Insiders’ guide to Brisbane’s must-see shows in 2023
Thirteen of Brisbane’s top arts figures have revealed the must-see shows in 2023 as the scene fights back from the impacts of the Covid pandemic.
QWeekend
Don't miss out on the headlines from QWeekend. Followed categories will be added to My News.
In Queensland it seems the arts community not only hit the ball out of the park … it broke the glass ceiling in the process.
We are well and truly punching above our weight on the national scene and so many of the movers and creators in the arts in Queensland are women.
It’s no exaggeration to suggest that we are ahead of the curve. Kate Gould, who has returned to Brisbane and settled in nicely as chief executive and artistic director of Brisbane Powerhouse says she is inspired and amazed by that.
Someone new to town might ask – how long has this been going on? The answer is, quite a while, actually.
Perhaps somewhat surprisingly to some, Queensland has set the pace for equality and, to a certain degree, diversity. We have been positively pioneering in this way.
Look at the visual arts. It’s in the past year or two that major art museums in the southern states have moved to rectify inequality in their collections and exhibitions.
But it was Renai Grace and the team at Museum of Brisbane that set the national agenda in 2019 with New Woman, a groundbreaking exhibition celebrating 100 years of work by female artists.
We assume southerners were taking notes when they saw that. It’s a reason to feel proud and one tends to be optimistic talking to some of the femmes involved.
So we asked 13 women, all arts industry leaders, five questions to see how they tick.
● How is the arts scene in Queensland looking after Covid? Is it a competitive or supportive community?
● What show or event are you most looking forward to in 2023?
● With the Brisbane 2032 Olympic and Paralympic Games rapidly approaching, all eyes are on our city and its offering.
● Do you think our reputation as an arts and culture destination is improving?
● What is your main ambition for 2023?
LEE LEWIS
Artistic director, Queensland Theatre
Like the Australian bush after a huge fire, it felt like the ground was so scorched we could only dream of green.
But amazingly we are now seeing shoots and grass and life returning. Audiences are growing and starting to explore new ideas and everyone is looking forward to the possibilities of 2023. Of course we are all still facing challenges but we are all building a new confidence that is cautious but feels nice and fresh.
Different artistic endeavours have offered the city new inspirations to build on. Covid had brought the community so much closer. We have had to share knowledge and support and ideas to survive and from that great need, real friendships have grown.
I’m looking forward to Courtney Stewart’s first season at La Boite. And I can’t wait for Dan Evans and Ngoc Phan to blow the roof off QPAC with Vietgone. With the Brisbane 2032 Olympic and Paralympic Games rapidly approaching, all eyes are on our city and its offering.
I think as we rebuild our capacity to create our reputation will grow – it is great work that will draw people to this city, not great advertising. I’ve been trying to put my finger on what is most compelling to me as an artist about this city and I think what draws me is the spirit in the audience. Brisbane is not a cynical city and making work for an audience that is so open and adventurous and enthusiastic is inspiring.
All I want is a smooth 2023 … uninterrupted … where everything in the season happens according to plan. I haven’t had a season like that yet.
Remember certainty? I think that’s my goal for 2024!
DILSHANI WEERASINGHE
Executive director, Queensland Ballet
I think we are all a little tired but no less shiny-eyed as we understand the weight of our responsibility to ensure that the arts continue to thrive, not just survive. Providing as much job security as possible for our artists and arts workers has been a major preoccupation and thanks to our joint efforts, we have managed to retain much of our talent, hence the arts scene is buoyant, despite the odds.
We are a supportive community, and I couldn’t be more grateful for the camaraderie.
Queensland Ballet Academy’s Soiree is the season I always eagerly anticipate. Seeing all those young dancers on stage – some of them younger than my own children – in front of inspired backdrops of art from some of the most talented visual artists, to exquisite musical performance by Camerata, Queensland’s Chamber Orchestra … it’s moving and a game-changer every time!
Queensland is humming with vibrancy. Our very real opportunity is in the unleashing of talent, some of which hasn’t been discovered yet, to be able to share our unique stories in unexpected ways, exploring the sights, sounds and spirit of our stunning state. Let’s give more room to experience our authentic voice through live performance – dance, song, music, spoken word, art, circus and so much more.
I believe 2023 will still hold challenges for us all and I know I don’t stand on my own in a stated wish to see continued job security for our artists and arts workers, sustainable pathways for our arts students, and enhanced wellbeing for us all.
LISA FA’ALAFI & LEAH SHELTON
Co-founders, Polytoxic
It’s always been tough to be an independent artist in Queensland and we are still feeling the impacts of people leaving the industry through Covid. But on the other hand, we are surrounded by a passionate community of intersectional artists that represent the diversity of our society and that keeps us going as a company.
In the arts, it’s hard work to survive, and sometimes it’s easy to get caught up in your own process and value system and forget who else is out there. But we feel constantly thankful for the support of so many people who work tirelessly in this community to support artists and makers. We were really looking forward to Blak Day Out by Blak Social which played recently at The Tivoli – bringing in 2023 with some big ancestor energy.
