Looking for your next great read? Angela Mahlatjie and Brian Meegan are sharing the books they fell in love with.

Brian Meegan

All the Light We Cannot See by Anthony Doerr.

Is a highly acclaimed, Pulitzer Prize-winning historical fiction novel about a blind French girl and a German boy whose lives collide in Nazi-occupied France. It is widely praised for its beautiful prose, emotional depth, and dual-perspective narrative.

I can’t wait till I can read it again.

Angela Mahlatjie

The Alchemist by Paulo Coelho

The Alchemist by Paulo Coelho is my current favourite book. Not only is it a beautiful parable but it’s a timeless one, there is always some new to gain from it. Plus, it’s small enough to carry anywhere and that’s always a plus!

Don’t miss 84 CHARING CROSS ROAD , a celebration of connection, compassion, and the joy of finding kindred spirits in the most unlikely places.

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I am excited that we have such a wonderful cast and creative team bringing to life the words of a long-ago time, yet still resonating today in their portrayal of human connection.

Mark Kilmurry

Playing 1 May – 13 Jun, don’t miss this heartwarming true story of friendship.

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Lucy Bell

Ensemble Theatre: HONOUR, MARJORIE PRIME. Bell Shakespeare: IN A NUTSHELL: THE POETRY OF VIOLENCE, ROMEO & JULIET, HAMLET, THE DUCHESS OF MALFI, PERICLES, TWELFTH

NIGHT. Belvoir Street Theatre: BLUE MURDER, SCENES FROM AN EXECUTION. Company B: TWELFTH NIGHT. Griffin Theatre Company: DREAMS IN WHITE, SPLINTER, EMERALD CITY, THROUGH THE WIRE, THE FALLS, WOLF LULLABY. Melbourne Theatre Company: FOR JULIA. New England Theatre Co: THE GAME OF LOVE AND CHANCE. Sydney Theatre Company: APPROPRIATE, THE CHERRY ORCHARD, AS YOU LIKE IT, DARLING OSCAR. Film: THE SQUARE, TEN EMPTY, THE WOG BOY, SYDNEY: STORY OF A CITY, OSCAR AND LUCINDA, THANK GOD HE MET LIZZIE, MARY MCKILLOP, CRIME TIME, NOSTRADAMUS KID. TV: THE SURVIVORS, BLACK SNOW, THE SECRETS SHE KEEPS, AMAZING GRACE, BETWEEN TWO WORLDS, FIGHTING SEASON, RAKE, HOME & AWAY, HERE COME THE HABIBS, CATCHING MILAT, A PLACE TO CALL HOME, LOVE CHILD, PAPER GIANTS 2: MAGAZINE WARS. CROWNIES, COPS LAC, 30 SECONDS, DIRT GAME, ALL SAINTS, BASTARD BOYS, THROUGH MY EYES, WHITE COLLAR BLUE, GRASS ROOTS, BACKBURNER, FARSCAPE, MY HUSBAND MY KILLER, WILDSIDE, MURDER CALL, WATER RATS, G.P, LADS, SNOWY, A COUNTRY PRACTICE. Training: National Institute of Dramatic Art.

Belinda Bromilow

Ensemble Theatre debut. B Sharp, Belvoir: MY NAME IS RACHEL CORRIE, SEVEN BLOWJOBS. Griffin Theatre: THIS YEAR’S ASHES. Melbourne Theatre Company: THE GRENADE. Sydney Theatre Company: BOY GETS GIRL, THE GRENADE. Film: THE ROSES, FELONY, NOT SUITABLE FOR CHILDREN, HAPPY FEET, THE RAGE IN PLACID LAKE. Television: THE AGE OF INNOCENCE, THE GREAT, DOCTOR DOCTOR, RAKE, MR & MRS MURDER, SPIRITED, PACKED TO THE RAFTERS, TALK TO ME, MDA, MCLEOD’S DAUGHTERS, ALL SAINTS. Training: Western Australia Academy of Performing Arts.

Playing 19 – Jun – 25 Jul, don’t miss this sharp, darkly funny story of unexpected friendship and reinvention.

