IMPACT

Over the past ten years bAKEHOUSE has invested more than $6million into the city’s independent sector:



$2.5 in box office sales going direct to artists.

$3,64 million invested in independent artists through subsidised venue hire provided for performance, rehearsal, development, and events



That’s $6,14 million invested in the independent sector by bAKEHOUSE through KXT.

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++ 85% of projects and work has been led by Early Career Artists

++ 50% of work in our support pprograms and on our stage has been led by Artists of Colour

++ 85% of work programmed at KXT has been world premieres of New Australian work

++ 75% of the work in our support programs and on our stage has been led by LGBTQIA+ artists

11 years ago, bAKEHOUSE was invited to launch KINGS CROSS THEATRE – and we knew what we wanted to do. We wanted to stage work that was truly Australian, that looked and sounded like the community we lived in; that foregrounded women on stage and on the creative teams; that provided an opportunity for early career artists and recent graduates to work alongside experienced professionals and to finetune their craft, to find their tribe.

We wanted to push the boundaries of the style of work that was on Sydney stages, most particularly the scale so we could continue to stage the big bold work that we loved with casts of 10, 12, 15 and more actors on stage, but also to challenge what the design of indie shows looked like.

We wanted to see ambitious plays, with big ideas at the heart of them, plays that spoke of the big world we live in, and the sometimes-small lives we live.

We wanted to somehow see artists paid, and producers walk away with something for all their work. We wanted to be sure our rehearsal rooms and theatres were safe places, where women and young people and queer and gender-diverse and artists of colour could work comfortably and confidently, knowing that it was all under pinned with respect for the people and the work.

We wanted to do away with all-nighters and long unreasonable hours and short preview seasons when the work was rushed onto stages not quite but almost ready.

10 years ago, independent theatre was taking baby steps. And now it’s all grown up, a fully-fledged sector, with pathways and ambition and opportunities and excellence at its core. We’re proud to have been at the forefront of the change that has come about over the past decade and excited for what the next 10 years hold

READ MORE HERE

KXT UNDERGROUND FAQs + SPECS

INTRODUCTION
The KXT Vault is a lo-fi, pop-up space that allows KXT to provide more opportunities to artists, offering profile for their work and presenting a low-cost opportunity for young companies, new work and non-traditional performances.

While there is minimal tech available in the Vault, we believe talented artists will develop creative, beautiful and innovative solutions to the limitations of the space.

INVENTORY - LIGHTING
The standard lighting inventory includes:

CONTROL

  • ETC Nomad Dongle Kit

  • ETC “Gadget” - note, single universe only

  • Mac Mini

  • Screen

  • Mouse - wireless

  • Relevant cables

DIMMING & DISTRIBUTION

  • 2 x 240V GPOs (10 Amps each circuit)

  • There is no 3-phase power, so only LED fixtures may be used.

LIGHTING & FIXTURES

  • 2 x PL-1 LED Fresnels

  • 4 x Beamz Slimpar 30, 6x3W LED Par - no DMX control

  • 1 x Quad 7 Led Par, note - no red chip

  • 10 x Battery-powered table lamps, amber colour

  • Dimmable house lights

A small number of additional LED lights (sourced by the creative team) may be permitted, provided this has been discussed with and approved by KXT. Approval will depend upon the capacity of the KXT Power Supply

POWER & DATA CABLING
The space does not have an installed cabling system but relies on several single cables that run from the control station to the single lighting bar. There are a limited number of spare power and data cables. Designers planning on adding fixtures to this rig should also bring power and data cables to run from control to the hanging location.

RIGGING
There is a single lighting bar attached to an I-beam. As a general guide, any fixtures or other rigging should not exceed 25kg on this bar. Additional light stands or bars may be permitted, provided this has been discussed with and approved by KXT. There will be requirements around these to protect the Vault flooring

FIRE
No naked flame is permitted in the Vault, due to fire safety restrictions.

FOG, HAZE & ATMOSPHERICS
Use of smoke and haze is permitted.

  • KXT has an Antari FL-350, which may be used only if it is not in use in the upstairs theatre. The cost is $100 per season. Note that if it is in use for the season playing on the KXT Stage is it not available for use in the Vault

INVENTORY - SOUND
There are no sound speakers or control software/hardware available in the Vault - KXT recommends teams bring their own speakers and additional equipment based on requirements for their production. 

