STORYTELLERS FESTIVAL @ KXT
PRODUCTION BLOG
CURATED BY JOANNA ERSKINE, WITH THANKS TO DANNY BALL + KXTEETHCUTTING
CALL OUT FOR EXPRESSIONS OF INTEREST for KXT2019
at KXT, bAKEHOUSE is committed to providing an affordable and accessible venue. We’re invested in the sustainability of companies, artists and new work. We’re at the forefront of diverse programming, theatre for social change, and gender equity. We’re keeping the door open for new and emerging artists, and actively supporting and mentoring the next generation through our acclaimed STEP UP program
We're keeping it super simple...
SEND us a short covering email telling us why this is the show you want to stage
ATTACH a single page doc with a brief overview of the show, why you reckon it should be part of the season, and details of your production and creative team, with any confirmed cast
AND a copy of the script PLUS evidence of the availability of rights INCLUDE 2 options for preferred dates ALSO your short, sexy 100-150 word marketing blurb for the show
Got an even bigger idea? No matter how ambitious or crazy, if it's something you're passionate about, we want to hear it!
EMAIL: SUBJECT LINE: KXT2019 EOI | TO: bakehousetheatrecompany@gmail.com
SUBMISSIONS CLOSE 5.00 pm 1 September 2018
“so good to have this new venue doing consistently good work. It’s a glory: what can happen when artists take over a room and make it their own”
bAKEHOUSE Theatre Company launched KXT - Kings Cross Theatre at the end of 2015 to support Sydney’s indie theatre scene and the local arts community. We offer companies heaps of support and maximum autonomy. We’re investing in a sustainable ecology for indie theatre
Visiting Hours photo credit: Clare Hawley
“every KXT work in some way pushes forward the Sydney arts scene - its an opportunity for artists to experiment and create, and its a chance for the audience to see where our local performance culture is headed””
GETTING THE JOB DONE
At KXT we are committed to showcasing diversity and building gender equity…
We’ve had a bunch of women-led teams at KXT over the past 2 and a half years. Today’s spotlight is on:
PHOTO CREDIT: Indiana Kwong
A GIRL IS A HALF-FORMED THING by Annie Ryan | Presented by Brevity Theatre
Performed by Ella Prince Directed by Erin Taylor
Produced by Emma Diaz Design by Isabel Hudson Sound by Clemmie Williams Lighting by Veronique Bennett Assistant Directed by Rebecca Blake
Jason Blake, Audrey Journal: "AN ABSOLUTE TOUR DE FORCE…A powerhouse performance pulls the audience into a young woman's turbulent stream of consciousness”
Jatinga by Purva Naresh | Presented by bAKEHOUSE Theatre
This work was developed in association with AAWC, Mumbai-based NGO that works with the victims of sex-trafficking, and grew out of director Suzanne Millar’s work with the org to raise awareness around the global issues of modern day slavery. Developed in partnership with multiple Mubai-based theatre companies, included leading light RAGE Theatre, supported by Shernaz Patel, and inspired by the young women of Kamathipura.
Cast: Sapna Bhavnani, Karina Bracken, Claudette Clarke, Faezeh Jalali, Sheila Kumar, Suz Mawer, Bali Padda, Monroe Reimers, Trishala Sharma, Teresa Tate Britten, Amrik Tumber.
PHOTO CREDIT: Natasha Narula
“Epic” SMH
“Haunting... visionary... Modern and mythical India, alive in Kings Cross. Amazing.” Kevin Jackson
“For one of our smallest companies to reach out so far beyond themselves to make a difference in the world is remarkable” Cassie Tongue, Time Out
Transcience by Clare Hennessey | presented by Left of Centre
Director Clemence Williams; Producer Georgie Adamson; With Kurt Pimblett, Julia Christensen and Eve Beck.
PHOTO CREDIT: Liam O'Keefe
Back in September 2016, Clemmie Williams led a powerhouse team on a new play from Left of Centre: a story of gender, friendship and chambray jumpsuits, that asks what and who we're willing to compromise to belong. What would Manu do?
And of course… Invisible Circus, a wonderful month with the women destroying the joint; showcasing the work of women who are getting the job done
CLICK HERE FOR MORE
“answers the recent question of “Where are the women in theatre?” with a firm and confident “Here we are.” This production is a bright shining example of women who have been, and continue to, work in theatre and can create in a non-tokenistic way. ”
GETTING THE JOB DONE
This is an important article. ABC NEWS: Australian show business has a problem: Where are all the women at the top?
