On the move: latest arts sector appointments

In 2025, the company achieved the highest box office results in its 45-year history – more than a 50% increase on any previous year – reflecting the organisation’s renewed artistic strength, sector relevance, and audience engagement.

This milestone was a collective achievement made possible by the artists, staff, board, donors, partners and audiences who have supported Theatre Works through an extraordinary period of renewal and growth.

Theatre Works now operates an expanded multi-venue precinct comprising the Acland Street Main Theatre, the Explosives Factory, the new TWiSK Rehearsal Space, and the Black Box Café and Outdoor Stage.

These spaces support year-round development, presentation and community engagement, a transformation that has reshaped how the organisation serves artists and audiences.

Two works developed under Toulson’s producing leadership will tour nationally in 2026, and three productions will be featured on the VCE curriculum, marking a significant milestone in Theatre Works’ contribution to education and the wider cultural landscape.

The precinct now welcomes over 30,000 visitors annually and supports more than 600 artists each year, positioning Theatre Works as one of the country’s most vital independent theatre hubs.

‘Leading Theatre Works has been hard, beautiful, and profoundly meaningful work,’ Toulson said. ‘It has demanded everything and it has given back more than I ever expected. The achievements of these years belong to many hands: the artists who took risks, the staff who went far beyond their remit, the board who backed bold ideas, the partners and donors who believed in our vision, and the audiences who kept showing up. I carry all of them with me as I step toward the next chapter.’

Theatre Works Chair Robert Buckingham paid tribute to Toulson, saying: ‘The Board of Theatre Works thanks Dianne for her leadership, passion and unwavering commitment to the sector. In the eight years that Dianne has led Theatre Works, she has taken it from potential closure to one of the great success stories of independent theatre in Australia.

‘One of her greatest achievements was to negotiate and manage a major redevelopment of our [main] theatre, which added a new backstage and rehearsal space that makes it fully accessible for both actors and audiences. In short – she is a legend.’

Toulson will continue to lead the organisation into 2026, ensuring a smooth handover and the continued momentum of major projects and partnerships.

Theatre Works has also launched its 2026 program, featuring more than 50 productions including major premieres, large ensemble works, contemporary performance, musical theatre, international festival  collaborations and multiple Australian playwrights across the Theatre Works Precinct. Visit Theatre Works for details.

Contemporary Asian Australian Performance (CAAP) has appointed Justine Shih Pearson as its new Executive Producer. Pearson will work alongside Artistic Director Tessa Leong in 2026 and beyond. 

Speaking to Shih Pearson’s appointment, Leong said: ‘We couldn’t be happier to welcome Justine. She has a long history of creating change across the sector and inspiring new generations of artists to take their next steps. Her work in previous roles at PACT, Critical Path and Performance Space has been genuinely impressive.

‘We are so thrilled to have her on our team as we evolve to face the very real challenges across the sector as we champion, support and celebrate Asian Australian artists and arts workers.’

Shih Pearson joins CAAP after nearly five years as Executive Director/CEO at PACT Centre for Emerging Artists in Erskineville, Sydney; she is finishing up in the role in early 2026 before commencing at CAAP. PACT’s Board thanked Shih Pearson for her innovative leadership as she steered the organisation through the difficult post-COVID years and re-energised its relationship with the local community, the performing arts sector, independent artists and the organisation’s key investors, particularly the City of Sydney.

‘We deeply appreciate the wisdom, energy and care with which Justine stewarded PACT and the intelligence and compassion she brought to her work with artists,’ the PACT Board said in a statement.

‘She will be leaving a creative space that not only remains one of the most accessible and affordable in Sydney for young and emerging artists but, thanks to her tireless championing, is now a public artwork and state of the art performance venue.

‘Amidst the vagaries of arts funding, we appreciate the fact that her response has always been to look to the future, grasp the opportunities and re-imagine PACT’s creative role. We wish her only the best as she takes on her next key role in the sector.’

Shih Pearson has a 20-year history as an interdisciplinary artist and sector leader. She has worked as a producer, facilitator, arts researcher and advocate, and has a reputation for championing the work of the artist and artform development.

Shih Pearson joins CAAP at a time when the organisation is building new Asian Australian pathways, creating new ways to gather around practice and of course, developing new Asian Australian work.

Shih Pearson said: ‘I am super excited to be joining the team at CAAP – they do so much for such a small org, nationally and internationally, to expand Australian storytelling today. I am a longtime admirer of CAAP’s work and look forward to what is ahead.’