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Nicholas Brown

Ensemble Theatre debut. Belvoir St Theatre: COUNTING AND CRACKING, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME.  Griffin Theatre: NATURISM. New Theatricals: COME FROM AWAY. Queensland Theatre: BERNHARDT/HAMLET, TAMING OF THE SHREW. Sydney Theatre Company: THE NORMAL HEART, CIRCLE MIRROR TRANSFORMATION, THE LONG FORGOTTEN DREAM and STILL POINT TURNING. Film: R.U.R. JIMPA, SAHELA, A PERFECT PAIRING, CHRISTMAS ON THE FARM, LAKA, SEDITION, DANCE ACADEMY, PRATICHHAYA, UNINDIAN, RANDOM 8, LOVE YOU TO DEATH, KITES, A MAN’S GOTTA DO, TEMPTATION. Television: FAKE, NCIS: SYDNEY, IN OUR BLOOD, THE PM’S DAUGHTER, UPRIGHT, AFTER THE VERDICT, JOE VS CAROLE, AMAZING GRACE, WAKEFIELD, THE UNLISTED, HARROW, THE LETDOWN, PLAY SCHOOL, THE CODE 2, THE ELEGANT GENTLEMEN’S GUIDE TO KNIFE FIGHTING, MR AND MRS MURDER, HOME & AWAY, UNDERBELLY: THE MAN WHO GOT AWAY, CITY HOMICIDE, THE COOKS and WHITE COLLAR BLUE. Playwright: SEX MAGICK, LIGHTEN UP, ORACLE BOY. Television writing episodes: THE UNLISTED, THE WONDER GANG and PLAY SCHOOL. Autobiographical chapter: GROWING UP INDIAN IN AUSTRALIA. Lead singer/writer with several bands including: THE MODERNISTS and LUCK NOW, 2005 funk album BIG SCORE and the singles I SPENT MY RENT ON A RECORD, UP AND COMING, DON’T MIND ME and STRANGE SHADOW. Awards: Nick Enright Prize for Playwriting in the 2024 NSW Premier’s Literary Awards for his play SEX MAGICK, also Nominated for a 2025 AWGIE and a 2024 Sydney Theatre Award. Training: The National Institute of Dramatic Art

Thomas Campbell

Ensemble Theatre: MCGUFFIN PARK, THE MEMORY OF WATER, CLYBOURNE PARK, THE VIOLET HOUR. 25A Belvoir: LIFE IS A DREAM. Bell Shakespeare: THE MERCHANT OF VENICE, ANATOMY: TITUS. Belvoir Street Theatre: HAMLET. Darlinghurst Theatre Company: SAVAGES. Griffin Theatre Company: THE LEWIS TRILOGY. Hayes Theatre Company: HEAD OVER HEELS, METROPOLIS, GENTLEMEN PREFER BLONDES, THE VIEW UPSTAIRS, HMS PINAFORE. Opera Australia: GUYS & DOLLS. RideOn Theatre: DEBRIS. Siren Theatre Company: THE MOORS, MISTERMAN, PENELOPE, RICHARD III. Sport For Love: THREE SISTERS. Sydney Theatre Company: BED. Screen: LOVE AND MONSTERS, DOWNTON ABBEY, SERIOUSLY RED, MAVERIX, DECK DOGZ, SECOND BEST, LOVE MY WAY, THE SAVIOUR. Training: 2002 NIDA (BACHELOR OF DRAMATIC ART), 2010 MOUNTVIEW ACADEMY. Awards: Sydney Theatre Awards for HMS PINAFORE, THREE SISTERS and MISTERMAN.

Laurence Coy

Theatre: Ensemble Theatre: THE ODD COUPLE. The Alex Buzo Company: NORM AND AHMED. Belvoir: GREATER SUNRISE. GWB Entertainment: THE LORD OF THE RINGS, GIRL FROM THE NORTH COUNTRY. Hayes Theatre Company: THE FANTASTICKS, HIGH SOCIETY, THE DROWSY CHAPERONE. Mad March Hare Theatre: THE CRIPPLE OF INISHMAAN. O’Punksy’s Theatre: THE NIGHT ALIVE. State Theatre South Australia: THE DEPARTMENT, MACBETH. Sydney Theatre Company: SUMMER OF THE SEVENTEENTH DOLL, MASTER CLASS. Tamarama Rock Surfers: THE REMOVALISTS, ALL THE RAGE. Tempus Fugit Theatre: THE CHRISTIAN BROTHERS. White Box Theatre: THE SHIFTING HEART. Television: PLUM, THE JURY PROJECT, RFDS, MR INBETWEEN, BLACK COMEDY. Film: THE APPLETON LADIES POTATO RACE, LADIES IN BLACK, SAN ANDREAS, FOOL’S GOLD, THE CHRONICLES OF NARNIA: VOYAGE OF THE DAWN TREADER.

