Nathan Wright is choreography royalty. A true blue theatre juggernaut whose work spans the grandest stages, from Olympic ceremonies to West End musicals. Yet, he thrives equally in the intimacy of Teatro at the Italian Forum in Leichhardt.

Co-founded with Andrew Bevis, Teatro Sydney’s newest theatre, and this vibrant 300-seat cultural hub is quickly becoming a home for professional productions, fringe theatre, and workshops. Teatro launches with a big bang, opening its inaugural season with the delightfully dark The Addams Family.

Nathan is also the co-founder of THEatreBRIDGE, a program dedicated to nurturing emerging performers. We instantly connected over our shared passion for nurturing young artists and for storytelling that captures audiences. His energy, humour, and vision for dance, theatre and Teatro are truly inspiring.

So, without further ado, here’s Faith’s Top 5 with Nathan Wright. Let’s get clicking!

Q1: Teatro is opening as Sydney’s newest theatre. What makes it special to you, and what vision do you and co-director Andrew Bevis share for its place in the Sydney’s theatre landscape?

Teatro is incredibly special to us. We hope this theatre becomes a vibrant, eclectic hub for Sydney’s arts scene. After years of working overseas, we wanted a space where we could create the work we are passionate about and showcase emerging talent.

We searched for a space for five years. Finding this theatre was extraordinary; it had all the infrastructure we needed without additional costs. Rehearsal rooms, backstage areas, kitchens, a bar, and a box office. Andrew and I invested our own money, and it is solely our responsibility, which is terrifying but exciting.

Our vision for Teatro is to program a broad range of work – musicals, plays, cabaret, comedy – and to create a professional community and training ground in all aspects of theatre. We want to educate younger audiences, make theatre accessible, and give artists opportunities they might not otherwise have. THEatreBRIDGE, our program for young performers, was our first step in 2023 and the talent deserved a professional platform.

Q2: You’re opening Teatro’s inaugural season with The Addams Family. Why was this the right show to launch with? How did you capture its gothic quirkiness while keeping it fresh?

I have always loved The Addams Family. October aligns with Halloween, making it the perfect family show where everyone can enjoy the laughter, singing, dancing, acting, and costumes. The cast from our THEatreBRIDGE program fits perfectly. Our design and presentation lean into a vaudeville-inspired style, creating a visual and theatrical experience that honours the original while introducing fresh angles.

It is accessible for younger audiences and their families, especially those who have discovered the Addamses through Netflix’s hit Wednesday, and delivers a slightly dark, funny, and impressive take that captures the quirky charm audiences expect.

Q3: You’ve choreographed on the grandest of scales – from Olympic ceremonies, working with Baz Luhrmann on Elvis and Moulin Rouge, to West End musicals such as The Rocky Horror Show. How does working in Teatro’s intimate 300-seat theatre shape your approach

Working in a 300-seat theatre is unique and exciting because it demands invention. You have to be creative since we do not have millions in the budget, and theatres like this require ingenuity rather than relying on high-tech gadgets. Theatre at this scale is personal and intimate; the audience is close, so you can focus on subtlety, storytelling, and engagement.

Even with Olympic-level experience, I treat every job as if it is the greatest I will ever do. So it’s all relative. What matters is creating something exciting for audiences and the community, maximising impact within the space, treating every performance with care and attention, and using creativity to make the production feel as grand as any large-scale spectacle.

Q4: Choreography does not exist in isolation. How do you like to collaborate with directors, designers, and performers to make movement feel fully integrated into the story?

I am extremely collaborative. I don’t believe I have the best ideas for everything, so I work closely with directors, designers, and performers. We have built a transparent, open forum where everyone’s ideas inspire each other. Some moments that started as ridiculous suggestions four weeks ago are now in the show.

Looking back, a turning point in my career was learning from Australian choreographer John O’Connell, known as Cha Cha. He cast me in the film Moulin Rouge in 1999. He taught me that dance is about storytelling first – the steps are secondary. He encouraged me to trust my instincts, return to fundamentals, and embrace uncertainty.

That mentorship shaped my approach to creation and taught me the value of collaboration, experimentation, and trust. It also informs how I teach and mentor others now: you have to be around the right people, embrace discomfort, and know that learning happens through experience, not just instruction. Improvisational collaboration is where the gold happens. People take risks, inspire one another, and the final product is richer. I love bouncing ideas off others, problem-solving together, and building a shared vision. That collaborative energy is where the magic happens.

Q5: You have co-founded THEatreBRIDGE to nurture emerging performers. Why is developing young artists so important to you?

It so important to share knowledge and experience. There are many training options, but we wanted an expansive, transparent program with the best teachers, offering honest, positive experiences while also reflecting the realities of the industry. We aim to give these artists opportunities to work in a professional setting, applying their training on stage. It is about building their tool belt -practical skills, professionalism, and lifelong skills to take into their careers. Teaching and mentoring reinforces the fundamentals and prepares them for the realities beyond training programs.

Bonus Question: What question were you secretly hoping I would ask, and what is your answer?

• Why did Andrew and I go into business together as partners of 18 years?

The answer is trust and shared vision. We can be honest with each other, support each other through disagreements, and push each other creatively. That partnership has allowed us to achieve more than we could individually, and it is central to making Teatro what it is today.

For information about Teatro see: https://teatroitalianforum.com.au/about-us/
The Addams Family opens 3 – 26 Oct 2025. See: https://teatroitalianforum.com.au/date/the-addams-family/

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