Shih Pearson is currently transitioning into the role and will be joining CAAP in a full role capacity in February 2026.

Gunggari man and arts professional Don Christopher (formerly Bemrose) has been appointed to the Musica Viva Australia Board of Directors.

Currently the Executive Officer at the National Indigenous Australians Agency, Christopher brings 14 years of experience across a wide range of roles in the arts, education, non-profit and public sectors.

A former baritone with the State Opera of South Australia, Opera Australia and Short Black Opera, he has worked as a Director and Community Representative with the ACT government, forging a career in First Nations education and policy alongside his arts practice.

Christopher joins the Board following a 12-month tenure in the 2025 Observership Program, an initiative providing hands-on Board experience and training for emerging leaders in the non-profit and Government sectors. The program saw him attend Musica Viva Australia’s Board and committee meetings as a non-voting member throughout 2025.

Christopher said: ‘I am both humbled and delighted to accept the generous invitation extended on behalf of Musica Viva Australia to join the Board of Directors.

‘The richness of engagement I have experienced over the past 12 months has felt like a personal celebration of my own musical, educational and corporate journey. I look forward to contributing to Musica Viva’s enduring legacy and working together to advance its mission.’

Musica Viva Australia Chair Charles Graham said: ‘It is a pleasure to welcome Don as a full Board Member. His expertise in arts and education policy and his experience as performer and teacher will be invaluable. We are grateful to The Observership Program for facilitating Don’s year as an observer, supporting the arts through growing an active and engaged network of emerging leaders.’

Musica Viva Australia’s Board of Directors also thanked outgoing Board member, Australian academic and musicologist Professor Malcolm Gillies AM FAHA, who stepped down from his role earlier this year. Prior to his departure, Gillies provided mentorship and training to Christopher as part of the 2025 Observership Program.

Western Australia’s Community Arts Network (CAN) has announced the appointment of Jac Low as General Manager (Parental Leave Cover), commencing 12 January 2026.

Low joins CAN from The Last Great Hunt (TLGH), where she has been a key contributor to the company’s organisational evolution and collaborative impact. Her secondment to CAN strengthens both organisations through expanding sector connections and shared approaches while enabling her to bring her experience in values-aligned leadership to support CAN’s work.

TLGH Core Artist Adriane Daff said: ‘The Last Great Hunt warmly celebrates our Director of Operations, Jac Low, as she embarks on a one-year secondment with CAN. Since joining TLGH, Jac has helped usher in a new era for our organisation, one defined by our artist-driven, collaborative, and non-hierarchical structure.

‘Her creativity, passion and drive has been instrumental in shaping a structure that truly reflects our values and empowers The Hunters.

‘Jac is a one-of-a-kind. She is a rare combination of strategic clarity, creative imagination, courage and a deep connection to purpose. We know she will be an immense asset to CAN, just as she has been to us. While we will miss her greatly, we are proud to see her take this next step, and we look forward to all she will bring back to the company when she returns.’

CAN CEO Rick Heath said: ‘Jac’s appointment reflects the kind of sector leadership we want to model – where knowledge, experience and talent are shared rather than held. It’s a win-win arrangement that allows Jac to deepen her professional practice in community engagement, CAN to benefit from her experience and drive, The Last Great Hunt to benefit from Jac’s experience upon her return, and both organisations to be active partners in building the capacity of the arts in WA.

‘This is more than a staffing arrangement — it’s an example of what can happen when organisations choose cooperation over competition. Both CAN and The Last Great Hunt recognise the value in enabling talent to move, learn and return stronger, contributing to a healthier and more resilient arts ecosystem.

‘CAN will offer whatever support possible to The Last Great Hunt to enable their workforce continuity and ensure that both organisations are strengthened throughout this exchange.’

Multi-arts venue The Substation, located in Newport, Melbourne, has appointed Nicholas Tee (he/they) as its new Executive Producer; Tee commences in the role in January.

Tee brings a wealth of experience across contemporary performance, festivals, and multidisciplinary arts – arriving with a vision that aligns with The Substation’s commitment to experimental practice, artist-led development, and ambitious creative futures.

They have worked internationally across Australia, Singapore and the UK as a creative producer and performance artist. They specialise in producing bold, multidisciplinary projects at a range of scales and have a particular interest in nightlife as a social practice, as well as performance works that push at the outer edges of form.

