Arts sector appointments: quick links
Black Swan State Theatre Company appoints Associate Artistic Director
Black Swan State Theatre Company has appointed theatre-maker, performer, and director Naomi Pigram-Mitchell as its Associate Artistic Director, following her tenure as Resident Artist. A proud Yawuru and Wadjarri woman, Pigram-Mitchell brings a wealth of creativity, leadership and culture to her new role.
This appointment strengthens Pigram-Mitchell’s contribution to Black Swan’s artistic team, enabling her continued growth as a director under the mentorship of Artistic Director Kate Champion.
Pigram-Mitchell’s unique artistic skills and cultural perspective are an integral component in the ongoing development of works for Black Swan, including Raised in Big Spirit Country, which had its inaugural presentation earlier this year, and the in-development Wiyawiya project.
Kate Champion, Artistic Director said: ‘Naomi’s significant history with Black Swan’s foundational roots makes this exciting appointment a continuation of the recognition of our proud past and a collaboration towards our vision for the future. I’m excited to be mentoring Naomi with her directorial ambitions and inspiring artistic developments.’
Pigram-Mitchell’s artistic vision has been shaped by her deep connection to Black Swan’s history, beginning in 1990 when, as a 12-year-old, she saw the premiere of Bran Nue Dae by Jimmy Chi and Kuckles at the Octagon Theatre, where it was directed by Black Swan’s co-founder, Andrew Ross.
‘[Seeing Bran Nue Dae] changed my life. To witness what is regarded as Australia’s first Indigenous musical on stage, so far from home, and to see an audience celebrate something that belonged to me, to my people, was priceless,’ said Pigram-Mitchell.
‘To now step into the role of Associate Artistic Director feels like a continuation of that journey, and I’m honoured to contribute to Black Swan’s future while carrying forward the legacy of our cultural stories.’
Pigram-Mitchell’s latest work Raised in Big Spirit Country draws on those foundations, she continued. ‘Raised in Big Spirit Country is a musical celebration of the “Broome sound” and the people who brought it to national prominence. It’s really a multicultural mix of music which combines the diverse cultural backgrounds that have shaped Broome; the local influences from Bran Nue Dae, the music festival Stompen Ground, and pioneering bands like Kuckles, Scrap Metal and the Pigram Brothers – who were instrumental in defining the sound of the region and sharing it across Australia.
‘It also draws on the presence of those of Asian descent who settled in Broome during the pearling boom of the late 19th and early 20th centuries, along with the generational impacts of growing up in the 80s and 90s.
‘I’m hoping that Raised in Big Spirit Country can rebuild the connection that started almost 30 years ago with Bran Nue Dae, and that we can continue to stage these kinds of works, so the voices and stories of the Kimberley can be heard far and wide,’ she said.
Since its founding in 1991, Black Swan has been recognised for its bold original works, Western Australian stories, site-specific productions, national and international touring, and cross-cultural collaborations that amplify Aboriginal voices. Naomi’s appointment continues this proud legacy, ensuring Black Swan remains uncompromising, dynamic and reflective of our place and time.
Arts Northern Rivers to farewell Executive Director
Jane Fuller, the Executive Director of Arts Northern Rivers, is stepping down from the role she has held since 2021.
‘During this time, the organisation has demonstrated remarkable resilience and adaptability, particularly in response to the devastating floods of early 2022 – the largest natural disaster in Australian history,’ Fuller said.
‘In the aftermath, we delivered the Northern Rivers Creative Sector Recovery Forum, raised and distributed over $250,000 in 1:1 support funding for independent creatives, and developed innovative recovery projects such as Expansive Encounters in partnership with Christchurch, New Zealand, and Site Lab – a six-month takeover of spaces for public art in recovery.’
Read: Flood-affected artists take vital steps to recovery
Fuller continued: ‘We also programmed and produced the Auslan Creative Festival, collaborated with the MCA on an access partnership project, ran the panel-based series Art Practice in 3 Bites, and delivered creative developments for Smoke, all while ensuring the organisation remained sustainable and responsive to the sector’s needs.
‘During my tenure, Arts Northern Rivers has grown significantly, now serving a larger portion of the sector and recognised nationally as the largest creative region outside a major city.’
