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.


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.


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


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


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



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.
— John Harrison speaking to Elissa Blake

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. 




JOHN HARRISON spoke with Audrey Journal

about the 2018 STEP UP FESTIVAL AT KXT

Every production at KXT in the Step Up program has been informally developed and mentored by Suzanne Millar and John Harrison, co-artistic directors of bAKEHOUSE, and Andrew McMartin, the company’s production manager and resident stage manager. As senior artists, they believe it’s vital to invest in the next generation and new work, literally “stepping it up”.

“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.”

JOHN HARRISON speaking about Visiting Hours KXT2018 Launch.jpg

"...Harrison says (Martin) Kinnane and (Benjamin) Freeman (designers on Are We Awake?) bring a wealth of experience to a show. “It’s a great thing for young artists to draw on. There is always some point in a bump-in where everything feels like the train is going off the rails. Having people who have seen everything and made every mistake you can make … their wisdom is invaluable.”

Harrison casts an eye over the crowded room. “It blows my mind,” he says. “I feel like we have the lucky end of the bargain, an amazing pool of up-and-coming talent that is going to rule the Sydney theatre scene in the next 10 years and we’ve had the chance to work with them right at the start. It makes me really happy.”

John Alex Jess.jpg

In March 2018 we're dedicating a month to The Next Big Thing. Come meet our Step Up team and take a peek at their work. Discover new plays in development. Take a first glance at the work of some of Sydney's newest and most exciting emerging artists: writers, directors, producers, designers all testing their wings.

At KXT we're investing in risk.


We’ve seen several attempts to create “immersive” promenade theatre in Sydney in recent years. Some have worked. Others have fallen down because the narrative and dramatic aspects dwindled as the performance unfolded.

But Visiting Hours gets it right. Here, for once, is a show that engages its audience emotionally, not just viscerally, or with the short-lived appeal of novelty.

- Jason Blake, Audrey Journal

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click on the link for production pics, reviews and inside info

is sydney's indie scene too conservative?

Is the conservative reputation fact or furphy?
Audrey asked some of Sydney’s leading independent theatremakers for their thoughts. Scroll down and click on the link to read responses from bAKEHOUSE’s Suzanne Millar; Lachlan Philpott, Kate Gaul, Claudia Barrie, Emily Ayoub, Andrew Henry, Stephen Multari, Dino Dimitriadis

Suzanne has a few extra thoughts: RISK and money go hand in hand. If you’re investing in risky work, then you’ve got to spend money. If you don’t spend money your risky work goes unseen and unnoticed, or worse – critical response is impacted by low budget production values, and audience stay away.

bAKEHOUSE invested a lot of money (and time, but we’re talking money here) into The Laden Table and Jatinga: and not just the productions, but the expensive three year development for each project. 23 diverse artists played to 6 weeks of sold out houses, to great critical and audience acclaim. We budgeted into those productions a generous fee to actors and designers who were sharing the risk with us.
THE LADEN TABLE Mansoor Noor + Jessica Paterson playing Mousa Ka'Adan and Ruth Fishman photo credit Natasha Narula-400x265.jpg
We haven’t yet covered the cost of staging this work.

Like many of the crits, we believe these shows deserve a broader and bigger audience. But in 2017 all our money went into these 2 productions, (and KXT, but we’re talking production costs here). So those shows need a champion. That’s how risky work becomes viable.
I think there’s a lot at stake in indie theatre. It’s a few people, investing their limited time and money into their passion. So it’s tempting to play it safe, to try to be the best independent – as in unfunded – version of our main stages.
bAKEHOUSE presents Jatinga by Purva Naresh.jpg

— KXT2018 —

In 2015 bAKEHOUSE had a little idea that grew. It was an idea about how we could put the world on a small stage in Sydney; how we could invest in the sustainability of independent companies and artists; how we might create a venue that was accessible and affordable, and known for work of excellence; how to create a place in Kings Cross that would be a hub for radical community engagement through the arts
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after a whirlwind two years, during which level 2 of the hotel was gutted, KXT was built, relationships and partnerships set up with the hotel, procedures put in place and a whole heap of documents written up, we find ourselves in the heart of the city, in the heart of Kings Cross. In the last 2 years more than 40 productions have been staged at KXT, companies have worked with more than 400 cast, crew and creatives, and around 25,000 people have walked through the doors. We’ve had 6 sold out seasons, performances of theatre, dance and music, with multiple festivals, art exhibitions, events and panels, and plays that have toured and won awards. We want to acknowledge and extend our most heartfelt thanks to those companies who have over the past 2 years, worked with us to take on the risky business of independent theatre, in a new venue in a new arts precinct.

Lies Lies & Propaganda; Tooth & Sinew, Montague Basement, Linda Sings, Catherine McKinnon & Co, Subtlenuance, The Kings Fools, Vivid, Brilliant Adventures, Some Company, St James Choir, Jetpack, Noli Me Tangere, Post Haste Players, Left of Centre, De Quincy Co, The Kings Collective, Siren Theatre, the Impending Room, Priscilla Jackman, LOT5, Stories Like These, Freefall Productions, Advise.Devise.Repeat, Mophead, KXTeethcutting, Mad March Hare, Outhouse Theatre Co, Rocket Productions, MKA, Don’t Look Away

Thank you for sharing the risk that is KXT. We would not be able to announce such a dynamic 2018 season without your investment and support
So. What does KXT2018 hold?

KXT2018 includes 9 Australian premieres, 5 world premieres, 5 new works from Australian writers, and the development of work from an additional 9 writers. The year includes 2 major social justice programs built from community collaborations, 6 diverse works, partnerships and collaborations with 2 NGOs and 1 major arts institution. KXT2018 exceeds gender equity. We are investing in quer writing with 3 productions and 1 development, and not just during Mardi Gras. Our season includes 3 large scale events, and a cheeky new event. We continue our radical community engagement with cheap tickets, open door access, regular play readings, art exhibitions, panel events, foyer meet ups, and schools and university programs. Most importantly KXT is investing in the future, providing opportunities and support for 15 of Sydney’s most exciting young artists as part of the inaugural KXT Step Up program. So lets meet them:

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

we’ll be supporting and assisting this team as they develop new work, build new partnerships and collaborations and take on the world.
in addition we are partnered with CASULA POWERHOUSE THEATRE to provide a writer’s residency to a promising young playwright from the Liverpool District, who will spend time between the Powerhouse and KXT, as we work together to develop a new play to be staged at both venues. We want to thanks Lilian Silk for her work on this project.

bAKEHOUSE’s long experience with grassrots community collaborations continues when we partner with Cana Community to present StoryLines, giving voice to the most marginalised as they transition from prisons, addictions, violence and crime, and make their way back into an often unforgiving and frightening world. For this year long project we will be working with young writers and actors with the support of NSW Governor David Hurley to provide a platform for our city’s unheard voices. And we will continue our work with Katie Pollock on Human Activity a part of the bAKEHOUSE Artistic and Cultural Exchange and is her response to her time in Mumbai for the first read and development of Jatinga. Its an extraordinary play, a collision and intersection of the fantastic worlds of Mumbai and Sydney.
and finally we embark on exciting large scale immersive theatre events playing out over multiple levels of the hotel, building on the breakout success of VISITING HOURS, for Vivid 2016; with value adding creative content, in partnership with Kings Cross Hotel

So let’s hear from the producers and directors of KXT2018