Brisbane has the potential to become a major hub for live theatre production in Australia, according to leading theatre producer Suzanne Jones. Following a sold-out season of *The Book of Mormon* in Brisbane, Jones has signaled her intention to centralize the development, rehearsal, and premieres of major theatrical works in Queensland—if the state government increases its support for live performance.
Jones emphasized that Brisbane has proven itself capable of sustaining large-scale productions, with the city having the required audience base, venues, and enthusiasm for high-profile shows. She suggested that with enhanced backing, Brisbane could shift from being a regular stop on national tours to becoming the primary location where new productions are developed and launched. “It would absolutely be a game-changer for this state,” Jones said.
The producer advocates for greater government support not as a subsidy, but as a means to mitigate financial risk, attract private investment, and boost economic benefits for Queensland workers and businesses. Queensland’s live performance sector generated $539.3 million in revenue in 2023 from nearly 4.9 million ticketed attendees, according to the state government’s 10-year arts strategy.
Recent and upcoming high-profile shows in Brisbane include *Moulin Rouge!*, *Pretty Woman*, *The Lion King*, and *Matilda*. Rachel Healy, chief executive of the Queensland Performing Arts Centre (QPAC), highlighted that premiere performances consistently draw significant interstate audiences who contribute not only through ticket purchases but also by supporting local hospitality and transport sectors. She noted that opening productions in Queensland stimulates economic activity well beyond the theatres themselves.
Healy sees a strategic opportunity for Queensland to become a national center for the creation and premiere of major theatrical productions. Supporting this vision, QPAC is developing a versatile creative space beneath its Glasshouse Theatre that will provide rehearsal and performance facilities comparable to their Lyric Theatres. “This would not be support for a speculative industry,” Healy said. “It would be an investment in a sector already delivering economic and cultural returns.”
While blockbuster shows bring substantial attention, Louise Bezzina, chief executive and artistic director of Brisbane Powerhouse, expressed concern that financial risks often push venues toward established works, making it more difficult for smaller productions and new Queensland artists to gain exposure. “Most of the work audiences love today started small, because someone backed it before it was a sure thing,” she said.
Jones underscored Queensland’s competitive advantage with its existing strong screen industry and incentive programs. She argued that similar support mechanisms for live performance could make regional touring more feasible by lowering the financial risks involved. Queensland currently operates a Production Attraction Strategy through Screen Queensland, which alongside federal screen incentives, attracted 14 productions in 2024-25, created over 3,200 jobs, and generated an estimated $445 million in production spending.
The Queensland government has yet to commit to a dedicated live-performance production incentive but confirmed it is exploring options for performing arts production support. For Jones, the looming Brisbane 2032 Olympic Games add urgency to the call for enhanced investment in the arts sector, positioning the state as a major creative and economic beneficiary.