Fuller’s tenure at Arts Northern Rivers also saw the delivery of the 2024 exhibition and publication project Bulaan Buruugaa Ngali, which presented First Nations Bundjalung objects alongside new works by contemporary artists; a range of markets, professional development programs and outreach initiatives, and the development and publication of the 2025 sector report, Who We Are, which provided evidence-based insights to strengthen advocacy for the Northern Rivers creative community.
‘I am proud of my time at Arts Northern Rivers and the work we have achieved together. I will be leaving in the first quarter of 2026 to explore new adventures, travel, and reconnect with my freelance practice. I want to sincerely thank the sector for its generosity, collaboration, and inspiration.
‘The search for the next leader of this incredible organisation is now underway. I hope to connect with many of you before and after February,’ Fuller said.
Arts Northern Rivers is currently recruiting for a new Executive Director: learn more.
Polyglot Theatre’s Executive Director stepping down to join STCSA
After eight years at Polyglot Theatre, five of those as Executive Director and Co-CEO, Kath Fyffe will step down at the end of 2025. She is returning to Adelaide, where she has accepted the role of Executive Director at State Theatre Company South Australia (STCSA).
Fyffe has successfully led Polyglot through several significant transitions, including new Artistic Directorship, a vigorous return to international and national touring, and securing new funding to underpin the company’s artistic vibrancy.
Her dedication to fostering a strong working culture built on Polyglot’s core values has been vital to how the company has navigated the past five years.
Sandra Robertson, Board Chair, said: ‘Polyglot has flourished thanks to its robust focus on people, creativity and impact. Kath has been instrumental in nurturing this environment that champions care, creative risk-taking and innovation that puts audiences and artists first.
‘We extend our heartfelt gratitude to Kath and wish her every success in her new role with State Theatre Company South Australia, where we look forward to her continued friendship as a sector colleague.’
Throughout Fyffe’s Co-CEO leadership, Polyglot has strengthened its focus on equity and inclusion. The company has increased its reach to 41,000 children and families annually, with 85% of audiences accessing its work for free or low-cost. I
In April 2025, When the World Turns, Polyglot’s collaboration with Oily Cart (UK), originally commissioned by Arts Centre Melbourne, was presented by Lincoln Center for the Performing Arts in New York City as part of its internationally recognised, accessible Big Umbrella Festival.
Fyffe said: ‘As I embark on this next adventure, I have a deep well of gratitude for all that Polyglot has given me. I’ve learnt so much about leadership and creative generosity from Artistic Directors Sue Giles and Cat Sewell, and worked alongside a world-class team and artistic community to bring joy and beauty into children’s lives.
‘Thank you to the supporters and champions of Polyglot who make such important work possible. I couldn’t love this company more, which makes me so very excited for its future.’
During Fyffe’s tenure, Polyglot premiered six new works with a seventh opening later this month. Her stewardship of the company’s audience and market development strategy resulted in international touring spanning 45 seasons in nine countries since 2021, fostering high demand for Polyglot’s unique participatory work. The company’s commitment to strengthening the Victorian Theatre for Young Audiences sector has also expanded through a new multi-year state-wide project.
Artistic Director Cat Sewell said: ‘It has been an incredible three years working with Kath at the helm of this extraordinary company. She is a skilful, kind, intelligent leader and I am delighted for her stepping into this new role. Through projects and partnerships developed and nurtured during her time, Polyglot has a strong, stable foundation to realise the many wonderful artistic projects set in motion.
‘I look forward to welcoming someone new to the company in the same spirit and with the same generosity that Kath welcomed me. Thank you for all that you have done for Polyglot, and for being a fabulous Co-CEO.’
A comprehensive, recruiter-led search for Polyglot’s next Executive Director and Co-CEO will commence in the coming weeks.
Returning to South Australia
Fyffe commences her new role as Executive Director of STCSA in January; prior to working in Melbourne, she co-led the acclaimed Adelaide-based independent company The Border Project from 2003 to 2015, having previously graduated from Flinders University Drama Centre with a Bachelor of Creative Arts, Honours in Drama Performance in 2001.