There is a limited number of XLR cables and power cables. Designers are advised to bring in all relevant cabling required for their sound equipment

ACCESS
Access to the Vault is via the narrow stairs only. This will need to be considered for bump-in (to avoid damage to equipment and the venue) and for audience access. These issues will be discussed with the KXT Team at an on-site planning meeting prior to the season.

Soft-soled, flat-soled shoes only are to be worn in the Vault, to avoid damage to the flooring.

The hours of access and use are set according to the schedule of the upstairs theatre space and will be determined by KXT. This is the likely season format:

Rehearsal               One day the week prior to bump in
Bump In                          Friday prior to first performances

Performance 1                 Week 1: Saturday 3pm
Performance 2                 Week 1: Sunday 2pm
Performance 3                 Week 1: Monday 7.30pm

Performance 4                 Week 2: Saturday 3pm
Performance 5                 Week 2: Sunday 5pm
Performance 6                 Week 2: Monday 7.30pm

Bump Out                        Week 2: Tuesday. Cleared by 3pm

Any deviations from this format will be to accommodate key KXT programs. It is not possible for companies to set their own schedule

FINANCIAL:

Please note that 2026 Underground will be a trial program, and there may be updates to the processes as we progress through the year. A reminder that the following KXT staffing needs to be in place to support your season:

Admin support, comms & marketing
F2F venue support (site visit, induction, bump in & bump out)
KXT Venue Staff & bar management for each performance

Your venue hire does not cover the weekly costs associated with making the Vault available; as a result, your time in the Vault is subsidised by bAKEHOUSE in excess of $2900 per week

Companies performing in the Underground season in the KXT Vault will be charged $900 per week for a total of $1800. It is possible to arrange for a 1-week season should you wish

Venue hire is payable prior to the commencement of your season

All companies will be required to pay a $500 bond prior to their season which will be fully refunded on successful bump out

Ticket prices will be set at $30 and $35 in keeping with the restrictions of the venue

Companies retain 100% of box office at KXT. The sale of 25 tickets will therefore cover the weekly hire.

Capacity will be set at a maximum of 40 people in the audience, exclusive of the production team. Depending on the seating arrangement you may prefer to run the audience capacity to 30.

Therefore, the weekly capacity will be between 90 – 120 pax or a total of 180 – 240 pax across a 2-week season. Potential income is approx. $2700 - $3600 per week

The seating arrangement and therefore audience capacity will be discussed with KXT and agreed upon prior to the season. Any changes to the seating arrangement must be approved in advance

MONDAY 12 JANUARY ~ the KXT2026 LAUNCH PARTY

In 2025 KXT celebrated 10 years of operation.

Incredible really to think that a pop-up space in the middle of a 6-story pub in the heart of KX, sandwiched between dance floors, DJs and pokies, would lead to this.

11 years ago, bAKEHOUSE had been staging work across all the indie stages and venues for hire: Griffin, Riverside, Seymour Centre, Bondi Pav, Old Fitz, TAP gallery, 505, NIDA playhouse, and importantly ATYP, then in its original home Under the Wharf – and we knew what we wanted to do. We wanted to stage work that was truly Australian, that looked and sounded like the community we lived in; that foregrounded women on stage and on the creative teams; that provided an opportunity for early career artists and recent graduates to work alongside experienced professionals and to finetune their craft, to find their tribe.

We wanted to push the boundaries of the style of work that was on Sydney stages, most particularly the scale so we could continue to stage the big bold work that we loved with casts of 10, 12, 15 and more actors on stage, but also to challenge what the design of indie shows looked like.

We wanted to see ambitious plays, with big ideas at the heart of them, plays that spoke of the big world we live in, and the sometimes-small lives we live.

We wanted to somehow see artists paid, and producers walk away with something for all their work. We wanted to be sure our rehearsal rooms and theatres were safe places, where women and young people and queer and gender-diverse and artists of colour could work comfortably and confidently, knowing that it was all under pinned with respect for the people and the work.

We wanted to do away with all-nighters and long unreasonable hours and short preview seasons when the work was rushed onto stages not quite but almost ready.

10 years ago, independent theatre was taking baby steps. And now it’s all grown up, a fully-fledged sector, with pathways and ambition and opportunities and excellence at its core. We’re proud to have been at the forefront of the change that has come about over the past decade and excited for what the next 10 years hold

An anniversary like this one calls for reflection.

