Fitz. Actors Alex Malone, Bardiya McKinnon, Sarah Meecham, Megan Wilding, Ariadne Sgouros, Laurence Coy, Elijah Williams, Mansoor Noor, could all be seen at KXT and the Old Fitz, or Hayes or Griffin. And Joanna Erskine’s ground breaking playwrights program the Storytellers Festival brought us all together, with 69 actors presenting the work of 29 writers with 19 directors leading the way.

The Arts Editor of Time Out Ben Neutze describes our precinct as the

‘Sydney theatre district that matters”

HOTEL PARTNERSHIP: We are able to continue to operate KXT due to a strong and supportive strategic partnership with KX Hotel who this year have supported us in more ways than we can list, but include art exhibition openings, opening nights, block parties, events like this one and visiting hours, our 5 story immersive takeover that played a sold out season at the beginning of the year. Recently KX Hotel received the Australian Hotel Associations award for Best NightLife Venue, and we’re thrilled to be working together to lead the way in nightlife diversification here in the Cross. Through the year our crazy bump outs and high demand lift use has been made possible by the patient and understanding management: Ben, Miles, Kaylah, and our greatest cheer of thanks goes to licensee Josh who has done all he can to accommodate the needs of a thriving indie venue, and worked with us to make sure a theatre can continue to function in the middle of a growing and popular 5 story night club.

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And it is thanks to that partnership that we are able to announce an exciting new program POPUPSTAIRS We’re working with the hotel to turn level 4 into a functioning theatre: a new space for audacious, bold, ambitious and adventurous. new work, and new ideas for old work. A home for high risk work delivered in a low risk low budget environment.

Sydney’s indie theatre scene punches above its weight, regularly delivering more bang for your buck with passion, favours, beers and a mountain of low budget brilliance. But as the bar is lifted - as the quality of work matches and at times exceeds the main stage output, we are at risk of losing risk.

So we’re asking you to POPUPSTAIRS to the bordello room, with its new lighting rig, operational bar, comfy seating and kicking night club standard sound system to take in some mid week fringe fare. An uncurated space sitting inside the beautiful bacchanalian speakeasy, managed and overseen by bAKEHOUSE prod manager Andrew McMartin and KXT prod assist Charlie Vaux, we expect to provide a place where audiences can expect to see the unexpected.

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To get things rolling we’ve booked in a couple of featured seasons with work from indie stalwarts Tooth & Sinew reinventing a classic; the ever-unpredictable Montague Basement takes on an unstageable script; and the hugely promising team behind Rudy & Cuthbert bring their latest work to level 4 of the hotel all as part of the KXT season. Additionally Rachel Kerry’s murder mystery musical Surf Séance will run through Halloween October up here on the rooftop, and Roshelle Fong’s sensational nomnomnom will run out of the Glasshouse up on level 6, connecting audiences and the KX community in surprising ways.

Working with the support of the hotel we’re keeping things open and accessible to the newest of the new. Through the year we hope to see developments of new writing, public presentations of first-time work from new companies, and industry showings of emerging work, all within a low budget and affordable model. There’s plenty of spots available and POPUPSTAIRS is NOW OPEN for submissions. Send in your info, and we’ll match projects with available dates.

JACKRABBIT: For the indie sector to continue to grow and flourish we need a collegiate response, a community of artists pooling resources and knowledge. Yes, we need more and new spaces, but the current spaces need to find ways to survive and thrive. Building on our commitment to providing opportunities and mentoring to new companies, and taking the next logical Step Up, in 2019 we’re investing in the future. bAKEHOUSE has partnered with the young guns from JackRabbit to open up more opportunities for more artists to present new work. JackRabbit have programmed a dynamic 3-month season at KXT jam packed with the best of the new, and they’re going to be taking over in February. They’ve been given the extraordinary opportunity of running and programming a venue, we couldn’t be happier with their plans, and we’re pretty sure you’re going to be as excited as we are