‘I am delighted to return home to Adelaide to take up the role of Executive Director of State Theatre Company South Australia,’ Fyffe said. ‘This Company has long been a leader in bold and transformative theatre, and I am thrilled to be joining Petra Kalive and the team to build on its incredible artistic momentum. I look forward to working with South Australian artists, audiences and partners to shape an ambitious, inclusive and sustainable future for theatre in this state and beyond.’
Chair of the STCSA Board Joe Thorp said: ‘Kath brings exceptional experience and vision to the Company. From a field of outstanding candidates, she stood out for her ability to combine ambitious artistic leadership with strong financial stewardship and community-building. We are excited to welcome her back to Adelaide and confident she will be an outstanding Executive Director alongside Petra Kalive.’
STCSA Artistic Director Petra Kalive added: ‘Kath is a leader who understands how to marry bold artistic ideas with operational rigour. She is deeply invested in the cultural life of this country and brings with her extraordinary knowledge of building partnerships, broadening audiences, and supporting artists. I am so excited to embark on this new chapter with her.’
State Theatre Company South Australia launches its 2026 Season on Wednesday 8 October.
New Artistic Director to lead BLEACH* Festival
The Gold Coast’s annual celebration of contemporary arts and culture, BLEACH* Festival, has announced the appointment of its new Artistic Director, Felix Preval, as well as its 2026 dates. Previously held in winter, BLEACH* will now take place in spring, running from 1-11 October 2026.
Preval brings two decades of experience in the performing arts to his new role as Director, Creative Programming at HOTA and incoming Artistic Director of BLEACH* Festival. Internationally recognised as a festival director, programmer, producer, and arts leader, Preval was the Artistic Director of Darwin Festival from 2017–2022, Festival Producer at Melbourne Fringe from 2012–2016, and most recently spent two years as Senior International Advisor for Creative New Zealand.
With a background in theatre as an actor, writer and director, Preval is passionate about theatre, music, dance and contemporary performance. His career has been driven by a desire to bring world-class performance to eager audiences while supporting and celebrating local creatives and their communities.
‘BLEACH* has always been a place where art, music, and community meet in bold, beautiful and unexpected ways,’ Preval said.
‘I’m excited to lead BLEACH* into its next chapter as Artistic Director. Over the festival’s 15-year history it has evolved into an iconic annual celebration of contemporary arts and performance for the Gold Coast, with growing national attention.
‘As BLEACH* Festival undergoes a Spring awakening, audiences can anticipate a festival program bursting with bold and innovative works that celebrate the spirit of the Gold Coast – young, playful, and ready to bloom.’
Read: How to stage a festival in a city with no CBD
BLEACH* Festival 2026 will feature a range of local, national and international artists presenting performances, new installations and community engaged works that celebrate the city’s natural environment and transform the HOTA precinct for the duration of the festival.
Yarmila Alfonzetti, Head of Arts and Culture at Experience Gold Coast, said, ‘Felix brings a wealth of experience and an exciting creative vision to BLEACH* Festival. His deep passion for performance and his ability to create programs that speak to both local communities and national audiences make him the perfect artistic visionary to lead BLEACH* into this vibrant new spring season. We can’t wait to see the next few years of the festival flourish under his direction.’
Full program details for BLEACH* Festival 2026 will be revealed in mid-2026.
National Art School welcomes new Board members
Sydney’s National Art School (NAS) has announced the appointment of ‘three distinguished individuals to our Board of Directors,’ in the words of Dr Kristen Sharp, NAS Director and CEO.
Sharp continued: ‘Each of our new board members brings a wealth of expertise, insight, and passion for the arts. Their diverse backgrounds and commitment to creative excellence will play a pivotal role in guiding NAS into its next chapter.’
The new NAS Board members are:
Emilya Colliver: The founder and Director of Art Pharmacy and Sugar Glider Digital, the world’s first B-Corp certified cultural business. With over 20 years in art strategy, placemaking and cultural development, Colliver has delivered multimillion-dollar projects for governments, corporations and cultural institutions, including serving as Deloitte’s Art Curator.
Author of The Art Project and Making Art Matter, and creator of the upcoming Conscious Leadership Wisdom Deck (launching soon). Colliver is also a Board member of Create NSW. She is expanding her consultancy into the Middle East, advancing cultural diplomacy and digital innovation, and is the founder of Flourish Women’s Networking.