So far this year shows at KXT2018 have been directed by: Erin Taylor, Kim Hardwick, Suzanne Millar, Claudia Barrie, Hannah Goodwin, Sarah Hadley Kerith Manderson-Galvin, Eve Beck. Still to come: Lucy Clements; Jessica Arthur; Carissa Licciardello
KXT2016 in our first year, we co-curated the Invisible Circus, a month-long celebration of the work of women. Featuring a mainstage program of work directed by Priscilla Jackman, Kate Gaul, and Cathy Hunt, with added sideshows from Suzanne Millar (the development of The Laden Table, Jatinga and Freefalling) + art exhibitions, music events, and panel discussions.
“...answers the recent question of “Where are the women in theatre?” with a firm and confident “Here we are ”
...This production is a bright shining example of women who have been, and continue to, work in theatre and can create in a non-tokenistic way." ~ Fiona Hallenan-Barker
In 2017 Siren’s Good With Maps went on to Edinburgh Fringe Festival; and Kate Gaul was nominated for Best Director at the Sydney Theatre Awards
At KXT we are committed to showcasing diversity, creating gender equity and providing opportunity and support for new work, new artists and new companies. We curate programs that are inclusive, and work to keep KXT affordable and accessible. By providing a well-resourced, supported, and subsidised venue bAKEHOUSE aims to invest in the ecology of the arts, assisting companies towards sustainability.
GETTING THE JOB DONE
HELP US get the job done... bAKEHOUSE is committed to new voices and big ideas, investing in the future generation of artists and their work…
Elijah Williams was nominated for best new talent in the 2016 Sydney Theatre Awards for his role in BLACK JESUS by Anders Lustgarten (KXT2016); winner GLUG award for Most Outstanding Performance by a Newcomer 2016 “A visceral and frighteningly passionate presence...” Kevin Jackson
We've been working with Joshua McElroy for a while now (A Land Beyond the River by Justin Fleming, Storylines Festival at NIDA & TRS 2012; Two Chairs Crack X Festival 2013; Visiting Hours at Kings Cross Hotel 2017 & 2016) nominated for GLUG award Most Outstanding Performance by a Newcomer 2017 “the stand out performer was Joshua McElroy…electric” Australian Theatre for Young People (atyp) presents Oedipus Doesn’t Live Here Anymore
the incredible Trishala Sharma worked with us on Invisible Circus in 2016 and then in Jatinga 2017 “a notable stage debut” Jason Blake, The Sydney Morning Herald (she's currently off stage studying medicine...)
With your help, we can continue to invest in Sydney’s arts landscape with time, resources, and support in a way that will provide sustainability for artists and companies, and invest in the future generation of artists and their work.
GETTING THE JOB DONE
We’re committed to providing opportunity and support to some of Sydney’s most exciting emerging artists.
++This year alone, the Step Up program has been the launching pad for 3 new companies: James Raggatt’s Manifesto Theatre; Bardiya McKinnon’s Last One Standing and Pip and Han Inc, the home of Hannah Goodwin & Pippa Ellams
++ March this year saw the inaugural STEP UP festival: a feast of development, new work and short sharp seasons, and featuring the launch of Jessica Adie’s initiative UPSTART
++ our Step Up team is small but mighty Read all about them HERE
With your support, we can continue to invest in Sydney’s arts landscape with time, resources, and support in a way that will provide sustainability for artists and companies, and invest in the future generation of artists and their work.