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before we all hit up the bar, a few final thoughts. KXT continues to be unstaffed. We have chosen instead to invest in the sustainability of independent producers and their companies, the heroes of our sector and the makers of the work. supporting ethical and respectful, budget smart time managers ensures the longevity of our can-do sector. KXT is also unfunded, and we function with the extraordinary generosity of a small collective of hard-working professionals who share their time, skill and resources for the benefit of many. We continue to search for the balance between the constraints of indie budgets, and the extraordinary debt that places like KXT must manage. Shout out to Andrew Henry at the old fitz for drawing attention to this recently, and if you’d like to partner with us in funding the work at KXT or are considering a sizeable donation to our work there’s a link on the website. you can be assured that your donated dollars will end up in the pockets of the artists who present the work 

THANKS In 2018 we have been able to build a collective community model of operation, with some incredible people coming on board to manage the unsexy side of running an indie venue. The year would not have been possible without the support and work of Rebecca Blake, Charlie Vaux, and Hannah Goodwin, all joining the KXT team via our Step Up program. A shout out to the hard-working photographers creating the collateral that catches the attention of the audience most esp Clare Hawley and Jas Simmons who have captured the rehearsals and production imagery of many of our shows. Danny Ball and Hugo Kohne managed the KXTeethcutting play read program, a seemingly small thing that needed a lot of management and delivered in spades. A shout out to our board members who this year somehow took our artistic passion and vision and showed us how to run things like a business, albeit one with no money. 

On a personal note John and I extend the greatest of bAKEHOUSE thanks to Andrew McMartin an essential part of our management team, guiding and advising on all decisions, taking care of stage management, endlessly cleaning the bio box and repairing stuff, making the trains run on time. We couldn’t get the job done without you.

Finally, cheers to Emily Elise who does the best design work an indie company can hope for, managing the typical last minute timelines and delivering on a budget. Head to the website to check out her work: you can pick up cheap Earlybird tickets; a season ticket to all shows; apply for the Step Up program; and get your info in for POPUPSTAIRS.

Thanks so much for your support through 2018, this joyful community of artists makes it all worthwhile. and we look forward to sharing 2019 with you all.  

SUZANNE

AUDITIONS #2019

AUDITIONS

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New Ghosts Theatre Company launches IGNITE COLLECTIVE, a ground-breaking initiative that partners emerging and established female playwrights and creatives to create works for female actors, between the ages of 20-30.

New Ghosts has been creating and presenting high quality new works in the independent sector for the last 4 years, and throughout this time we have recognised that roles currently being written for women are predominantly either of mothers (30+) or teenagers (14-19), with few works written for women in the 20-30 age bracket. In our history of auditions, we have seen 3 females for every 1 male competing for roles of this age. Through our IGNITE initiative NEW GHOSTS is committed to creating new works to fill this industry gap.

PLAYWRIGHTS

EMME HOY

NATESHA SOMASUNDARAM

GRETEL VELLA

KATY WARNER

These writers will create new works for the strong, creative and talented women, that we are now on a mission to bring into this collective.

AUDITIONS

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AUDITION NOTICE: 
IF WE GOT SOME MORE COCAINE 
I COULD SHOW YOU HOW I LOVE YOU
A play by John O’Donovan

A raucous, thorny romantic queer drama - on a rooftop.

Email Creative Producer Leila Enright to book a time and receive audition material; leila.a.enright@gmail.com

Send your expressions of interest with;
* Your availability in January for rehearsals and February for the season
*A headshot and cv 
*Your preferred audition day in the week commencing 10 December

ABOUT THE PLAY

On the night of drug-fuelled robbery, Mikey and Casey find themselves hiding out on a rooftop in small town Ireland. They’re also in love. As they wait out the police guard, a quiet tragedy unfolds of those left behind by a nation’s jagged progress.

Director Warwick Doddrell (Stupid Fucking Bird, LIE WITH ME), creative producer Leila Enright and designer Jeremy Allen (Home Invasion, Ironbound) bring this stunning Australian Premier to KXT coinciding with the 2019 Mardi Gras Festival. This hilarious, complicated play of ideas is a thrilling character piece exploring love, identity and illegal substances.

A caustic character piece
The Stage

★★★★
The dialogue pops and crackles
Time Out

THE ROLES

Mikey and Casey are partners in crime, best friends and lovers. Their love feels heart-breakingly real, simultaneously sincere and playful. The play is an intimate conversation, revealing the violence and homophobia that they experience as part and parcel of their existence, these lads seem rough and tough.

The text calls for intimacy between the two characters,and will be negotiated between the performers.

