Andy Packer: Building Worlds on Stage Through Story, Scale, and Sustainability

In this preview episode of the StageLync Podcast, I sit down with theatre director and artistic leader Andy Packer to reflect on the 20-year journey of Slingsby Theatre Company. What began as a small ensemble touring schools in South Australia has grown into an internationally recognised company performing across multiple continents. Andy shares the thinking and values that have shaped that growth, from building a distinctive artistic voice to navigating the ongoing balance between creative ambition and the realities of running a theatre company.

We also talk about what it means to make work for young audiences without simplifying the complexity of life. Andy speaks candidly about the company’s commitment to holding both darkness and hope in the same space, and why fairy tales and coming-of-age stories remain such powerful frameworks for exploring those themes. At the heart of the conversation is a shared belief in theatre as a space for reflection, connection, and meaningful conversation between generations.

We also explore how theatre can shape the way young people understand belonging, identity, and imagination especially in a world that often feels fragmented or uncertain.

This is just a preview of a much deeper conversation. Listen to the full episode next week for the complete discussion.

Anna Robb: What was the original mission behind Slingsby Theatre Company, and how has that vision evolved over 20 years?

Andy Packer: We started with a dream to create original theatre for young audiences aged eight and up, as well as families, that wasn’t afraid to explore complex themes. From the beginning, we wanted to acknowledge the darker parts of life but always lead audiences back to hope. The company grew around an ensemble of artists rather than a traditional cast, which shaped a consistent aesthetic over time. What began as a goal to tour regionally in South Australia eventually expanded far beyond what we imagined, including international touring within the first year of the company’s life. The core mission, though, has stayed the same: to create work that sparks wonder, emotional connection, and meaningful conversations between children and the adults they’re with.

AR: Your company experienced rapid international success early on. What did that trajectory teach you about timing, opportunity, and growth?

AP: A lot of it comes down to luck and timing, combined with the quality of the work. After our first major production, we were invited to an international festival in Adelaide that brought delegates from around the world. That exposure led to invitations across multiple countries very quickly. Within 18 months, we had performed at major festivals and venues including Sydney Festival and the Sydney Opera House, followed by tours in Europe and Asia. It was exciting, but it also forced us to think carefully about sustainability and identity. One of the key lessons was not becoming a “one-trick pony.” We made sure our second production was completely different from the first so we could prove we weren’t limited in style or form.

AR: How did your first major success, “The Tragical Life of Cheese Boy,” shape the company’s future?

AP: That production was a turning point. We premiered it in Adelaide, and soon after, it was picked up by an international festival that brought theatre professionals from around the world. We used that moment to introduce not just that show, but several future works as well, which gave people a sense of our ambition. From there, opportunities snowballed, and we found ourselves touring internationally very early in the company’s life. It taught us that while opportunity can arrive quickly, it only works if the work itself is strong and the team behind it is ready. It also reinforced the importance of collaboration—writers, designers, performers, and musicians all contributed to shaping what the company became.

AR: Can you explain your creative process when developing a new work with your team?

AP: Our process usually starts with an idea or a story we want to explore, sometimes an adaptation, sometimes something completely original. If it’s original, we commission a playwright and give them a loose framework, such as a character journey or theme. From there, we go through several creative development phases before rehearsals. One of our key methods is a process we call “Paths Less Travelled,” where the entire creative team comes together for two weeks and experiments with how the story can be told theatrically. Everyone participates—actors, designers, writers, even stage managers. We explore scenes in different ways and ask what the audience’s role might be. It’s highly collaborative and often improvisational, with music, movement, and storytelling developing together in the room. It creates a deep sense of shared ownership over the work.

AR: Your latest project introduces a portable theatre model focused on sustainability. What inspired this shift?

AP: It came from reflecting on the environmental cost of touring. We realised that while we were creating meaningful work, our touring model involved significant carbon emissions, especially through international freight and air travel. We spent time measuring our footprint and discovered how impactful different touring methods were. That led to the idea of creating a portable theatre building that allows us to stay longer in one place, reduce travel, and still deliver multiple productions. Instead of moving constantly, we can bring audiences into a fully controlled theatrical environment and remain in a community for weeks. It reduces carbon output and also deepens community engagement. It’s not about austerity—it’s about finding abundance in a more responsible model of creation and touring.

Main Image: Courtesy of Andy Packer