Rachel Gordon

Ensemble Theatre: EMERALD CITY, NORMAN CONQUESTS, ODD MAN OUT, MANAGING CARMEN, WIT, MR BAILEY’S MINDER. Sydney Theatre Company: CONCUSSION, DON JUAN, THE REAL THING. Melbourne Theatre Company: JASPER JONES. Bell Shakespeare: KING LEAR, MACBETH. Darlinghurst Theatre Company: DAYLIGHT SAVING. Griffin Theatre Company: BETWEEN TWO WAVES. Melbourne & Queensland Theatre Companies: BOSTON MARRIAGE, LET THE SUNSHINE, NINETY. Queensland Theatre Company: THE APPLETON LADIES’ POTATO RACE, THE ALMIGHTY SOMETIMES. New Theatricals: BOEING BOEING. Marion St Theatre: ALL THINGS CONSIDERED, DEATH DEFYING ACTS, LAST NIGHTS OF BALLYHOO, CRIMES OF THE HEART. EHJ Productions: TAMING OF THE SHREW. Hot House Theatre Company: BIG HAIR IN AMERICA. Film: ANGEL OF MINE, THUNDERSTRUCK. Television: THE TWELVE, QUEEN OF OZ, EROTIC STORIES, PLAYING FOR KEEPS, BACK IN VERY SMALL BUSINESS, SECRET DAUGHTER, THE LETDOWN, THE MOODY’S, THE GENTLEMEN’S GUIDE TO KNIFE FIGHTING, A MOODY CHRISTMAS, HOME & AWAY, NEIGHBOURS, BLUE HEELERS, ALL SAINTS. Training: National Institute of Dramatic Art.

Jamie Oxenbould

Theatre: Ensemble Theatre: MIDNIGHT MURDER AT HAMLINGTON HALL, BOXING DAY BBQ, WOMAN IN BLACK, BABY DOLL, THE SPEARCARRIER, CASANOVA, DIARY OF AN OLYMPIC CABBIE, FULLY COMMITTED, WHEN DAD MARRIED FURY. Bell Shakespeare: THE MISER. Crossroads/John Frost: THE ODD COUPLE. Darlinghurst Theatre Company: THE HYPOCHONDRIAC, GOOD WORKS. Fixed Foot Productions/Old Fitz: CHICKEN IN A BISCUIT. Griffin Theatre Company: FAMILY VALUES, THE LITERATI. Opera Australia: ERNANI, LA TRAVIATA. New Theatre: GODS & LITTLE FISHES. Outhouse Theatre Company: EUREKA DAY, TREVOR. Old Fitz Theatre: THE VILLAGE BIKE, EURYDICE. Apocalypse Theatre Company: THE DAPTO CHASER. Sydney Theatre Company: THE TEMPEST, MACBETH, ANTONY & CLEOPATRA, THE LOADED UTE, THE SHEARSTON SHIFT. Film: BEING GAVIN. TV: TEN POUND POMS, SECRET CITY 2, MY PLACE, PLAYSCHOOL, OH YUCK, GASP!, I GOT A ROCKET, RAGGS, TABALUGA. Awards: Sydney Theatre Awards (3 nominations), HELPMANN (nomination).