Brisbane is home to so many independent artists and companies that have toured internationally to great acclaim, so the cultural cringe is irrelevant once you look at it in this context. What is unique? Often it’s visceral physicality, entertainment with bite, smart satire, and works that have grown from the ingenuity, tenacity and unique perspective of self-funded collectives.
We want to keep on lifting up the fierce femme artists in our community, to keep making intersectional activist work, to keep striving for a vision of a brave new world where equality, diversity and inclusion are at the forefront.
KATE GOULD
CEO/artistic director, Brisbane Powerhouse
Since Covid I’ve noticed people are buying tickets to known favourites, such as artists at the Brisbane Comedy Festival. Less well-known artists and events are harder to sell. I encourage people to take risks, try the unknown – you may be surprised by what you find.
Brisbane has a dynamic and collaborative arts scene. Returning to Brisbane after an 18-year absence I’ve been delighted by the support I’ve observed among the arts community. It is unique to Brisbane.
I can’t wait for Night Feast – a new feasting and art event at Brisbane Powerhouse in March 2023. It’s unlike anything Brisbane has seen before. Brisbane requires strategic investment to reach its potential as a city of international arts significance. Some of our key artistic strengths lie with our First Nations communities.
My ambition is for Brisbane Powerhouse to be recognised as a national leader in contemporary art and culture.
MAXINE WILLIAMSON
General manager, Southern Cross Soloists (SXS)
For SXS things are looking very bright indeed. Borders are open and we can fly our soloists in and include international collaborations into our artistic programming. Audiences seem thirsty after the tough Covid years, government has announced new programs to support this sector. I think things are very positive.
It is a competitive community but that just means we focus with precision on our work and competition is healthy.
I am looking forward to seeing what Australian jazz great James Morrison and renowned American string multi-instrumentalist John Jorgenson deliver when they compose new Australian works for the didgeridoo with SXS didgeridoo soloist Chris Williams as part of our SXS Didgeridoo Commissioning Project.
In my career I have welcomed many international artists to Brisbane and each one of them has been in awe of our cultural precinct. The architecture, the positioning of the arts centres along the river never fail to impress.
The fact that our city has state theatre, dance, opera companies, conservatorium, two galleries, museum, and library along with the Australian cinematheque, among small to medium independent arts companies is something all Queenslanders should be proud of.
In February 2022 we announced the SXS Didgeridoo Commissioning Project which will culminate in the year 2032 with 30 new Australian works for didgeridoo in chamber music. This will be a truly unique, hybrid Australian sound in time for the 2032 Olympic and Paralympic Games blending the relatively young European art music with the ancient Australian First Nations music.
COURTNEY STEWART
Artistic director, La Boite
Covid has undoubtedly been hard for the whole industry, but I think there is a silver lining where we are seeing fresh perspectives and new opportunities for growth and a reshaping of what business as usual looks like.
In the time I’ve been at La Boite I have found the community to be incredibly supportive, everyone checks in regularly to see how I’m doing and I’m so grateful for that. I can’t wait to start rehearsals on The Poison of Polygamy which will premiere at La Boite in May. I’m also looking forward to all the new Australian work we’ll see on Brisbane stages this year.
Queensland artists have always had a unique perspective and incredible talent but we can have a tendency to keep to ourselves, so I think 2032 is a great motivator for us to reach for the stars.
I want to continue to open the door for and share skills and resources with other artists, leaders, and creatives from historically marginalised backgrounds, in order for our industry to be the best version of itself.
RENAI GRACE
Executive director, Museums and Engagement, Queensland Museum
Here in Queensland the impact of border closures meant there was a focus on local talent and local audiences. There was a willingness to change and as a result the scene adapted and embraced new ways of engagement with a focus on outdoor activities and events. It’s a supportive and collaborative community here.
There are so many events in 2023, the first half is full of art, design and science with the World Science Festival Brisbane in March and BAD (Brisbane Art Design) in May.
Continued investment in arts and culture will be needed as a means of improving our reputation as a creative destination but it’s not solely about government funding. The competition for investment will be fierce and the key will be ensuring the Olympics embeds both sporting and cultural legacies. My main aim this year is settle into my new role at Queensland Museum.
YARMILA ALFONZETTI
Chief executive, Queensland Symphony Orchestra
The arts scene in Queensland is thriving after Covid. There is a sense of optimism in the air – we’ve got a big state with big aspirations, and a beautiful combination of boldness and self-confidence to make it all great again.
The arts business should always include tension, frisson, deep love, and heightened passion. I am beyond thrilled to have found myself in a feminist community of provocateurs, conspirators, and kindred spirits.
I am looking forward to The Ring Cycle. This epic masterpiece will showcase the multi-talented musicians of the Queensland Symphony Orchestra and all the brilliance we have right here under our noses.
Right now you can come to Brisbane for a great vibe, but I want people to come here for an arts experience that they will remember for a lifetime. I want our audiences to leave feeling moved and changed.
My main ambition for 2023 is to be relevant, artistically ambitious, to support and sustain the arts sector and to educate and champion the great symphonic works of mankind.
