Kings Cross Theatre expands with innovative new ‘Vault’ collab space
Image: Kings Cross Theatre actors bow after first performance. Photo: Supplied.
By JOHN MOYLE
Since Covid we have been used to hearing more about closures than openings, but that is what Kings Cross Theatre (KXT) and bAKEHOUSE are doing with their new space in Ultimo.
Located in the 1890 sandstone former bank premises on the corner of Broadway and Mountain Street, KXT now have a purpose built space where they can pursue their artistic vision with a renewed passion after eight successful years at the Kings Cross Hotel.
Explaining that the old space was being turned back into a music venue, KXT creative director and bAKEHOUSE artistic director Suzanne Millar said “For a number of months we went around looking at estate agents and we got a real estate agent to work on our behalf and this place had been empty for a number of years.”
The imposing premises has now been branded with the KXT sign, but not after a long process obtaining development approval and heritage clearances to build a theatre on the first floor and a lobby, bar and breakout area in the Vault on the ground floor.
Taking its cue from the former Kings Cross premises, the new company has decided to retain a traverse stage configuration, with the seating on two opposing sides, that makes for an intimate audience experience.
bAKEHOUSE as a company predates KXT, and is the company that operates the venue, while KXT is the company that handles the programming.
“Think of the Old Fitz as the venue and Red Line Productions as the company,” Millar said.
While 2023 programming is still to be finalised, the KXT opened last week with its production of the dark and confronting four handed American play Cherry Smoke, featuring a number of longterm KXT collaborators.
“KXT and bAKEHOUSE have always been about new and diverse experiences and about giving new opportunities in a safe place,” Renee Lim, actor and KXT board member said.
“I see it as a chance for many different organisations to collaborate on having social discourse about the topics of the plays.”
“Suzanne and John (Harrison, co-artistic director) have found an amazing space … that is sitting within Broadway and Glebe, the TAFE and University of Sydney and is a central hub for young people, community organisations and there is a lot of opportunity with its diversity.”
With her long years operating bAKEHOUSE and KXT Millar is no stranger to the deftness required to keep the show on.
“It is a passion project for people who are passionate about the arts and passionate about community,” Millar said.
“In practical terms John and I are invested in the project and we have a number of outboard members who are generously invested and some private sponsorship as well.”
Keeping theatre affordable and accessible
Keeping costs down is an ongoing struggle for all arts organisations and one that KXT and bAKEHOUSE have so far survived.
“Our operational model is so lean, but as soon as you start staffing a space like this the costs can be exorbitant and that will be handed onto the producers, so we work hard to make the costs as affordable as possible,” Millar said.
“We work as a creative collective and we will have experienced professionals working alongside recent graduates and young directors.
“It’s a wonderful ecosystem we have here.”
KXT and bAKEHOUSE are also concerned about the rising cost to the audience when Lim said “Affordable tickets are something that we are passionate about as art is not only for the wealthy, so we have a $20 artists tickets every Thursday and Open the Door, which are free tickets to those who would not otherwise be able to attend and we manage those through community organisations.”
Throughout 2023 bAKEHOUSE is offering free residencies in the Vault to support the development of new works, a process that has previously seen productions Hubris and Humiliation and The Italians come to fruition.