Jeremy Waters

Ensemble Theatre: ULSTER AMERICAN, THE BIG TIME. Outhouse Theatre Co: SO YOUNG, CONSENT, HEROES OF THE FOURTH TURNING, ULSTER AMERICAN, THE FLICK, BU21, THE ALIENS, 4 MINUTES 12 SECONDS, FOUR PLACES, RIDE, MERCY THIEVES, THE BOYS. Darlinghurst Theatre Company: A MAN WITH 5 CHILDREN. Dudley Street Productions: LOBBY HERO. Griffin Independent: 5 PROPERTIES OF CHAINMALE. KXT Bakehouse: DRESDEN. New Theatre: HARVEST, JERUSALEM, THE PILLOWMAN. Red Line Productions: A GIRL WITH SUN IN HER EYES. Tooth and Sinew: SCENES FROM AN EXECUTION. 10 Alphas: BONDI DREAMING. Film: SWEET RIVER, I AM WOMAN, THE COMBINATION REDEMPTION. Television: PLAYING GRACIE DARLING, OPTICS, FOUR YEARS LATERS, LADIES IN BLACK, PIECES OF HER, YOUNG ROCK, DRUNK HISTORY, TOTAL CONTROL, JANET KING, JADE OF DEATH. Jeremy is the founder and artistic director of  Outhouse Theatre Co.  producing all of Outhouse’s twenty productions.

Playing 31 Jul – 12 Sep, don’t miss David Williamson’s TOP SILK.

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‘Baby Jane’ is widely regarded as the first film in the genre known as Hagsploitation. This style of horror/thriller centres on characters who are older, once glamorous women, now living lives of seclusion, tormenting others and pining for their lost youth and beauty. It is a genre which plays directly into society’s discomfort with aging women.

Far from being cowed by this, Bette and Joan leaned in and created intense and legendary performances. With BETTE & JOAN, Anton Burge has given us what is essentially a Hagsploitation play, and we have leaned in by interrogating and celebrating Davis and Crawford’s meticulous and deliberate construction of their images and characters.

The interviews they gave and the memoirs they authored create the Bette and Joan they want us to know. We view these women through the lens of the movie camera, and this is largely also how they view themselves.

There’s no question they were very different women with very different stories, but the art of Cinema completely shaped both our vision of them, and their vision of themselves.

Liesel Badorrek

Playing 20 Mar – 25 Apr, Anton Burge’s deliciously wicked two-hander rips back the curtain on the set where egos clashed, tempers flared, and a legendary feud hit boiling point. Don’t miss it!

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“I was once going to be interviewed for TV about an Ensemble Theatre anniversary, filmed at the theatre on stage.  It was me and Lorraine Bayly. I did my bit sitting in the seats and then Lorraine, with the energy of someone half her age, did hers. On stage, she did a little dance, some tennis moves, funny stories explaining, amongst other things, how she painted the floorboards of the stage she was standing on as a founding member of the theatre. She joked, laughed that contagious laugh, and stole the show as she had done many, many times over her long career.  On TV I was rightfully edited out. There was only one deserved star that day.

I worked with Lorraine on stage only once but saw her many times and had many conversations over the years. She was particularly supportive of me as I was nurtured by Sandra Bates to finally take over as Artistic Director. Lorraine was there with Hayes Gordon and with Sandra all those years ago, so I was particularly thankful I had her support and blessing. Joining such a well-established theatre with all these great talented people and long history was a huge privilege and her kindness and support was very welcome.  

I once admitted to Lorraine when I was young, I had a crush on her as Mrs Sullivan, when I watched The Sullivan’s, midday on TV, while unemployed in the UK – never knowing of course Lorraine and I would be friends. She thought that was wonderful and I could tell those appearances on television, juggling with stage work, kept her interested and happy. She liked to work. She loved Ensemble Theatre and was very proud of all the work there. Bayly’s Bistro is named after Lorraine. 

I didn’t hang around particularly socially with Lorraine. She had a tight circle of friends, and our paths mostly crossed when she came to see shows or an event. But whenever I saw her, she had that great habit of making you feel you were part of her world – laughter, jokes, mad acting and tennis stories, fun. Lorraine wore her talent lightly, but she was a terrific actor, detailed, truthful, and when she could show it, had lightning comic timing.  

Lorraine will be missed and we all owe her a debt of gratitude, not just for her work helping to establish Ensemble, but by showing us you can be all those great and talented things and still be generous, kind and true to yourself and to others. We will all miss her. “ – Artistic Director Mark Kilmurry

Lorraine Bayly was a founding member of Ensemble Theatre, and a remarkable performer whose distinguished stage career spanned decades.