GETTING THE JOB DONE
At KXT we are committed to showcasing diversity, creating gender equity and providing opportunity and support for new work, new artists and new companies…
In 2016 we were thrilled to host Montague Basement at KXT as they began to build an exciting body of work: Kaleidescope by Charles O’Grady MORE HERE
In 2017 they backed up with Before Lysistrata by Ellana Costa MORE HERE
This year they’ve gone interstate with the upcoming Threepenny Opera at Melbourne’s The Butterfly Club. Shout out to gun producer Imogen Gardam who makes things happen
We first met Rebecca Blake in 2017 when she was a part of the creative team on the following KXT shows: She Rode Horses Like the Stock Exchange by Amelia Roper MORE HERE
A Girl is a Half-Formed Thing by Annie Ryan MORE HERE
Rotterdam by Jon Brittain in development as part of Step Up Festival MORE HERE
This year Rebecca was AD on the recent sold out season of the bAKEHOUSE production of DRESDEN by Justin Fleming MORE HERE
Rebecca is the KXT Artistic Intern. And her latest role is as the Festival Co-ordinator for the Festival of Dangerous Ideas
After staging the enormously successful The Carousel at KXT in March as part of the STEP UP festival (we know it was successful cause it SOLD OUT on Good Friday…) Hannah Goodwin jumped onto DRESDEN as rehearsal assistant. She formed Pip and Han Inc with writing partner Pippa Ellams, and the team can next be seen at Bondi Feast with the first staging of the Sorry Mum Project. Hannah will step into the KXT artistic internship later in the year. We reckon you should watch out for this quiet dynamo
With your help, we can continue to invest in Sydney’s arts landscape with time, resources, and support in a way that will provide sustainability for artists and companies, and invest in the future generation of artists and their work…
JATINGA by Purva Naresh | Presented by bAKEHOUSE Theatre Company
June 2017 at KXT – Kings Cross Theatre
SEASON SOLD OUT 110% ATTENDANCE
JATINGA is a bAKEHOUSE commission, a part of a broader project of arts and social justice in Kamathipura, Mumbai. It has grown out of workshops and developments that Suzanne Millar has been running in Mumbai since 2014. The play was initially written in Hindi by Purva Naresh, and developed by bAKEHOUSE in Mumbai during multiple visits and workshops 2015 – 2016. bAKEHOUSE worked with our Indian-Australian cast and our company dramaturg in Sydney 2016 – 2017 to arrive at the final English translation. Our season at KXT is the world premiere. bAKEHOUSE retains production rights to this show.
JATINGA is a women-led project :
Developed and directed Suzanne Millar; written by Purva Naresh; chapionedby Shernaz Patel & Yael Crishna; partnering with award-winning NGO AAWC, working with the women of KAMATHIPURA. Inspired by the lives and stories of the girls at AAWC
JATINGA is a diverse project
Cast of 11 (includes puppet operator) featuring 9 Australian actors of diverse background: 7 Indian; 1 Filipino; 1 Caribbean. Cast includes 2 actors from Mumbai, both women and members of the originating cast in Kamshet 2014. 8 women & 3 men, age range from 18 - 65
AUDIENCE: bAKEHOUSE diverse work ordinarily generates approx. 10% audience from community of origin. Statistics for JATINGA indicate that this pick up was approx. 40%
JATINGA is theatre to provoke social change
Initiated in partnership with AAWC to create international awareness of the issue of human trafficking, the circumstances of the girls’ lives and the condition the centre operates under
Generated income from an Australian philanthropist to fund an additional night shelter in Kamathipura to care for the most vulnerable girls
Facilitated the establishment of a vocational training centre for hair salons to provide women with an alternative pathway: 5 women now left the brothels and working in salons outside the area
Early stage development of a project to support senior girls through final years of high schooling, vocational or tertiary training and first year of work to transform their lives
Establishment of an arts program: Weekly drama sessions facilitated by Clowns Without Borders; Twice weekly music lessons facilitated by Brett Lee Mewsic program; Weekly visual arts training and practice
JATINGA is an international program
bACE: a cultural and artistic exchange, connecting artists from Sydney & Mumbai, facilitating ongoing international partnership. to date: 4 Sydney based artists funded in Mumbai; 4 Mumbai based artists funded in Sydney; Planning for an annual scholarship for 2 young artists from each city to travel, work and meet with artists.
JATINGA is a successful and powerful piece of theatre:
Cassie Tongue, Time Out: "an irresistible blend of music, movement, puppetry and arresting performances...for one of our smallest companies to reach out so far beyond themselves to make a difference the world is remarkable...the play is compelling and so is its reach... CONTINUE
Kevin Jackson: "Modern and mythical India, alive in Kings Cross. Amazing. Do go... CLICK HERE FOR MORE
Jason Blake, Sydney Morning Herald: "Spanning the gulf between India's privileged and poor and crowded with characters, Jatinga is an involving work of storytelling, propelled by intrigue, incident, and the portentous image of birds flocking to their doom....Director Suzanne Millar's bAKEHOUSE Theatre production is vividly realised with elements of dance, unison movement and puppetry to the fore... CONTINUE
Developed and Directed by Suzanne Millar
Dramaturg & Producer John Harrison Assistant Director Michael Dean Production Advisor Namita Khatu Set Design Suzanne Millar & John Harrison Lighting Design Benjamin Brockman Sound Design Nate Edmondson Puppet Maker Aleisha Jelbert
Stage Manager Andrew McMartin Photographer Natasha Narula Film Byron Smith
With Sapna Bhavnani, Faezeh Jalali, Suz Mawer, Monroe Reimers, Trishala Sharma, Teresa Tate Britten, Karina Bracken, Jarrod Crellin, Amrik Tumber, Bali Padda, Sheila Kumar, Claudette Clark.
