The curtain is falling on a beloved Adelaide theatre company, and it’s a moment that tugs at the heartstrings of every arts lover. Slingsby, a cornerstone of family and youth theatre, is preparing to take its final bow, leaving behind a legacy of storytelling that has touched countless lives. But here’s where it gets emotional: this isn’t just about a company closing its doors—it’s about the fragile state of arts funding in Australia and the ripple effects it has on creativity and community.
Andy Packer, Slingsby’s veteran artistic director and co-founder, reflects on this bittersweet moment with profound wisdom. 'There’s this beautiful connection between grief, sadness, and love,' he shares. 'The more you love something, the harder it is to let go, but I’d always choose the opportunity to love deeply.' Packer, who established Slingsby in 2007 to create theatre for families and young audiences, now faces the reality of saying goodbye. The company, like many others, relies heavily on federal funding through Creative Australia, and its absence has proven insurmountable.
But here’s where it gets controversial: Slingsby missed out on the latest funding cycle, and Packer admits, 'Our financial resilience is gone. There’s no clear path to secure the funding needed to thrive, and for us to receive it, another South Australian company would likely lose theirs.' This zero-sum game in arts funding raises a critical question: How can Australia’s creative sector flourish when the resources are so limited? Packer points out that while OECD countries allocate around 1.35% of their GDP to arts and culture, Australia lags behind at just 0.95%. 'So many companies are on the brink of failure because of this,' he warns.
Creative Australia counters that its funding has increased over the past decade, with $311 million allocated for 2025-26. Yet, for Slingsby, this comes too late. The company’s farewell won’t be abrupt—it’s a deliberate, year-long goodbye, culminating in a December 2027 concert titled Journey’s End at the Queen’s Theatre, where it all began. Until then, Slingsby is making the most of its remaining resources, performing three productions at the 2026 Adelaide Festival.
These shows, part of A Concise Compendium of Wonder, are inspired by timeless tales like the Brothers Grimm’s Hansel and Gretel, Hans Christian Andersen’s The Little Match Girl, and Oscar Wilde’s The Selfish Giant. 'We tell stories that explore darkness but always lead us back to hope,' Packer explains. The productions are funded through a mix of federal and state grants, donor support, and the company’s own reserves, staged at the unique Wandering Hall of Possibility in Adelaide’s Botanic Gardens—a location steeped in history, once a bear enclosure before the zoo was established.
And this is the part most people miss: Slingsby’s farewell isn’t just about theatre—it’s about environmental awareness. Packer notes, 'Young people today feel a sense of impending environmental doom, and we’re not just telling stories about nature; we’re changing how we operate to address their concerns.' When the shows tour, the company will travel exclusively by rail, road, or sea to reduce its carbon footprint. Cast member Ren Williams, a Gen Z voice, emphasizes, 'We’re always talking about the need for change, but now we’re implementing it. It’s a massive, ongoing conversation.'
As A Concise Compendium of Wonder runs until March 15, it’s a poignant reminder of what we stand to lose when arts funding falters. Slingsby’s story is a call to action—not just for policymakers, but for all of us. Is Australia doing enough to support its creative sector? And what does it say about our priorities when companies like Slingsby are forced to close? Share your thoughts in the comments—this is a conversation we can’t afford to ignore.
