Few creatives shape Australian musical theatre with as much consistency, humanity and quiet brilliance as Cameron Mitchell. With more than 30 years in the industry — spanning performer, choreographer, director and artistic mentor — he has become one of the most trusted hands in the business.
This summer marks a particularly extraordinary moment in his career: SWEET CHARITY for QPAC followed swiftly by the Sondheim celebration PUTTING IT TOGETHER at Sydney’s Foundry Theatre and the 2026 Hayes Theatre revival of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING.
It’s a dazzling trifecta — and yet, in true Cam fashion, he approaches it with humility, humour, and an artist’s deep respect for story.
“Being invited to direct this show set off all the fireworks in my brain.”
PUTTING IT TOGETHER, devised by Stephen Sondheim and Julia McKenzie, offers a treasure chest of the composer’s finest work. When Cameron was approached to direct and choreograph the new Australian staging, he didn’t hesitate.
“The idea of working on a Sondheim retrospective set all the fireworks in my brain. And to be honest, just being invited to direct set off my emotional spark — it’s truly an honour.”
But Sondheim revues can be abstract by nature. Cameron wanted connection. A world you can step into. A reason for the songs to feel lived, breathed, embodied.
The production is set at an elegant, all-night cocktail party in an Upper East Side apartment — and the audience is invited inside.
“It can be difficult to maintain the narrative in some revues. I wanted to create the atmosphere of the cocktail party and for the audience to feel that they are also in the apartment in New York.”
That vision finds its perfect home at The Foundry Theatre, a space known for intimacy and immersive proximity.
It is a great space for intimacy. With this show there are a lot of solo songs where the audience can really feel the emotion as well as the humour. It’s going to be great for that connection.”
A dream cast — five of Australia’s finest
Caroline O’Connor. Michael Cormick. Bert LaBonté. Nigel Huckle. Stefanie Caccamo. It’s the kind of casting directors fantasise about but rarely get to realise.
“What a cast, hey!!! We are so lucky.”
Yet even with performers of this stature, Cameron’s approach remains grounded, collaborative and deeply respectful.
“I approach it the same way I do with any cast. We work together with the material to create the best show we can.”
And with a retrospective that spans Sondheim’s greatest hits, he finds himself inspired at every turn.
“I get to work with songs from all the shows — the best of the best if you will — so I’m inspired by them all.”
Honouring the masters: Fosse, Sondheim and the lineage of musical theatre
While PUTTING IT TOGETHER anchors his summer, Cameron is also steering another giant of the musical theatre canon: SWEET CHARITY at QPAC.
Balancing Fosse’s unmistakable stamp with his own directorial identity is both challenge and privilege.
“This is the challenge! I’ve watched so many productions, and the movie countless times. As well as performing in Chicago. The Fosse vocab is in my DNA — it’s just a matter of honouring the material and telling the story.”
He lights up when speaking about leading lady Loren Hunter, who steps into the iconic role of Charity Hope Valentine.
“Loren is the perfect Charity. She is a true triple threat and has the humour and vulnerability the role requires. She is going to be terrific.”
What draws him to HOW TO SUCCEED
In 2026, Cameron brings HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING to the Hayes Theatre — a return of one of Broadway’s most beloved and razor-sharp musical comedies.
“It’s been so long since this amazing show has been seen in Sydney and it is one of the best and beloved in the musical theatre canon. Its story and message still hold true today.”
The Hayes is renowned for intimate, re-imagined interpretations. Cameron is careful with this responsibility.
“The book of How To Succeed is so strong. We will tweak little things for a modern audience and some of the language for 2026 of course, but I’m not setting out to revolutionise the show. I have a few ideas — you’ll just have to wait and see.”
On being “the busiest man in the business”
With three major productions rolling simultaneously, Cameron is often asked how he manages the workload, the mental shifts, the creative stamina.
His answer is beautifully simple:
“I don’t really have a particular answer. I’m so lucky to have worked for so long, on so many shows and genres. I just focus on the job at hand and immerse myself in its world.”
The humility is characteristic. The discipline hard-earned.
From performer to director: leading with humanity
Cameron started his career in 1983 as a performer — before becoming a choreographer and, later, one of Australia’s most sought-after directors.
He credits those early years with shaping the way he leads today.
“As a performer I worked with some of the best choreographers and directors whose manner and process were amazing — as well as some of the most difficult, whose approach was maybe not so great. I remember that I was one of them, and build an atmosphere where everybody feels safe.”
For Cameron, the rehearsal room must be a place of trust, courage and shared artistry.
What keeps him inspired after 42 years in the industry
His passion has never dimmed. In fact, he works actively to keep the creative spark alive.
“I walked into my first audition in 1983 and somehow I knew that day that this is what I wanted to do with my life. I constantly look for things to inspire me — documentaries, interviews, biographies, anything to keep that spark alive because it’s what makes me the happiest.”
This is a man who still loves the work — truly, deeply, wholly.
Advice for the next generation
Cameron’s final message for emerging dancers and creatives is a masterclass in humility and longevity.
“Listen and learn — it’s the best advice I ever got. Knowledge really is your power. I was always hungry for information about what came before. You can never know enough; there is always more to learn.”
PUTTING IT TOGETHER
6 January – 15 February 2026
Foundry Theatre, Sydney
Tickets via Ticketmaster
Cameron Mitchell Bio
Cameron Mitchell has worked in the entertainment industry for over 30 years, beginning in musical theatre before becoming one of Australia’s most sought-after choreographers & directors.
Musical Theatre choreographic credits include Heathers the musical, High Society, The Fantasticks, Mack & Mabel, Big Fish, Brigadoon, The Rover, The View
Upstairs, Calamity Jane, High Fidelity, Gypsy, Cry-Baby, Spamalot, Urinetown the Musical, and Friends the Musical Parody.
In 2019, Cameron made his directorial debut with the acclaimed Australian premiere of Catch Me If You Can. He went on to direct Singin’ in the Rain (QPAC), To Barbra with Love (MSO), and Menopause the Musical (SK Entertainment).
He won Best Director and Best Choreographer at the Sydney Theatre Awards for Nice Work If You Can Get It. Most recently, he has worked as Associate Director and Choreographer on the hit Australian premiere of Titanique, and as Choreographer on Calamity Jane for Queensland Theatre and Sydney Opera House.