Next year alone we play for Opera Queensland, Opera Australia, Queensland Ballet and The Australian Ballet. That should keep me busy.
NAOMI PRICE
Artistic director and co-founder, The Little Red Company
The main challenge for us post Covid is ticket sales. The rising cost of living, coupled with lots of businesses taking major hits over the past two years, means our industry is suffering because people aren’t spending as much.
The arts community is competitive and supportive. Particularly in Queensland, we’re all competing for space in venues. In addition to programming new work, there’s still a backlog of rescheduled product from Covid-19 cancellations, which means there aren’t enough venues, theatres and performance spaces to make and deliver everyone’s work.
Being surrounded by such incredible female leaders I am reminded that we are a truly unique and collegiate group.
I am always interested to see new work and I’ve heard about some exciting commissions and developments coming in 2023. Australia is overdue for the great Australian musical and we’ve come very close – I am most eager to see the new music works hopefully make it to stage this year. Brisbane has the unique ability to deliver large scale outdoor work and events.
The Little Red Company delivers the Lord Mayor’s Christmas Carols as an outdoor staged spectacular each year, and with my family staying from the UK, I was reminded about how unusual and special that is. Our reputation has been growing for many years prior to the Olympics announce and people all over the country are very interested in what work’s being made in Brisbane. The age-old cultural cringe is rapidly disappearing.
I want to throw caution to the wind a bit more and not play it safe. The time has come for some really big moves and embracing ambition. My goal is to dream big, not be afraid, and to be bold and brave.
JO THOMAS
CEO/artistic director, Metro Arts
We are still wading our way through Covid and the unique thing about live performance art is – you really don’t have the option to work from home. We continue to be inventive, creative and courageous and are ready to bring more great art this year.
I don’t see it as a competition. So often in the sector we work together to support artists to tell the best stories in the best possible way. And there really are many fantastic artists in Brisbane. There will never be enough time to work with all of them.
In 2023 Metro Arts boasts another full year of world premiere performances and exhibitions. The stories you see here in West End you won’t see anywhere else. Look out for the return of Betwixt – spoken word meets street dance, Break – exploring breaking bodies in circus and one of our major exhibitions Precision, which is all about paper.
The artists are here, the ideas are flowing, and the Olympics will be a wonderful opportunity to take Brisbane’s unique approach to the world. Our First Nations people are unique – both Aboriginal and Torres Strait Islander – our climate is unique, so is our way of seeing the world and interacting together. All of this is reflected in our art.
I would love to see everyone returned to health and happiness and a sense of feeling OK in the world again. We live in a great city and have so much to enjoy in our arts and culture offerings – so let’s all get curious again in 2023.
LOUISE BEZZINA
Artistic director, Brisbane Festival
From a Brisbane Festival perspective, I believe we fared relatively well mostly because a festival can be adaptive and responsive to the external environment.
The focus on homegrown and local programming has seen a supercharged program of new work made by Queensland artists. Over the past three festivals we have commissioned more than 66 new works by Australian artists.
One of these landmark productions was the best-selling hit of Brisbane Festival, Queensland Theatre and QPAC, Boy Swallows Universe. With the world now accessible again, we need to work to help tour and export this enormous catalogue of work to keep the momentum going for the local artists.
I see Queensland as a highly supportive community. I absolutely believe our reputation as a cultural destination is growing in a way that continues to surprise visitors. The city’s confidence is growing and that makes me happy. There is a buzz in the air and excitement is building.
Now is the time to invest, grow and build our cultural capacity and offer. Elevation of our First Nations artists and creatives must be at the forefront of all our planning and development.
I want to deliver a fabulous Brisbane Festival that brings the world to Brisbane and continues to showcase and provide a stage for ambition for our local artists.
AMY HOLLINGSWORTH
Artistic director, Australasian Dance Collective
I would say the arts community is thriving and optimistic. That said, there are definitely new challenges with late ticket buying and people are more cautious about where they commit their time and arts spend.
There’s more pressure on arts organisations to be savvy with their marketing and to put unique and relevant art on stage.
The Queensland arts community is tight, especially after we navigated the pandemic arm-in-arm. I hope we can continue to find ways to collaborate artistically and operationally.
I am really excited to share ADC’s world premiere of Lucie In the Sky, our incredibly ambitious new work featuring a cast of dancers and drones. I also always look forward to Brisbane Festival with the rich array of amazing shows and I can’t wait for the launch of Brisbane Powerhouse’s new festival OHM.
I think Brisbane has an incredible wealth of artistic talent and creative minds which are all contributing daily to the artistic vibrancy of this city. Brisbane has grown beyond a touring destination and is home to many thriving world class arts organisations.
Lucie in the Sky is ADC’s most ambitious show to date with many facets – the full-length performance work, an extensive education framework and a documentary. My main ambition for 2023 is the successful premiere of the show and bringing dance to a different audience.
‘I was kind of speechless’: Australian author’s ‘astonishing’ literary debut becomes play
The award-winning book sold a million copies now it will soon be bought to life on the Brisbane stage.
The seven-word question that we all need to answer
It’s the question we all would like the answer to, how can we be happier?