Mikey (Early 20’s, from Ennis Ireland) 
Self-described ‘rogue’. As a proudly out, gay man in a rural Irish town, Mikey has always had to fight for acceptance and respect. Mikey’s cheeky, larrikin facade is undercut by his desperation. Physically energetic, smart and charismatic, this is an opportunity to play the consummate Irish charmer, stripping back the layers to reveal the dark depths behind the laughs.

Casey (18, from South London, POC) 
A perennial outsider. From Croydon, Casey has created his own mask to retreat from the complex pressures of his drug dealer stepfather, oblivious mother and the community. Casey is Mikey’s best friend and closeted lover, and has his own scars to bare. An antidote to Mikey’s charm and larrikinism, but not without his own sense of humour, Casey is more serious, burdened by difficult decisions. This is an opportunity to realise a character trapped in a vice and desperate to escape, amidst the joy and turmoil of young love.

PRODUCTION DATES
Rehearsals 4 Days a week. January (TBC)
Bump in Feb 4th
Season Feb 8 - 23


#KXT2019 CHEAT SHEET...

we’ll be taking a look at the big thinking around KXT2019 in the next few days. For now, here’s your handy cheat sheet…

14 women writers

11 Australian plays

10 emerging directors

11 women directors

6 culturally diverse plays

8 emerging companies

8 world premieres

8 Australian or Sydney premieres

more to come…

BackStepForward

planning for KXT2019 means looking back over the past 12 months. We’re incredibly proud of KXT2018 and here’s why:

In 2018 KXT hosted 12 women directors; 10 women producers; 8 shows designed by women; 8 plays written by women. Additional stats from the Storytellers Festival: another 14 women playwrights + 13 women directors

The KXT2018 season included 10 Australian Plays + 5 developments of new work + We ran 8 seasons with the writer working alongside the team in the rehearsal room

KXT2018 supports new work: 12 Sydney premieres; 7 Australian premieres; 5 World premieres ++ Storytellers Festival which featured the first staging of 3 full length plays & pieces from 26 other new works. KXT2019 includes full seasons of work from that festival.

In 2018 work at KXT included 42 actors from non-anglo backgrounds. Shout out to the directors and producers getting it right

KXT is where actors come to play: In 2018 113 actors performed on the KXT stage. Plus 69 actors participated in the Storytellers Festival. Plus 3 developments, and the monthly KXTeethcutting reads

Shout out to Pip and Han Inc; and Manifesto Theatre who launched at KXT in 2018. And to Last One Standing who ran their first full season in March as part of the Step Up festival. KXT was also thrilled to champion emerging companies The Anchor, HBR Creatives, and Bite Productions.

this year we’ve seen a closing gap between independent and mainstage with performers, designers, writers and directors going from our corner of the Cross onto mainstages STC, Bell, Belvoir, Griffin and more. The bAKEHOUSE partnership with Justin Fleming continued with Dresden, while at the same time Justin’s Misanthrope played in the Opera House. Jessica Arthur first worked at KXT as one of the directors on a KXTeethcutting play read in 2017, and was back with her company The Anchor for the October season Two Hearts. Megan Wilding kicked off her year in JackRabbit’s production of Tonsils + Tweezers by Will O’Mahoney, our first season of the year, before heading into Blackie Blackie Brown at STC. Daniel Monks started his year in the beautiful Are We Awake, written by Charles O’Grady who then AD’d on the STC’s Still Point Turning. The KXT stage was home to seasoned professionals and first time performers

The KX theatre precinct continues to thrive as cast and creatives move across all venues. Alex Berlarge produced Ironbound at KXT, directed There Will Be A Climax at Old Fitz, and Cry Baby at the Hayes. Claudia Barrie jumped on board Last One Standing Theatre’s production of DNA, directed the hit You Got Older and her production of Eurydice is now running at Old Fitz. in 2019 Last One Standing Theatre produces Alice in Slasherland at the Old Fitz. Actors Alex Malone, Bardiya McKinnon, Sarah Meecham, Megan Wilding, Ariadne Sgouros, Laurence Coy, Elijah Williams, Mansoor Noor, could all be seen at KXT and the Old Fitz, or Hayes or Griffin. And Joanna Erskine’s ground breaking playwrights program the Storytellers Festival brought us all together, with 69 actors presenting the work of 29 writers with 19 directors leading the way.