Tee’s producing credits include the Sing60 Music Festival (Festival Director), the Triennial Cultural Showcase 2025 (Executive Producer), publication The More We Get Together (Curator/Producer), and Bunker By Night – a sold-out series of electronic music and experimental performances staged in a disused WWII-era military bunker.

Prior to joining The Substation, Tee was the Head of Artistic Development at Global Cultural Alliance in Singapore and a Fellow of T:>Works’ Artistic Directors Academy.

Alongside their producing career, Tee performs under the name CHILLIDXDDY, creating durational, body-based performance works grounded in endurance, political charge and physical extremity.

Their work has been presented internationally at institutions including Haus der Kunst (DE), Kettle’s Yard (UK), Manchester Art Gallery (UK) and Point Centre for Contemporary Art (CY), and was featured in British Art Studies in 2019.

Omega Ensemble’s CEO and Executive Producer David Boyce will conclude his role in February 2026, marking the end of a transformative decade of leadership.

Chair of Omega Ensemble, Norman Gillespie said: ‘David has led with integrity and a deep respect for artists and collaborators. He has shaped a culture that will continue to guide the organisation into its next chapter, leaving a significant legacy for both Omega Ensemble and Australian music more broadly.

‘For all of us who have witnessed David’s passion and dedication in driving the growth and evolution of Omega Ensemble, his departure brings a deep sense of gratitude. We wish him every success as he embarks on new challenges and opportunities.’

During his tenure, Boyce led Omega Ensemble in a critical change from a Sydney-based chamber group to a national touring company. Under his leadership, this growth has secured multi-year investment from Federal and State governments, gained national awards, launched international commissioning partnerships, and built a growing community of supporters who have helped fuel the Ensemble’s artistic and organisational ambitions, particularly as a champion of cross-artform collaborations and new Australian work.

A strong advocate for local talent, Boyce was also instrumental in establishing CoLAB: Composer Accelerator Program, now regarded as one of Australia’s most sought-after professional development pathways for emerging and mid-career composers.

Boyce said: ‘It has been both professionally and personally rewarding to be part of Omega Ensemble’s extraordinary growth and artistic success.

‘From the very beginning, the company’s bold artistic vision and its unwavering commitment to championing a uniquely Australian voice in classical music has been inspiring.

‘An ensemble is nothing without its people, and the opportunity to work closely with musicians, artistic collaborators, and our dedicated Board and team behind the scenes has been the greatest privilege.

‘Omega Ensemble is exceptionally well positioned for its next chapter, and I look forward to continuing to support its journey, now from the audience rather than backstage, as it continues to redefine what classical music can mean in our contemporary world.’

Boyce will remain with Omega Ensemble until February 2026 to ensure a smooth transition. The Board will shortly commence the search for the organisation’s next CEO.

The Northern Territory’s Charles Darwin University (CDU) has appointed Clare Armitage as the new Manager and Curator of its 3,600-strong art collection. Armitage has a passion for connecting communities through art; her curatorial practice is driven by a deep interest in intercultural storytelling, using exhibitions as a platform for dialogue and connection.  

In her new role, Armitage will also oversee the University’s Midpul Art Gallery, ensuring it remains a vibrant space for creativity and cultural exchange.

‘In today’s funding landscape for the arts, it’s admirable that CDU remains committed to operating and growing an art gallery and collection,’ Armitage said.

‘With a new gallery space in the heart of Darwin city, there is enormous potential for our exhibitions and programs. The CDU Collection is unique – not only in the people and places it represents, but in its decades of continuous collecting in the Northern Territory, one of the most culturally and linguistically diverse regions on earth.  

‘It is a rich and invaluable repository of knowledge, stories, and experiences, and carries an incredible legacy from previous contributors including artists, donors, and curators.  

‘I’m excited to build on that legacy and help shape the next chapter for the collection and gallery.’

Armitage’s love for art first blossomed in high school and later during her university studies, where she specialised in Art History and Theory at the University of New South Wales’ College of Fine Arts.

After completing her Master of Art History and Curatorial Studies at the Australian National University, she began her work in galleries.

Armitage has previously held roles with the National Gallery of Australia, Library and Archives NT, the Museum and Art Gallery of the NT, and most recently as the Chief Executive of Godinymayin Yijard Rivers Arts and Culture Centre.