Helen Lochhead AO: Lochhead is an emeritus professor of architecture and urbanism, an architect and urbanist with broad experience in government, industry and higher education in influential roles including Dean, Faculty of Built Environment and Pro Vice-Chancellor Precincts at UNSW Sydney, Deputy NSW Government Architect and President of the Australian Institute of Architects.
Her career has focused on urban projects ranging from city-wide improvements programs, educational and cultural precincts, to major urban regeneration of waterfronts in Australia and internationally. She now combines academic and advisory roles with professional practice. Lochhead also serves on the National Capital Authority, the Sydney Harbour Trust, NSW Architects Registration Board, Sydney Opera House Design Advisory Panel and various Planning and Design Panels across Australia.
Lucy Keeler: Head of Strategy and Experiences at Luna Park Sydney, a Create NSW Artform Board Member and former Curator of Vivid Sydney’s Light Festival currently working to transform heritage-protected Luna Park Sydney into a world class multi-art and immersive experience hub, where traditional creative practice intersects with digital, experimental and immersive work. Keeler is a graduate of NIDA and the National Art School.
MTC announces new Board member
Melbourne Theatre Company (MTC) has announced the appointment of playwright, screenwriter and novelist Suzie Miller to its Board of Management.
Miller is a globally celebrated creative whose work has been staged in over 100 productions worldwide. With degrees in law and science, she is drawn to complex human stories and contemporary themes. Her breakthrough play Prima Facie premiered at Sydney’s Griffin Theatre before enjoying a sold-out MTC season.
Internationally, it has subsequently had acclaimed new productions in London’s West End and on Broadway, been translated into more than 20 languages, been produced all over the world in around 48 countries, and published as a novel in six languages. The feature film adaptation of Prima Facie starring Cynthia Erivo is currently in production and marks Miller’s screen debut (two National Theatre Live filmed productions of her plays Prima Facie and Inter Alia not withstanding).
‘I’m honoured to be joining the Melbourne Theatre Company Board at such an exciting time and delighted to be able to support the incredible stewardship of Anne-Louise Sarks as a strong female creative leader,’ Miller said.
‘The company is brimming with momentum and big ideas, with a bold vision for the future and an extraordinary 2026 season being announced this October. I look forward to contributing to its work, and watching the company continue to flourish, as we continue to nurture the arts here in Melbourne and beyond.’
MTC Chair Martin Hosking said: ‘We are delighted to welcome Suzie Miller to the Melbourne Theatre Company Board. Suzie’s extraordinary international achievements and deep understanding of theatre will be invaluable as we continue to build on Melbourne Theatre Company’s artistic legacy and look ahead to the ambitious Season 2026.’
Miller’s new play Inter Alia, starring Rosamund Pike (Gone Girl, Saltburn), premiered in 2025 at London’s Royal National Theatre to critical acclaim, with NT Live releasing the production globally. Alongside this, her acclaimed work RBG: Of Many, One has toured Australia for more than three years, winning multiple awards, and continues to be developed for further international presentation.
She is also under commission for new plays in London, New York and Australia, including the recently announced Strong Is the New Pretty, and is completing her second novel.
MTC Artistic Director and Co-CEO Anne-Louise Sarks called Miller, ‘one of the most vital voices in contemporary theatre. From confronting questions of justice in Prima Facie to celebrating women in AFL in Strong Is the New Pretty and her other award-winning scripts, Suzie is inspiring audiences all over the world.
‘To welcome Suzie to the Board, as we build on Melbourne Theatre Company’s artistic momentum, is a great honour. Throughout her career, she has championed fellow artists and enlivened our cultural conversation. Her leadership will be an invaluable asset in the years to come, as we continue to expand on our creative vision and ambition,’ Sarks added.
Miller joins a Board committed to shaping the future of Melbourne’s arts culture, supporting the production of innovative works and championing the next generation of artists.
New Chair for Nautanki Theatre Company
Creative and cultural leader Suzanne Pereira has joined the Parramatta-based Nautanki Theatre Company as Chair.
Pereira, who has a Sri Lankan cultural background, recently returned from an 18-month sabbatical. She has previously worked with the likes of Darlinghurst Theatre Company, Bell Shakespeare, Penrith Performing and Visual Arts (PPVA) and Contemporary Asian Australian Performance (CAAP).