The Sydney 2017 season of JATINGA was supported by: SBW Foundation; LBW Trust; Education and Learning Foundation; Jaipur Asset Management; SG Collections; Solotel & Kings Cross Hotel
bAEHOUSE has been invited to present JATINGA at NCPA (National Centre of Performing Arts, Mumbai) as part of the prestigious Centre Stage Festival of New Work
we are currently exploring funding support for this season
bAKEHOUSE + JUSTIN FLEMING
The first bAKEHOUSE production was June 2008. 10 years ago, almost to the day, from first performances of DRESDEN. That was a play co-written by Justin Fleming with Melvyn Morrow, directed by Suzanne Millar, with a season at Seymour Centre and a cast that included Ben Wood. Suzanne and Justin have gone on to work together on another 4 productions
Our season of DRESDEN is a celebration of collaboration.
and here’s a cool little interview with Justin from 2008... "This week, Justin talks with us under our one big umbrella and tells us why Suzanne Millar and Dean Paul Gibson are some of the coolest directors on the planet; why he swiftly turned down a suggestion to collaborate on an OJ Simpson Musical; why he would never write a play about his life, but if there were to be one written about him, it would have dashes of romance, tragedy and “pearls of comedy”; and things that inspire him..." One Big Umbrella READ MORE
2008: her holiness by Justin Fleming & Melvyn Morrow | Dir: Suzanne Millar
With: Bernadette Ryan, James Lugton, Alan Dearth, Alisa Hawkins, Ben Wood, Cat Martin, Megan Thomas, Katherine Shearer, Tony Stock, Matt Tredinnick
‘…beautifully produced, directed and acted…nothing short of breathtaking. Suzanne Millar’s production of her holiness is Australian work at it’s finest.’ Bev Kennedy, Arts Hub
2009: A Land Beyond the River by Justin Fleming | a bAKEHOUSE commission, a part of StoryLines
Dir: Suzanne Millar With: Elijah Williams, Alex Jalloh, Kir Deng, Andrew Cutcliffe, Harry Flitcroft, Jarrod Crellin
‘…in A Land Beyond the River this exceedingly talented troupe of Aboriginal, African, Asian and Caucasian actors are almost inseparably and insuperably good in their respective roles…" Crikey
2011: Coup d'Etat by Justin Fleming | at NIDA, transferring to Seymour Centre
Dir: Suzanne Millar With: Renee Lim, Felino Dolloso, Shingo Usami, Donald Sword, Cat Martin
‘…a fascinating, absorbing play that combines sweeping politics with a powerful human drama…capturing both the epic nature of the political background and the intimate personal relationships…’ Jo Litson, Sunday Telegraph
2012: StoryLines Festival, launched at NIDA then transferring to Bondi Pavilion, a part of the Tamarama Rock Surfers season
Junction by Justin Fleming | Dir: Suzanne Millar With: Guy Simon & Stacey Duckworth
deals with Aboriginal ideas about time, memory, ancestral spirits and respect with profound subtlety and panache…’ Lloyd Bradford Syke
A Land Beyond the River by Justin Fleming | Dir: Suzanne Millar With: Aileen Huynh, Andrew Cutcliffe, Elijah Williams, Jasmin Simmons, Cheyne Fynn, Kir Deng, Andrew Cutcliffe, Guy Simon, Joshua McElroy
‘A beautiful thing to watch, a perfect example of a director in tune with a writer’s vision, and dedicated cast, perfectly on point to deliver on that expectation…’ Lisa Thatcher
Coup d'Etat by Justin Fleming | Dir: Suzanne Millar With: Monroe Reimers, Shingo Usami, Renee Lim, Donald Sword, Cat Martin
‘…this fine production, directed by Suzanne Millar, is textured, rich and immediate...bright, fast-paced and colourful" Benjamin Neutze, Aussie Theatre
2014: His Mother's Voice by Justin Fleming, ATYP Selects | Dir: Suzanne Millar With: Alice Keohavong; Angela Tran; Arisa Yura; Dannielle Jackson; Felino Dolloso; Harry Tseng; Isaiah Powell; John Gomez Goodway; Jonathan Surjadi; Michael Gooley; Monica Sayers; Renee Lim
"Entrancing. A work of substance and resonance..." Deborah Jones, The Australian
Catch up on the last (first) 10 years of bAKEHOUSE OVER HERE
MARCH 2018 at KXT | STEP UP
WHY?