Over the past 10 years more than 4300 artists have engaged with KXT, including the pandemic years when despite covid lockdowns bakehouse supported more than 500 artists through multiple KXT initiatives. We’ve hosted 106 seasons of world premieres – 106 new Australian plays. There have been 86 residencies, more than 200 playreadings through initiatives like KXTeethcutting and the Storytellers festivals, 43 art exhibitions with more to come in 2026, 29 Festivals including venue takeovers when gave the keys to young companies to take charge - companies like Jack Rabbit and Purple Tape – but also the Invisible Circus, Panimo Pandemonium,  and our own Storylines festivals investing in and platforming Australian artists of colour.

Over the 10 years 80% of work has been early career work; 76% has been delivered by queer and gender-diverse artists; 52% by Artists of Colour; 64% new writing. Our 24-25 Annual Program offered: $250K of ticket sales going directly to artists; $550K in subsidised venue hire to artists; 486 artists supported in the development and presentation of new projects; 17 full scale productions; 25 new projects developed, of which many will go on to a full-scale production at KXT or other venues in the next 2-3 yrs; 4 Festivals; 28 Community engagement events such as panels, art exhibitions, music events, workshops, poetry and play readings, and networking events. That’s a 12-month snapshot

These are all great numbers. But when we reflect on the past 10 years the numbers we’re most proud of are very, very big:


$2.5 million – that’s box office sales going direct to artists.

And $3,64 million invested in independent artists through subsidised venue hire provided for performance, rehearsal, development, and events.

That’s $6,14 million invested in the independent sector by bAKEHOUSE through KXT.


Not quantified: the extraordinary amount of time donated, fees waived, and skills offered by the bAKEHOUSE team and our various partners, associated artists, and supporters at KXT.

While we’re talking money.

In 2025 state arts funding was restructured and a number of small venues and organisations either missed out on funding or received significantly reduced amounts of funding. KXT was one of those venues. Despite investing and supporting the sector to the value of more than $6 million, building a new fit-for-purpose theatre when 5 other small venues were closing – a task that cost more than $400k of which more than 80% was through private support and investment – KXT received no funding in 2025. A financial model that relies on arts funding is not a stable one, and like all venues we’re working towards long term independent financial sustainability. We’ve hustled over the past few months and we are moving forward into 2026 with confidence. However this means that we are embarking on fundraising in a way we’ve not needed to previously do so.

We want to thank those who have invested in or partnered with bAKEHOUSE at KXT over the past 10 years, the many who have donated small amounts and the few who have generously invested significantly into the work we do. Over the coming weeks you’ll be hearing more about ways you can join us to build a healthy and productive sector, and secure the long-term future of one of Sydney’s mightiest small venues.

Now, while we’re talking about small venues, here’s an announcement: The KXT VAULT is the bAKEHOUSE support centre for arts and community. With a focus on artists support, the development of new work, and community engagement it’s the beating heart of our home on Broadway. In 2026 we expand the opportunities on offer, and introduce Underground, a season of work in the KXT Vault, a home for low-tech, low-cost high-risk work, surprise small seasons for audiences of 30 people. If you're familiar with our program of work in alternative spaces in KX Hotel (Visiting Hours; Fringe Benefits, Popup ComeOut, Popupstairs all played out on other levels of the hotel) then you'll recognise the opportunity: a season of work in the KXT program, supported by KXT personnel, offering profile for your work and presenting a low-cost opportunity for young companies, new work, and non-traditional seasons.

Work that took its first steps in the KXT Popupstairs program includes UBU by Tooth & Sinew, that went onto sold out season on the KXT stage the following year; Not Today an award-winning touring cabaret by Ally Morgan, Doing which was Amy Sole’s first directing role, and Rime of the Ancient Mariner, one of the earliest works from the Little Eggs collective who went on to stage the award-winning Symphonie Fantastique at KXT in the Cross. Importantly, this is a program that will allow the KXT team to meet and work with new artists, and to become familiar with their work, with a view to progress to an ongoing relationship. To keep the doors open.

We can’t wait to usher the next generation downstairs! Information about how to participate in the inaugural Underground season will be on the website later this week, and announced across our socials with details of an open call out. Also open in the next week or two will be the first round of the 2026 bAKEHOUSE Residency program, running out of the KXT Vault. We’ll be releasing info on the website and across our socials over the coming 2 weeks about how to apply for a fully subsidised residency, supported by the KXT team. Also coming up will be the 2025 Residency Showcase, when the residents from the past 12 months will have the opportunity to present a reading of their work here on the stage. 