The Arts Editor of Time Out Ben Neutze describes our precinct as the

‘Sydney theatre district that matters”

2019 bAKEHOUSE is partnering with indie unit JackRabbit Theatre to open up MORE seasons at KXT, to provide MORE opportunities for MORE new work and new artists.

To find out how we’re going to make things happen, head up to the rooftop on

Sunday 2 December for our 2019 LAUNCH

First drinks at 7.00 pm, all welcome.

#thenextbigthing

KXT has an impressive track record supporting new companies and new work. Since launching only 3 years ago we have championed new work from: James Raggatt, Charles O’Grady, Purva Naresh, Yvonne Perzsuk & Co, Pippa Ellams, Michael Costi, Tobias Manderson-Galvin, Justin Fleming, Melita Rowston, Purva Naresh, Amelia Roper, Philip Rouse,  Noëlle Janaczewska, Jessica Tuckwell, Clare Hennessy, and more. This year, Joanna Erskine’s Storytellers Festival, a platform for playwrights and their work, brought an additional 29 writers to KXT. In 2016 Good With Maps premiered as part of INVISIBLE CIRCUS and this year the award winning production from Siren Theatre toured regional NSW. With Dresden, Jatinga, The Laden Table, Visiting Hours and Night Slows Down, bAKEHOUSE has brought to the KXT stage 5 ambitious new works in less than 3 years.

New companies have been born here, while young companies have found their feet: Last One Standing Theatre, Manifesto Theatre, Some Company, Rocket Productions, Pip and Han Inc, The Anchor, Haseman, Ball & Radda, and more. Seasons at KXT mix new and emerging artists alongside established and experienced ones. In 2018 directors Kristine Landon-Smith, Kim Hardwick, Claudia Barrie, Suzanne Millar and Jessica Arthur shared the season with James Raggatt, Hannah Goodwin, Eve Beck and Sarah Hadley. In 2015 we met with James Raggatt, opening the doors of KXT for the first development of his original script, then titled King Hit. With ongoing development support in 2016 and 2017, this became Youth + Destination, and played as part of the KXT2018 season.

“somewhere in our DNA we know that stories are out there to help us understand what we’re doing here on this planet” Theresa Rebeck


Value Adding

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a HUGE SHOUT OUT to indie theatre… you’re looking good.

this is a massive THANK YOU to all the teams that put time into their submissions for KXT2019. We received almost 150 EOIs. Audacious, bold, ambitious and adventuours. Submissions of new work, and new ideas for old work. Amazing teams filled with incredible artists. And all to be done with passion, favours, beers and a mountain of low budget brilliance.

we do read them all. Every one of them. So it takes a bit of time getting things sorted. We’ve been working our way through things: if you haven’t heard from us HOLD TIGHT!! We’ll be in touch!


September was all about VALUE ADDING at KXT: KX Collaborations; PSAs; Fringe With Benefits; the Glasshouse and Sydney Fringe Festival meant that KX Hotel was abuzz with performance. Our highlights included:

EVERYBODY LOSES: presented by Doppelgangster arriving in Sydney after a whirlwind world tour including Singapore, London and Paris.

PYJAMA SUNDAYZ: popped into Level 4 for their own unique brand of performance art

NO STRINGS ATTACHED: KXT Artistic Associate Rebecca Blake & bAKEHOUSE Artistic Director John Harrison let the puppets out to play

THE GLASSHOUSE: Sydney’s newest venue opened its doors to the musicians. Stay tuned for more


Over the past almost-3 years, we’ve worked with companies at KXT to raise awareness and funds for an extraordinary number of Not For Profits.

Including NOW; Chris O’Briens Lighthouse; Lymphoma Australia; Australian Lung Foundation; My Body My Right; AAWC; LBW Foundation; Cana community;
Loretto College; All Saints African Centre and many many more.

this month NEW GHOSTS THEATRE CO supports the Blue Knot Foundation with an additional performance, SATURDAY 13 OCTOBER at 1.00 pm. Proceeds of this Saturday's matinee will be used to provide support, education and resources for the families and communities of adult survivors of childhood trauma.

This show will be followed by a panel discussion with special guest Associate Professor Rita Shackel of the University of Sydney, along with director and cast.

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#KXTCrossroads: where art + community meet.