Olivia Ansell has been the Festival Director of Sydney Festival since 2022. January 2025 will be her last year, with her biggest and brightest program yet, Voted one of Vivid Sydney’s Top 100 Creative Catalysts, Olivia possesses a vast breadth of art experience, across an array of roles. She is also a lecturer in Movement for the Sydney Conservatorium of Music’s Con Opera School.
She’ll soon be off to Toronto, to lead the Luminato Festival Toronto there, so while Sydney still has her, Irresistible trapped her in a cafe to find out more about where’s she’s been, and where she’s going.Â
We’ve also had a close look at the program Olivia is delivering at Sydney Festival 2025, and at the end you’ll find our top tips for January bookings.Â
Â
Olivia, congratulations on this exciting new chapter. Let’s start with your journey—how did you become a festival director?
“Thank you! Honestly, it’s been quite the eclectic path. I grew up in a very creative household—both my parents and grandparents were artists. My father, a composer and arranger, often collaborated with other musicians, so I was surrounded by this whirlwind of creativity from a young age. I was essentially the “tea and coffee girl” for visiting musicians and songwriters, but I’d also sit in on conversations about their projects. That exposure shaped me more than I realised at the time. After performing in projects where the genre ranged across dance, theatre, opera, sketch comedy, and experimental theatre, eventually I held roles in curation and leadership. I was Co–Executive Producer on the immersive experience Hidden Sydney and then became the Artistic Director of Sydney Comedy Festival at Sydney Town Hall. After that I was appointed the Head of Contemporary Performance at Sydney Opera House, and later, Festival Director of Sydney Festival.
Along the way, I worked as a commercial music producer, helped establish the Hayes Theatre in Sydney, and was consultant Executive Producer at OzAsia Festival in South Australia. Festivals are about weaving together a tapestry of stories and curiosities that speak to different audiences. My eclectic background turned out to be a valuable training manual for this role.”
Along the way, I worked as a commercial music producer, helped establish the Hayes Theatre in Sydney, and was consultant Executive Producer at OzAsia Festival in South Australia. Festivals are about weaving together a tapestry of stories and curiosities that speak to different audiences. My eclectic background turned out to be a valuable training manual for this role.”
How did all of that experience shape your vision for curating festivals
“Festivals are inherently multi–genre, interdisciplinary and intergenerational. Which enables a bold, disruptive canvas to play with. My experience across various artforms and presentation modes has given me a unique perspective on how to ignite a city’s identity and cultural background, amplifying diverse voices, whilst having a deep appreciation for how art can connect with people, to unify communities in so many different ways.
When I think about curating a festival, I’m always considering how to create moments that resonate with diverse audiences. Festivals should feel like they belong
When I think about curating a festival, I’m always considering how to create moments that resonate with diverse audiences. Festivals should feel like they belong
to everyone; whether it’s an immersive experience, a free outdoor concert, a groundbreaking piece of theatre, or an intimate gallery installation, there should be something that speaks to all corners of the community.”
What excites you most about taking on the Artistic Director role at Luminato?
What excites you most about taking on the Artistic Director role at Luminato?
Luminato is such a unique international arts festival. Now coming up to its 19th year, the festival kicks off Toronto’s summer, transforming the city with anticipation and a tremendous buzz. What excites me most is the opportunity to inspire Torontonians to rediscover their city through compelling and thought–provoking public art. Toronto is an incredibly dynamic place—it’s a city of ravines, rivers, and vibrant multiculturalism. Its Indigenous name, Tkaronto, means “where the trees stand in the water,” and that history alone is such a rich starting point for storytelling.
Â
One of my main goals is to bring art to unexpected locations and reflect the city’s identity. Toronto is full of intriguing spaces; industrial sites, historic buildings, reclaimed parkways and even unused subway stations. I’d love to activate these locations with performances that feel completely transformative. Imagine watching a theatre piece in a disused wheat silo or experiencing a sunrise concert atop the CN Tower. It’s about creating experiences that not only entertain but also change the way people see their city.”
You’ve spoken before about the importance of emotion in your programming. Can you share a moment when a performance truly moved you?