She appeared in 35 Ensemble productions, beginning in 1960 with THE MAN by Mell Dineli, directed by Hayes Gordon. This production marked a milestone as the first to be staged in the round at Ensemble.

Over the years, Lorraine performed in 18 productions directed by Hayes Gordon and eight under the direction of Sandra Bates. Her final appearance on the Ensemble stage came in 2015 in THE SHOE-HORN SONATA by John Misto.

Lorraine’s talent, dedication, and generosity of spirit will forever remain part of Ensemble’s story. She will be deeply missed and warmly remembered. Vale Lorraine Bayly.

Photos:

1. Lorraine Bayly
2. 1959 Building Ensemble Theatre Reg Livermore, David Crocker & Lorraine Bayly
3. 1964 THE REHEARSAL by Jean Anouillah with Lorraine Bayly & Don Reid
4. 1987 THE GINGERBREAD LADY by Neil Simon with Lorraine Bayly & Frank Garfield
5. 1994 Lorraine Bayly, Teo Gebert, Michael Ross & Brian Young
6. 1997 DEATH OF A SALESMAN by Arthur Miller with Max Cullen & Lorraine Bayly
7. 2000 David Williamson’s TRAVELLING NORTH with Lorraine Bayly & Ron Graham
8. 2007 RABBIT HOLE by David Lindsay-Abaire with Lorraine Bayly & Georgie Parker
9. 2007 RABBIT HOLE by David Lindsay-Abaire with Queenie van de Zandt, Georgie Parker, Lorraine Bayly & Mark Kilmurry
10. 2015 THE SHOE-HORN SONATA by John Misto with Sandra Bates & Lorraine Bayly

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Rising from a modest background to become one of MGM’s brightest stars, Joan Crawford embodied ambition.

She captivated audiences in the 1930s with modern, working-girl roles before delivering one of the great screen comebacks in Mildred Pierce – a performance that won her the Academy Award for Best Actress and reaffirmed her status as a force to be reckoned with.

But Crawford’s strength extended beyond the screen. She navigated the ruthless studio system with strategic brilliance, understanding publicity, image and power long before personal branding was a concept. She fought to protect her stardom in an industry that was quick to discard woman as they aged.

Fun Facts:

• Born Lucille Fay LeSeur, she later used the stage name Billie Cassin, before MGM held a fan magazine contest to name her, resulting in Joan Crawford.
• Despite her screen image, she was a natural redhead.
• She was notorious for scrubbing doorknobs, cleaning her house, and checking that guests hadn’t touched surfaces.
• She spent hours answering fan letters personally and would never leave a crowd without signing every autograph.
• She refused to smoke a cigarette unless she opened the pack herself to ensure no one else had touched it.
• Her exact birth year was never confirmed.

BETTE DAVIS

Few stars in Hollywood’s Golden Age burned as fiercely and fearlessly as Bette Davis.

Davis redefined what it meant to be a leading lady. She chose roles that were flawed, ambitious, volatile – and made them unforgettable.

She won an Academy Award for her role in Dangerous Jezebel, and later, Whatever Happened to Baby Jane?. This psychological thriller reignited her stardom and cemented her place in cinema legend.

Davis famously clashed with studios over the quality of her roles, taking on the powerful Warner Bros. in a ground-breaking legal battle for artistic control. At the time when when actors, especially women were expected to comply, she refused. She fought for better scripts, better parts, and better pay. She lost the court case, but she shifted global discourse.

Beneath the steely exterior was extraordinary craft. She wasn’t afraid to look unglamorous, to age on screen, to be unlikeable – because she understood that truth was far more interesting than beauty.

Fun Facts:

• The first person to earn 10 Academy Award acting nominations.
• In 1937, she unsuccessfully sued Warner Bros. to break her restrictive contract, become one of the first actors to fight the studio system.
• Installed a Coca-Cola machine on the Whatever Happened to Baby Jane? set to annoy Joan Crawford, who was married to a Pepsi executive.
• First woman to receive the AFI Life Achievement Award.
• Names the Academy Award statue the “Oscar”.
• Co-founded the Hollywood Canteen during WWII (a club that provided entertainment and food to soldiers)
• Attended the 1963 Academy Awards with her dress on backwards.