So let’s talk about the people.

In 2025 The Laboratory delivered 7 stunning plays, under the astute and careful guidance of the phenomenal Saro Lusty-Cavallari who has nurtured countless new plays into life through the program. Last year Joanna Erskine delivered 2 weeks of the Storytellers Festival, featuring reads of 15 new plays. The Laboratory and Storytellers have been the birthplace of work that has gone onto feature on the Griffin Stages, Belvoir and indeed STC, as well as theatres in Melbourne, Brisbane Perth and Tasmania, and have won awards including the Patrick White Playwrights Award, the Rodney Seaborne Playwriting awards, and Green Rooms in Melbourne & STAs in Sydney. Saro and Jo are 2 wonderful associate artists at KXT who do the work that allows us to offer you so much. We’d also like to thank Kenneth and Jordy from partner company kwento; our StoryLines ambassadors Elijah and Renee; Aaron, Ziggy, Luke, Ellis, Aiden, Alex, Aliyah, Lily, Hamish, Charlie, and Claudia who are the KXT Venue Staff doing so much more than running the bar!, Chris Starnawski, for his ongoing behind the scenes support, Charlie Vaux who has worked tirelessly in Artist Support and is now stretching his wings into fundraising and partnerships, and Emily Buxton who has done so much. Over 4 years beginning with a little bit of FOH support, Emily built a role that supported so many: artists, staff, audience, and the KXT team. In 2026 Emily will be producing a wedding which means she’s moved on from KXT. It has taken a number of people to replace her: Liminka Pather is working in admin support for productions, Aaron Cornelius has taken over Venue Staffing, Claudia Elbourne is managing FOH through preview seasons and opening nights, and Charlie Vaux has expanded his role to include F2F production support. We have 1 other role we’re filling so standby for further announcements. Yes, it’s taken 5 people to replace Emily.

That brings us to the KXT Awards. Supported by our key partners the wonderful Education and Learning Foundation or ELF, the ELFie awards have been a part of KXT since we’ve been here at Broadway. The KXT Awards for Excellence celebrate the most promising and accomplished work that came across our stage in 2025. Previous winners and nominees include All Boys, Dumb Kids, Mercury Poisoning, Your Name, Lily Hayman, Jules Billington, Mehhma Malhi and more. We’ve been adding to the categories each year, and this year we include Excellence in Producing, alongside Design, Acting, Writing and Directing

EMERGING PLAYWRIGHTS We’ve seen some extraordinary new writing on the KXT stage this year – encompassing re-imagined classics, work that targets hugely important issues across every facet of production, and quite a lot of ground-breaking, form-busting new work! Here are the nominees for Emerging Playwright:

Lu Bradshaw, Monstrous
Trent Foo, A Chinese Christmas
Isabella Louk, These Youths Be Protesting
Karina Young – Don’t Save Me

WINNER – LU BRADSHAW for Monstrous



EXCELLENCE IN DIRECTING There were so many outstanding productions at KXT this year, and all our wonderful directors brought out exceptional performances and created stunning new worlds for our audiences. This list is way too short, but here are the nominees for Directing: 

Sean Landis, Cruise
Eugene Lynch, IRL
Saro Lusty-Cavallari, The Seagull
Monica Sayers, A Chinese Christmas

WINNER – SARO LUSTY-CAVALLARI for The Seagull



EXCELLENCE IN DESIGN I’m sure we would all agree that indie designers are miracle workers – generally making do with extremely limited budgets, limited equipment at indie venues that don’t have full time tech staff, and tech gremlins that always appear when they’re least welcome! Here are the nominees for design:

Tobias & Kerith Manderson-Galvin, Design, The Anarchy
Tom Hicks, Lighting Design, Cruise
Cameron Smith & Jolin Jiang, Sound Design, A Chinese Christmas
Sophie Parker, Lighting Design, Ophelia Thinks Harder

WINNER – TOBIAS & KERITH MANDERSON-GALVIN, Design for The Anarchy



EXCELLENCE IN PERFORMANCE There have been many extraordinary, ground-breaking and big-hearted performances this year… everyone on the KXT stage deserves a nod. But for our panel, the following performances were utterly fearless:

Tobias & Kerith Manderson-Galvin – The Anarchy
Owen Hasluck, Port
Fraser Morrison, Cruise
Rachel Thomas, Babyteeth
Campbell Parsons, Babyteeth
Brea Macey, Ophelia Thinks Harder

WINNER – FRASER MORRISON for Cruise



ACHIEVEMENT IN PRODUCING This one is a new addition to the awards. The job of the Producer is almost universally under-appreciated, and is so much harder if they are trying to break into a new market, or pull together a huge show on a limited budget, or sell tickets to a piece of new Australian writing. There is a real skill set that we believe should be celebrated. So here are the nominees:

Jason Jeffries, IRL, Port, Seagull
Bridget Haberecht, The Seagull
Emily Buxton & Charlie Vaux, The Bridge
Charlotte De Wit & Marigold Pazar, Blackbird

WINNER – EMILY BUXTON & CHARLIE VAUX – The Bridge

 

 









 

INVEST

JOIN THE bAKER’s DOZEN

The bAKER’s Dozen is an exclusive group of 13 investors who partner with bAKEHOUSE to support the productions on the Broadway stage CHECK OUT KXT26 HERE

and invest in the many Artist programs that have a home in the KXT Vault READ ABOUT THE VAULT HERE

A one-off donation of $5,000 will be directed to a production or program of your choice. Donating to KXT on Broadway will do many things - but mostly it helps us stage wonderful shows, make new work, support early career and diverse artists, and invest in the future of Sydney’s most exciting theatre makers.

There are heaps of benefits for the bAKER’s Dozen:

  • you will be invited to nominate which production or program your donation will support

  • and you will have the opportunity to meet the artists your donation is supporting through one of our dedicated donors events

  • your name will be included in the list of donors and supporters in the KXT Website

  • you will receive invitations to Opening Nights, Company Celebrations, Events and Donor nights

  • you will receive a unique code to unlock early booking for all seasons

DONATE via the button below All donations over $2 are tax deductible

DONATE HERE

OR Drop us an email to arrange a time for a chat

Thank you for supporting KXT on Broadway, Sydney’s most inclusive and supportive independent theatre

Read more about supporting KXT on Broadway via the button below

IMAGERY: The Waves by Patricio Gabriel Ibarra in development in the KXT Vault

INVEST

TAKE A SEAT

The wooden seats have been a feature of KXT since we first opened the doors. Love them or loathe them, with or without the cushions, they’re here to stay - and one of them can be yours!

When you purchase a KXT seat you will join a small and exclusive group of patrons who will support the theatre with a one-off donation of $1,000. In recognition of this support, seat holders will be able to select their seat, which will be inscribed with your name. You can request this seat each time you visit KXT on Broadway

The support of seat-holders will be recognised with

  • inclusion in the KXT website

  • invitations to company celebrations and special donor nights

  • plus you’ll get first pick of the season with early booking

DONATE via the button below, and we’ll be in touch to set up your seat.
All donations over $2 are tax deductible

DONATE HERE

Thank you for supporting KXT on Broadway, Sydney’s most inclusive and supportive independent theatre

OR drop us an email at bakehousetheatrecompany@gmail.com
to arrange a time for chat


Read more about supporting KXT on Broadway via the button below

10 YEARS || the bAKEHOUSE IMPACT at KXT on BROADWAY

Ten years ago - In 2015 - bAKEHOUSE was approached by Solotel to build and launch a theatre across level 2 of KX Hotel. Within a month we gutted the room, built the traverse space, and opened the doors to our first season. The first season in the Cross featured work from bAKEHOUSE Theatre, Priscilla Jackman, Kate Gaul and Siren Theatre, Michael Dean & Lies Lies & Propaganda, Tooth & Sinew theatre, Rachel Chant and Shane Bosher, Saro Lusty-Cavallari and the newly launched Montague Basement. We programmed 10 world premieres. There were 7 women-led seasons, as well as the Invisible Circus – an entire festival centring the work of women. Our StoryLines programming found a home in the Cross with the bakehouse season of Black Jesus, a cast that included Dorion Nkono and the professional debut of Elijah Williams, international partnerships with Mumbai-based companies and NFPs for Jatinga, and The Laden Table written by a team of Mulsim, Jewish and Catholic women went into development.  

