Zindzi Okenyo

Zindzi Okenyo is a dynamic African Australian actor, director and singer. After graduating from NIDA in 2006, Zindzi was a member of Cate Blanchett’s Residents Company at Sydney Theatre Company for three years. In 2012 Zindzi toured Europe and the USA with A History Of Everything and began as a much-loved presenter on ABC’s iconic children’s program Play School. In 2022 Zindzi joined Melbourne Theatre Company as part of the twelve-member cohort of Artistic Associates in an industry-first consultation capacity across two years. She has performed for most of Australia’s major theatre companies and recently began directing for Sydney Theatre Company, Melbourne Theatre Company, Malthouse, Griffin and Darlinghurst Theatres.

Zindzi’s directing credits for Sydney Theatre Company include the Australian premiere of the Pulitzer Prize-winning play Sweat by Lynn Nottage, Assistant Director on Death of a Salesman and Associate Director to Wesley Enoch on A Raisin in the Sun. Most recently, she directed the Australian premiere of Branden Jacobs-Jenkins’ Purpose, which was the most awarded new American play of 2025, winning the Pulitzer Prize for Drama, New York Drama Critics’ Circle Award, and the Tony Award for Best Play. For Melbourne Theatre Company, Zindzi has directed the premiere season of Kirsty Marillier’s Destiny and co-directed with Shari Sebbens Is God Is (a co-production with Sydney Theatre Company). Other credits include co-directing with Shari Sebbens the acclaimed production of Seven Methods of Killing Kylie Jenner. This was a co-production between Green Door Theatre Company and Darlinghurst Theatre Company which went on to a season at Malthouse Theatre. Zindzi directed Orange Thrower for Griffin and Choir Boy (co-directed with Dino Dimitriadis) for National Theatre of Parramatta.

Upon first reading this text I was taken aback by its intellect and density. There is a relentless quality to the experience of the central character Ruth and the text drives it’s way forward, backing her and its audience into a corner. As I delved deeper I could see the humanity peeking through, like a crack of light as another day begins there was a spaciousness behind all the intensity. This piece is so relevant in 2026. Yes of course because it deals with identity politics and the polarisation that can occur in these spaces but more so because of the seeking of that spaciousness. For me, the beauty of this piece is the humanity that sits stifled underneath and that for a clearer, brighter future we all need to be able to seek humanity in the every day, remaining open to the possibility that ‘us’ may in fact be closer to ‘them’ than we could ever imagine.

– Zindzi Okenyo

To be advised.

Subject to change during the development of a production.