OPPORTUNITIES. COLLABORATION. DIVERSITY.
bAKEHOUSE has a long history of identifying, engaging, and investing in the RISKY BUSINESS of independent theatre, diverse work and new and emerging artists. KXT - KINGS CROSS THEATRE was established by bAKEHOUSE Theatre Company in late 2015 as part of a plan to help support and grow the arts community in Sydney.
bAKEHOUSE has provided opportunities for more than 150 emerging and established artists, over 100 culturally and linguistically diverse artists, and the development of multiple new Australian plays, including the SOLD OUT seasons of The Laden Table, Jatinga and Visiting Hours. We have staged world and Australian premiere productions of new African, Asian, Islamic and Indigenous work.
SUZANNE MILLAR is Co-Artistic Director of bAKEHOUSE. Recent directing credits: Jatinga (2017); The Laden Table (2017) and Black Jesus (2016) all at KXT - Kings Cross Theatre; The Ishmael Club (Old Fitz); His Mother’s Voice (ATYP Selects); Two Chairs (CRACK! & ATYP); Junction (NIDA & TRS); A Land Beyond the River (NIDA & TRS); Coup d’Etat (Riverside Theatres, NIDA, TRS); her holiness (Seymour Centre & Riverside Theatres). In 2013 Suzanne worked with Red Leap Theatre in New Zealand on the development of their production Sea. Suzanne is the founder and facilitator of bACE Mumbai, established in 2014, 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. In 2015 Suzanne worked at Park theatre, London, on the development of Justin Fleming’s new play Dresden. In June 2018 she will direct the WORLD PREMIERE of Dresden at KXT. Producing credits include the SOLD OUT season of Visiting Hours bAKEHOUSE's immersive and multi-level theatre experience, presented in partnership with Kings Cross Hotel (February 2018); the original Visiting Hours for Vivid (2016); His Dark Materials in development (2014); Love Field (2103) at TAP Gallery; Great Expectations (2012). Suzanne is the Creative Producer at KXT - Kings Cross Hotel.
JOHN HARRISON is Co-Artistic Director of bAKEHOUSE. Directing credits include Visiting Hours for bAKEHOUSE and Vivid Sydney; Great Expectations (ATYP Under The Wharf); and in 2014 he directed the development showing of His Dark Materials, to be produced in 2017. Producing credits include Jatinga (2017); The Laden Table (2017); Black Jesus (2016) all at KXT - Kings Cross Theatre; The Ishmael Club (Old Fitz); His Mother’s Voice (ATYP Selects); the StoryLines Festivals in 2009 and 2012; Metamorphoses (bAKEHOUSE & Apocalypse at PACT); her holiness (Seymour Centre); Coup d’Etat (Riverside Theatres & Parade Playhouse); A Midsummer Night’s Dream (Zenith Theatre).
ANDREW MCMARTIN is the Production Manager and resident Stage Manager for bAKEHOUSE as well as the Venue Operations Manager at KXT. He has worked as a Stage Manager and Venue Manager in Australia and the UK. In 2018 Andrew was the Production Manager (technical) on the sold out season of the bAKEHOUSE + Kings Cross Hotel multi-level immersive theatre experience Visiting Hours. Andrew’s Stage management credits with bAKEHOUSE include Jatinga (2017); The Laden Table (2017); Black Jesus (2016) at 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. Other credits include Encore Vocal Group, Songs from the Heart and the Blue Moon Festival. As a venue and event manager he has worked at the Sydney Festival, Pleasance Edinburgh Fringe Festival, Sydney Film Festival and Tropfest. In 2019 Andrew is overseeing KXT POPUPSTAIRS, a creative space sharing program in partnership with Kings Cross Hotel, using empty spaces to support emerging artists presenting fringe and experimental work.
KXT - Kings Cross Theatre, is SYDNEY'S NEWEST INDEPENDENT THEATRE
Managed and curated by bAKEHOUSE Theatre KXT provides new opportunities and a sustainable model of practice to some of Sydney's most exciting indie theatre-makers. Our benchmarks are diversity; gender equity, and the support of new and emerging artists, companies and work