2024 was the first full year of programming at KXT on Broadway. It’s almost impossible to imagine that 18 months ago we were moving from our home in the Cross, and even more difficult to imagine that in 2025 – this year, our 10th year of operation – we would have built a new home for independent theatre. But here we are. So this year is our 10th birthday. We’ll have a big party at Broadway somewhere in the middle of the year, but mostly we’ll celebrate by continuing to do what we love: supporting emerging and early career artists working alongside experienced professionals; programming and supporting the development of the best new Australian writing; inviting artists into our cool bank that’s now a theatre and welcoming people into the bottleneck bar

Trishala Sharma in JATINGA

We’ll dig through the records at some point and come up with the actual numbers, however we can say that thousands of artists have worked on the KXT stage since its inception in 2015. And hundreds of artists who began their careers here, learning the lessons that can only be learned in the cauldron of production, are now working at STC, Belvoir, Griffin, ensemble, Malthouse, Melbourne Theatre Co, and as far afield as Punchdrunk in the UK. While we’re not claiming credit for all of their successes, we are certainly proud to have been able to offer support, guidance and pathways to so many along the way.

Every year we take a minute to look back before we move forward. This is where we’ll often talk numbers – and they’re good numbers: almost 15,000 people through the doors; 220 artists supported at KXT on Broadway on the stage; an additional 118 artists working in the KXT Vault as part of our Artist Support programs; that’s just shy of 340 artists this year; 47% of the season led by Artists of Colour; 80% were women-led seasons; 10 shows in the season were world premieres of new Australian writers and 7 of those were women playwrights; 16 weeks of free rehearsal space to companies; 92% capacity averaged across all seasons (shoutout to the couple of sold out seasons that nudged that figure so high!); 54% of the season had more than 12 artists working on the project

They’re good numbers and they help tell the story of the 2024 season. But this year there’s one number we’re especially proud of:

$232,932

That’s the income generated by work at KXT that went to artists.

And another number $205,000

That’s the financial investment from bAKEHOUSE into work on the Broadway stage: or approx. $5k per week, averaging $15k per season.

Shoutout to the 17 producers who rolled the dice on ticket sales, investing their own cash to get shows onto the stage. Producing work is a labour of love – more so in the indie sector where many producers are forgoing fees, working long late hours, and finagling schedules, budgets and timelines, to get their passion projects in front of an audience. The 2024 season saw 8 new producing companies working at KXT on Broadway for the first time, programmed alongside experienced companies like Secret House and White Box theatre.

Roshelle Fong in NOMNOMNOM

Making art is expensive. But the value it delivers cannot be under estimated: the communities that have been supported; the people whose stories have been told; the audiences who have left changed a little or a lot; the laughter at difficult times… theatre is a crucible for change for good. It’s the home of big ideas and conversations, and at Broadway we’ve been honoured to be a part of that.

KXT on Broadway is now home to multiple value-adding Artist programs: the Vault at KXT; Storytellers Festival; KXT Crossroads events; bAKEHOUSE Residencies; step Up mentoring, the laboratory; and StoryLines. Each year we program new work that comes through our Artist Support programs and we’re proud to say that when you’re programmed at KXT you become part of a fresh and exciting community of artists delivering new Australian work

We want to highlight the residency program. Previous work supported through the bAKEHOUSE Residency program includes: Symphonie Fantastique by the Little Eggs Collective led by Mathew Lee and Julia Robertson; U.B.U. by Tooth and Sinew led by Richard Hilliar; Hubris & Humiliation by Lewis Treston led by Rily Spadaro and Pheobe Pilcher; The Italians by Danny Ball led by Danny Ball, Thomas D’Angelis and Emma O’Sullivan; dog by Shayne; DIWA by Jordan Shea; Mercury Poisoning by Madeleine Stedman; and much more. Our 2024 program at Broadway featured 4 seasons of work that had come through the Residency program. So in 2024 we opened the door wider and welcomed in 20 teams for development. Through January, we invited them upstairs for a showcase season, with a free program of readings and works in progress currently playing. We’ll be announcing our callout for the residency program shortly, alongside a few other opportunities, so keep an eye on socials or subscribe to the eNews for all the latest. 