‘Working within arts organisations, while rewarding on many levels, has also been limiting in many ways. My return to the sector was a very considered decision – one that required the opportunity to contribute strategically to an organisation with a vision to create sector-wide impact,’ Pereira said of taking on the Chair’s role.
‘The next three years will see Nautanki Theatre capitalise on its announcement as a recipient of Create NSW Multi-Year Organisation funding for 2026/27. Under Neel Banerjee’s energetic leadership, Nautanki has been putting runs on the board for over a decade.
‘Now is the perfect time to harness its consistency, community and longevity to solidify the company’s future as a home for South Asian diaspora creatives and cultural practitioners in the lands known as Australia.’
This year marks Pereira’s 30th year in the arts industry. ‘It’s been a time of deep reflection, particularly through the lens of an intersectional identity. Whilst we are worlds away from the challenges facing CHARM’d (culturally, historically and racially marginalised) artists, creatives and audiences over that time, there is still much to do to achieve true equity.
‘I’m inspired and energised to once again be in a position to contribute to strategic initiatives that shape the future of the sector for the global majority,’ she said.
Neel Banerjee, the founder and Artistic Director of Nautanki Theatre Company, added: ‘We’re very pleased that Suzanne is back. In fact, I went over a series of meetings to convince her that her leadership is much needed both in Nautanki Theatre and the sector broadly. The days are exciting ahead and I, along with the Board of Directors, are looking forward to working with her.’
Festival of Dangerous Ideas’ Artistic Director returns to full-time role
Sydney’s Festival of Dangerous Ideas (FODI) has announced the return of Danielle Harvey as Festival Director for her fifth edition – this time, in a full-time role. This significant step forward for the festival has been made possible by support from patron Bill Manos, who backed Harvey’s appointment to ensure FODI remains a platform for bold ideas, fearless art and necessary conversations.
At a time when public discourse is under increasing threat and cultural spaces are shrinking, FODI is deepening its commitment to discomfort, debate, and risk.
‘Now is not the time to retreat from difficult conversations,’ Manos said in a media statement. ‘We need art, ideas, and people like Danielle more than ever – people who will ask the uncomfortable questions, stage the challenging works, and refuse to look away.’
Read: I was the Archives Editor at Meanjin – its closure is baffling
Harvey returns with a renewed vision to stretch the festival’s creative boundaries even further. Her appointment as full-time Festival Director marks a pivotal evolution for FODI – one that places provocation at the centre of its mission.
Harvey said: ‘To have someone like Bill stand behind this kind of work is rare – and essential. His belief in my vision allows us to double down at a time when others are pulling back. I’m deeply grateful for his trust and support.
‘FODI has always existed to disrupt the comfortable and comfort the disrupted. I’m honoured to return full-time – and the first thing I’m doing is launching an artist call-out. Because sometimes, danger is best done with art.’
The call-out invites artists across performance, installation, digital, spoken word and other disciplines to submit proposals for inclusion alongside the programmed talks schedule at FODI 2026. Harvey’s full-time role – backed by Manos – ensures FODI continues to be a vital platform for urgent voices and risky ideas. FODI’s artist call-out is now open until 31 October 2025.
Harvey’s return is more than a programming shift – it’s a statement, according to Dr Simon Longstaff, Executive Director of The Ethics Centre, which presents FODI.
‘The Festival of Dangerous Ideas plays a critical role in our cultural and civic life – it was created in anticipation of a time in which the space allowed for principled disagreement would be subject to unrelenting pressure – from all sides. We now live in such a time,’ Longstaff said.
‘Danielle Harvey returning full time is a tremendous win for the Festival and its future. We’re deeply grateful to Bill Manos for his generous support, which ensures FODI remains a forum where it is safe to engage with ideas that challenge and ultimately redefine what counts as “conventional wisdom”.’
Harvey’s past work spans institutions and independent productions, including Sydney Opera House, Sydney Gay and Lesbian Mardi Gras, Bundanon and immersive experiences such as A Midnight Visit and Eternityland. She is the founder of many festivals including BingeFest, Make Good and Antidote, former co-curator of All About Women, and Executive Producer of podcasts It’s A Long Story and Little Bad Thing.
The next edition of FODI will take place in Sydney from 21–23 August 2026.