“One moment that stands out is when we presented Girls & Boys at Sydney Festival. It’s a play by Dennis Kelly that explores domestic violence, and it starred the incredible Australian actor Justine Clarke. The first time I saw it, I had such a visceral reaction—I wanted to leave the theatre during one scene because the material was so confronting. But that’s exactly why we had to present it. The story was powerful, educative and deeply moving. In particular given the alarming statistics that 1 in 4 Australian women have suffered domestic abuse from their partner. The audience response was overwhelming. People were scrambling for tickets, and it became one of the most talked–about performances in the festival that year. That reinforced for me the importance of programming works that fundamentally challenge and move people.
Art has the power to change how we see the world, and as a festival director, it’s my job to bring those stories to all kinds of stages.”
Toronto is a neighbour of other famous cities like Montreal or Vancouver. How do you see Luminato playing a role in elevating Torotono’s profile?
Art has the power to change how we see the world, and as a festival director, it’s my job to bring those stories to all kinds of stages.”
Toronto is a neighbour of other famous cities like Montreal or Vancouver. How do you see Luminato playing a role in elevating Torotono’s profile?
“Toronto is such an exciting city and Luminato is the perfect platform to shift that perception. Through the festival, we can highlight Toronto’s incredible diversity, history, creativity, food culture and 24–hour buzz in ways that really resonate with audiences. One of the things I love about festivals is how they can reimagine place. Whether it’s activating iconic landmarks or bringing performances to the heart of community in lesser–known neighbourhoods, festivals invite people to see their city in a new light.
My goal is for Torontonians to feel a renewed sense of pride and exhilaration in their city and for visitors to leave with a deep appreciation for its unique character”
You’ve mentioned your love for festivals around the world. Are there any that have particularly inspired you?
“Oh, so many! Tasmania’s Dark Mofo is a standout for me. It’s a winter festival that turns the coldest, darkest time of the year into something magical. People flock to Hobart to experience its edge of centre programming, which has completely transformed the perception of the city.
Ruhrtriennale in Germany is another favourite. It takes place in old industrial towns like Bochum and Essen, where they transform and cleanse disused coal mines and WW2 artillery factories into venues for groundbreaking world premieres. The way they reimagine those spaces is breathtaking. Festivals like these inspire me because they go beyond just programming; they create movements. That’s the kind of energy I want to bring to Luminato.”
Ruhrtriennale in Germany is another favourite. It takes place in old industrial towns like Bochum and Essen, where they transform and cleanse disused coal mines and WW2 artillery factories into venues for groundbreaking world premieres. The way they reimagine those spaces is breathtaking. Festivals like these inspire me because they go beyond just programming; they create movements. That’s the kind of energy I want to bring to Luminato.”
What advice would you give to someone aspiring to a career in the arts or festival curation?
My advice is to immerse yourself in as many experiences and conversations as possible. Be curious about the work of artists and the many different art forms, volunteer at festivals, and say yes to opportunities that take you out of your comfort zone. The more eclectic your experiences, the better prepared you’ll be for a career in the arts.
Finally, what’s your ultimate vision for Luminato?
Finally, what’s your ultimate vision for Luminato?
My dream for Luminato is to create a festival that lights people up. I want people to feel exhilarated, inspired, and deeply connected to their city. Whether it’s through immersive performances, outdoor installations, or collaborations with
Toronto’s diverse communities, I want every moment to feel transformative. Toronto is a city with so many layers—its history, its multiculturalism, its iconic architecture. My goal is to reflect all of that in the programming, creating experiences that invite people to see the city through new eyes. Ultimately, I want Luminato to be
a festival that ignites civic pride and leaves audiences feeling moved, inspired, and
pumped about what’s next.Â
a festival that ignites civic pride and leaves audiences feeling moved, inspired, and
pumped about what’s next.Â
Irresistible Top Tips for Sydney FestivalÂ
A Model Murder
Antigone in the Amazon
As You Like It or The Land Acknowledgment
Cao Fei: My City is Yours
Cinderella (Cendrillon)
Dark Noon
Detroit’s Music Institute – Chez Damien & Alton Miller
Emma Pask
Jalen Ngonda
Julie Mehretu
Mary Anchete Quartet
NoSax NoClar
Tina – A Tropical Love Story
Wendy Whiteley’s Secret Garden
Yaya Bey
Sydney Festival
4 – 26 January 2025
Multiple locations
24 days, over 130 events.
Luminato Festival
4 – 22 June 2025
Â
Program details will be announced in March.