Over the years bAKEHOUSE has been supported at KXT by a slew of other indie companies. In 2025 CrissCross Productions the company Emily & Charlie Vaux run together will continue their work at KXT, alongside kwento, Legit and Montague Basement. Standby for news of more exciting partnerships through 2025

Our thanks also go to Saro Lusty-Cavallari for managing and heading up the Laboratory program; venue staff Lily, Ziggy, Aaron, Charlie, Bill and Emily; Sophie Parker who saved our lighting bacon a few times; and Joanna Erskine for her ongoing work in the Storytellers season, back in 2025, and the bAKEHOUSE Board Renee, Matthew, Steve, Andrew and Michael

bAKEHOUSE at KXT in the Cross: John Harrison, Suzanne Millar, Andrew McMartin

FIND OUT MORE

ANDREW MCMARTIN

Andrew McMartin (he/him) is the Production Manager and one of the founders of KXT. He works, often unseen, to make sure all of the operational elements of the venue are performing as efficiently and safely as they can.

Andrew has a long history working in theatre, events and film. During Covid he attained his Masters in Screen Producing from AFTRS and then went on to be the Senior Production Coordinator for the Australian made 3D animated film My Freaky Family.

Andrew has managed venues and events of all sizes including all the Australia Day activities on Sydney Harbour for the NSW Gov, multiple events for Sydney Festival, Mardi Gras, Tropfest, Sydney Film Festival, Adeliade Fringe Festival, Melbourne Comedy Festival and Edinburgh Fringe Festival among many others.

Andrew has also been a Stage Manager for countless numbers of plays, events and musicals over the years both in Syndey and on tours before he first joined the bAKEHOUSE team in 2013. As the resident bAKEHOUSE Stage Manager and Production Manager he has worked with the team on Human Activity, Coram Boy, Visting Hours, Jatinga, The Laden Table and Black Jesus (KXT - Kings Cross Theatre); The Ishmael Club (Old Fitz); His Mother’s Voice (ATYP Selects); Love Field (TAP Gallery), and the development showings of Two Chairs and His Dark Materials.

Andrew worked with Suzanne and John to create both the first KXT in at Kings Cross in 2015 and the new KXT on Broadway in 2023. Andrew continues to work on the Board and behind the scenes to consult on all aspects of the theatre to help it to continue to develop into the future of Sydney Independent theatre.

JOHN HARRISON

John is Co-Artistic Director of bAKEHOUSE and Co-Founder of KXT. Directing credits include Coram Boy (KXT), Visiting Hours (Vivid Sydney & Kings Cross Hotel); Great Expectations (ATYP Under The Wharf), and the development showing of His Dark Materials (ATYP). As a writer, he has written Visiting Hours; In Memoriam (Griffin Independent) and Two Chairs (CRACK! Festival & ATYP). He was dramaturg on bAKEHOUSE’s critically acclaimed seasons of The Laden Table and Jatinga.

Producing credits include Human Activity, Dresden, Night Slows Down, Jatinga, The Laden Table, Black Jesus (KXT); The Ishmael Club (Old Fitz); His Mother’s Voice (ATYP Selects); the StoryLines Festivals in 2009 and 2012; her holiness (Seymour Centre); Coup d’Etat (Riverside & NIDA).

SUZANNE MILLAR is Co-Artistic Director of bAKEHOUSE Theatre and the Creative Director at KXT on Broadway. Her practice is focused on new Australian writing, theatre for social impact, and mentoring. She has been key to the establishment of KXT - Kings Cross Theatre, and the newly launched KXT on Broadway which is the birthplace of bold work and the training ground for our most exciting artists.

As director: Human Activity; That’s What She Said: Dresden; Jatinga; Black Jesus; The Laden Table (KXT); Human Activity (KXT & Riverside Theatres); His Mother’s Voice (ATYP); Two Chairs (CRACK!); Junction (NIDA & TRS); A Land Beyond the River (NIDA & TRS); Coup d’Etat (Riverside Theatres, NIDA, TRS); her holiness (Seymour Centre & Riverside Theatres).

Suzanne is the founder and facilitator of bACE Mumbai, established in 2014, an international program working with award winning NGO Apne Aap Women’s Collective (AAWC) to establish an arts program in Kamathipura, and build an artist’s exchange between Sydney & Mumbai. As producer: Visiting Hours, (bAKEHOUSE & Vivid); His Dark Materials in dev (ATYP); Coram Boy (KXT); Great Expectations (ATYP).

Suzanne is a leading arts educator who has worked extensively with student and emerging artists. She currently leads the KXT Step Up mentoring program and facilitates arts mentorships in Western Sydney, including I AM WE ARE in Mt Druitt