Discover the infamous rivalry of Bette David and Joan Crawford live on stage in BETTE & JOAN, playing 20 Mar – 25 Apr.

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The stories regarding Bette Davis and her – supposed – archnemesis Joan Crawford are the stuff of Hollywood legend. Yes, while filming the classic What Ever Happened to Baby Jane? (1962), it was reported that Joan tied weights to herself when Bette had to lift her, because Bette had recently broken her back. Yes, apparently, Bette’s stiletto heel made contact with Joan’s skull when Bette had to kick her across the floor during filming. Yes, when the two were paired up for another movie (eventually Joan was replaced by Olivia de Havilland), Bette ordered Coca-Cola dispensers for the set because she couldn’t stand the taste of Pepsi-Cola (Joan at that time was on the board of Pepsi-Cola, her late husband’s company). And yes, it was recorded that when Bette was nominated for an Oscar for Baby Jane, and Joan wasn’t, Joan campaigned against Bette, even going so far as telling the other nominees that if they couldn’t attend the ceremony, she would be delighted to collect the Oscar on their behalf. When Anne Bancroft won and couldn’t attend, Joan did just that.

BETTE & JOAN – first performed in the West End in 2011 – deals with much of this, but it was never my intention to create merely a catalogue of anecdotes. I was more interested in the position of older actresses in Hollywood at that time and the similarities between the two women, however emphatically Bette stated, “We had absolutely nothing in common!”

It might be argued that much has changed in the business for women since 1962, especially recently, but there is still progress to be made, particularly regarding actresses of that ‘certain age’. Both Bette and Joan were considered by producers to be over the hill in their forties, making the success of What Ever Happened to Baby Jane?, made when they were in their fifties, even more remarkable and satisfying for them.

Since my play’s debut, it has gone on to be performed regularly worldwide, and I am delighted that it is now having this run at the celebrated Ensemble Theatre, with a company who believe in the story of these women and their struggle, beyond the anecdotes.

Anton Burge, London 2026

Playing 20 Mar – 25 Apr, book tickets to BETTE & JOAN today.

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Each track is a nod to the romance, rivalry, longing and laughter waiting on our stage – though we’ll let you decide which song belongs to which story…

Whether you’re spending the day with your soulmate, best friend, or favourite theatre date, press play and fall in love with our season.

Explore our 2026 season today.

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THE SOCIAL LADDER puts three couples together for a very special dinner party, at which Katie Norrie hopes to secure her position amongst Sydney’s cultural elite. She aspires to a major board position and is going all out to ensure she gets it. Outside of these circumstances, it’s unlikely these three couples would be in the same room. Their politics and social status are worlds apart.

David Williamson is a great observer of human behaviour. His fascination with psychology and sociology drives his work. In THE SOCIAL LADDER he explores the nuances of wealth and status, the hypocrisy required to attain it, and the desperation to keep it. The characters in the play either have much, have enough to want more, or have had and want it back.

It is a very funny play and the cast of 6 actors, who I’m overjoyed to work with, capture the tone brilliantly. I’ve been calling it a language play because the power of the words and the muscularity of their arguments carries the play. With the right cast, David’s plays need very little flourish – he’s done the heavy lifting. I admire beyond words the humility required to play shameless characters. I also admire beyond words the empathy required to play characters filled with shame. This play has both and it is a potent combination, deliberately provocative, cleverly hilarious. I needed a fearless cast and I got that in spades.

The set/costume design by Veronique Benett and lighting by Matt Cox, both so exciting, have been sensitively created to centre and illuminate the performances and text. An actor’s playground. And Clare Hennessy’s magical score has been crafted with great attention and detail to enliven each debate and build tension between characters.

I must say how grateful to Mark, Loretta, Carly and the whole Ensemble team who gift me incredible opportunities to direct at their excellent company. I want to acknowledge the tireless, generous, brilliant work of Khalid, Gayda, Lily, Ruby and all members of the production / technical teams across costume, props, lighting and sound support – it has truly been a joy working alongside you all. Much appreciation to all ticketing, box office, front of house and bar staff that will ensure the smooth running of this show.

On this show I’m so lucky to work with Jules Billington as my assistant director – they share my physical aesthetic and love of language, and are an exceptional director and actor. They are also one of my greatest friends.