at bAKEHOUSE we believe artistry needs time. We've been kicking around the indie scene long enough to know that the race from bump in to tech and then opening is always stressful, and there's just never enough time to get things exactly as you might like them, before bringing industry and media into the room. And we put our money where our mouth is: bAKEHOUSE subsidises hire of KXT through the first week of a company's residency, on the condition they open in their second* This puts companies in a position where they can run 4, 5 and sometimes 6 previews before Opening Night - unheard of in Sydney's indie scene. the benefits are many and important: by Opening Night they've found their sweet spot and reviews and word of mouth reflect this. And industry and media know that by the time they head up to the rooftop for their glass of Left Bank wine** the show they saw is the same one everyone else will see.
So why would we rush in a month of short seasons of new work, new companies and new artists?
“From our point of view, there is nothing like being thrown into the cauldron of having to produce work to learn and develop your practice,” Harrison says. “We are providing a space where you can make that step up to producing world-class work, particularly if you have the right team on board.”
There are just not enough good spaces in Sydney for new companies and new artists to strut their stuff. Sure, there's a growing number of pop-ups and re-purposed venues, little galleries, back rooms in pubs, halls. But its almost impossible to make your work look good when all you've got is a couple of floods and a smoke machine. New companies need something they can hang their hat on: a kind of calling-card for their next show. And like everything in Sydney: if your show doesn't look good its prob not going to be taken too seriously.
Plus a short season limits financial risk and new companies don't have a lot of resources.
We had a month and we wanted to provide as many opportunities as possible for young companies. Some of these are re-stagings of previous works, and all are re-imagined for their season at KXT. Some have pulled on exciting new or established and experienced creatives. Others are working with the tech and design support of the KXT team. Specifically:
BEING DEAD (DON QUIXOTE) is written and presented by Kerith Manderson-Galvin, with Unofficial Kerith Fanclub + MKA Theatre of New Works in the driving seat. These are companies that have a strong presence in Melbourne, presenting bold experimental work. We want Sydney to have more of that, and of them.
ARE WE AWAKE by Charles O'Grady had its start as part of the exciting New Fitz program, showcasing the quite brilliant Daniel Monks and lovingly taking a blowtorch to our notions of disability, ability and queerness. And it needed to get a second look. This time round they had a set, and lighting by Martin Kinnane with sound design by Benjamin Freeman, and it paid off in spades.
DNA by Dennis Kelly had a short run in Sydney's fringe in 2017, with Bardiya McKinnon setting up fledgling company LAST ONE STANDING THEATRE to get the show up. It was a room full of the next generation of Sydney's theatre talent, and we wanted to see what would happen with a host of experienced creatives, a bit of a budget and a supported season
INJEST, THE LAST SUPPER is written by the fabulous Georgina Adamson, working with our Step Up team member Eve Beck, as Bite Productions. This little unit has a big new project at the end of the year and didn't want to let the indie circus pass them by in 2018. Plus, we really liked the idea of theatre for people who don't go to theatre.
THE CAROUSEL by Pippa Ellams, is directed by Hannah Goodwin. Since starting at Shopfront its been on the road: off to a shared season with Downstairs Belvoir and a showcase at Merrigong. It needed to wrap up the tour in Sydney and we wanted it to close out the Step Up season.
And then there's the UPSTART program, a trial of a cool little idea headed up by Jessica Adie, a production development of Jon Brittain's Rotterdam led by Rebecca Blake, just to see if it was going to work, and another look at a new play Luke Carson has been working on.
So that's why.
*We're super strict about the preview subsidy: as many previews as you like in week 1, but if you don't open in week 2, you don't get our money.
**Opening Nights at KXT are supported by KX Hotel & Left Bank wines.