Bezzina’s final Brisbane Festival brings ‘city as a stage’ to life
By Kate Lockyer
Brisbane Festival’s departing Artistic Director (AD) Louise Bezzina has a message for her successor: don’t underestimate Brisbane.
“Be respectful of the city and the community that you’re in and don’t underestimate it. Brisbane is an amazing city and it doesn’t need to apologize for its cultural growth,” Bezzina said.
After six years in the role, she is ready for a new challenge as AD at the Brisbane Powerhouse.
“I think that festival life is a little bit like cat years. So, it’s been six festivals, almost seven years – that’s a long time in festival life… but the festival is in a very good place to hand over to someone else,” she said.
This year’s festival program is themed around the idea of “using the city as a stage”, with big public spectacles like Craig & Karl’s art installations; Baleen Moondjan on a floating barge in front of Queen’s Wharf, celebrating First Nations’ totemic connection to baleen whales; and of course Riverfire and the drone show.
“It’s activating the city with these amazing big spectacles… there’s a real mix of big beacons that you can’t miss,” Bezzina said.
As the festival has grown over the past six years, so has the city, with new bridges, Queen’s Wharf and Metro Arts all popping up as new actors in the stage show of Brisbane’s development.
Thanks to Bezzina, Brisbane Festival has championed homegrown heroes.
“I’m a big believer in supporting local artists, the local community, telling local stories, but doing it in a way that doesn’t look inward, but looks outward,” she said.
“I think Trent Dalton’s a great example of a local homegrown hero, and Brisbane Festival being able to really catapult his theatrical debut is wonderful.
“Kate Miller-Heidke with Banana Land, Craig & Carl, they’re Brisbanites who have become international superstars.
“So, there is a real flavour of these incredible stars that have either grown up in Brisbane or have this strong affiliation to the city that we can celebrate.”
Looking outwardly, Bezzina has drawn inspiration from international cultural moments, like the Paris Olympics, and this year Los Angeles, with LA Dance Project lined up for an Australian-exclusive performance.
“I work very much on a strategic program that I think will resonate for Brisbane but that puts us within a global conversation,” she said.
Bezzina has worked hard to build a “broad church” festival with something for everyone, with diverse programming and a selection of free events.
“Particularly with a festival that has the city’s name in it, this festival should feel like it is the Brisbane Festival in the true sense of the word, and that it really does invite the whole city to feel part of it across the suburbs,” she said.
“City festivals should feel like you can’t miss them.”
To those thinking about seeing something outside of their usual genre, Bezzina’s advice is “jump right in”.
“If there’s any time to take a risk, it’s during festival time… Just jump right in and take on an adventure for September.”
Having already done a lot of work on the 2026 program, Bezzina said the transition will be “like handing over a baby”.
But what she will miss most, she said, is her team.
“I have a vision, but it’s only possible through great collaboration with Charlie (CEO Charlie Cush) and our exceptional team.”
A tradition she and Cush have treasured is finding a moment to have a meal together amongst the busy rush of the festival.
For her kids though, aged 11 and nine, nothing beats their family of tradition of attending the Riverfire party each year.
While Bezzina said it will be hard to have a “post-Brisbane Festival life”, she is looking forward to the next chapter.
“Brisbane Powerhouse is an extraordinary cultural facility institution; it’s a magnificent place and I feel very honoured and privileged to be able to take on this role,” she said.
Brisbane Festival’s new Artistic Director will be Ebony Bott, a creative leader who has worked at Adelaide Festival Centre, Arts Centre Melbourne, and is currently Head of Contemporary Performance at the Sydney Opera House.
In 10 years’ time, Bezzina hopes Brisbane Festival will be a cherished institution that is setting the agenda.
“I hope that this is one of the key mechanisms that help to drive the cultural agenda around the Brisbane 2032 Olympic and Paralympic Games,” she said.
“I hope that Brisbane Festival continues to be loved and cherished and that a new generation of the community become completely integrated into the festival life.”
Photo caption: Louise Bezzina has developed an unmissable festival for Brisbane; Photography: Kate Lockyer