THE SOCIAL LADDER is a masterclass in verbal sparring and structuring a thrilling social satire. It challenges my creativity and pushes my practice. I’m eternally thrilled that David Williamson trusts me with his work. Please enjoy the delights that this great playwright gives to audiences!

I acknowledge the Cammeraygal people of the Eora nation on whose land this production was made.

Janine Watson

Don’t miss David Williamson’s THE SOCIAL LADDER, playing 23 Jan – 14 Mar.

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“I am thrilled that in this 11th year of the Ensemble Theatre Sandra Bates Director’s Award we have two fabulous creatives joining the ensemble team next year. Jules Billington and Jessica Fallico have made great inroads into the industry, and we’re excited they will be working on two plays each alongside more established directors. The Ensemble Theatre Sandra Bates Director’s Award is not only us welcoming creatives into our theatre space but also a conversation between like-minded artists engaged in storytelling. This year we had amazing entries and it’s heartening to see so many talented directors working on our varied theatre stages.” – Artistic Director Mark Kilmurry

JULES BILLINGTON

A NIDA graduate, Jules has worked as an actor, director, and performance and movement coach in the Australian theatre and film industry for over twenty years. Their directing credits include: the World Premiere of the award-winning People Will Think You Don’t Love Me by Joanna Erskine at KXT Theatre produced by Little Trojan (2024), the Australian Premier of The Swell by Isley Lynn at The Old Fitz Theatre produced by Akimbo & co (2024); and We’ll Dance On The Ash Of The Apocalypse by Melissa-Kelly Franklin as part of Desert Festival in Alice Springs (2021). Jules was also the Associate Director on A Midsummer Night’s Dream (2024) for Bell Shakespeare, directed by Peter Evans. Jules is passionate about nurturing emerging artists, and is proud to have taught at NIDA, Actors Centre Australia, and Sydney Actors School. They are currently directing Twelfth Night by William Shakespeare for Actors Centre Australia second years, and in 2023 devised a new Australian work with Sydney Actors School titled EVOL written by Joanna Erskine. Jules is also a regular director for Bell Shakespeare’s theatre-in-education program The Players, having directed over twenty emerging actors in five shows for the company since 2020.

“I am delighted and incredibly honoured to be awarded the ETSBDA for 2026 and follow in the footsteps of some of Australia’s most exciting and respected theatre makers. Opportunities to learn through practical experience under the guidance of established directors are hard to come by, and I am so grateful to Jinnie and Ross Gavin for their generous support of the ETSBDA, and also to Ensemble Theatre for their commitment to nurturing Australia’s emerging Directors.”

JESSICA FALLICO

Jessica is an experienced interdisciplinary artist—an award-winning director, writer and dramaturg. Recently, Jessica directed the black comedy, gothic horror The Moors, the gender-bending musical FUCCBOIS: Live in Concert, and the cabaret Blacklisted, to rave reviews. Jessica directed the award-winning play Nothing Scares Us Anymore as part of the Martin Lysicrates Prize and is the resident drama director for Pulse Alive at the Ken Rosewell Arena, Olympic Park. Jessica has directed several main-stage musical theatre productions at Riverside Theatre, winning a Broadway World Award for ‘Best Direction of a Musical’ on Kinky Boots. Selected for an associate secondment (directing) with Theatre Works, Jessica was the Assistant director to Beng Oh supporting the debut of (the Premier’s Literary Award-winning novel) Soldier Boy by Anthony Hill.

“It’s an absolute joy to be an Ensemble Theatre Sandra Bates Director’s Awards winner, joining the list of remarkable directors who have come before me. The Ensemble Theatre is creating vital opportunities for artistic development and support and I am thrilled to be working with this wonderful network of talented and inspiring creatives, delivering extraordinary theatre.”

Supported by Jinnie and Ross Gavin.

The post 2026 Ensemble Theatre Sandra Bates Director’s Award Announcement appeared first on Ensemble Theatre.

I have hugely enjoyed working with this terrific cast and creative team and I hope you enjoy revisiting this newly minted classic of DIAL M FOR MURDER. Murder and Christmas, you can’t go wrong.

Mark Kilmurry

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