Candy Bowers is a radical mischief-maker born of South African political refugees.

The youngest of three talented sisters, Candy was accelerated into coolness by being left in the band vehicle throughout her formative years. Her sisters played in an indie group in the 90’s called SPDFGH and supported the likes of the Breeders, Elastica and Porno for Pyro’s. Mobile phones weren’t a thing back then, so she spent her time practicing Shakespearean sonnets and reading Jane Austen novels, or as she puts it “exploring her whiteness.”

An early lyricist and playwright, her first work “The Rap Nativity” was elevated from School Hall to main street Mall in December of 1993… and she’s been pulling numbers ever since.

Of course Candy’s migrant mum wanted her to use her smarts for good and follow in the footsteps of her badass Statesman Grandfather, Sonny Leon (he has a Library named after him in South Africa y’all), but this chubby-thighed bae had her heart set on a life in the Theatre (cue Gershwin strings.)

Candy went on to study acting at NIDA, and consumed the syllabus of almost exclusively white European, American and Australian, mainly cis-male, theatrical giants with some dismay. She graduated with a swag of ethnic stereotypes (sex workers, mamas, old hags) under her belt and hit an industry even more anti-fat and anti-black than she could have imagined. 

Good news, Candy survived that systemic BS by vowing to dismantle, blow up and reclaim the all the spaces her booty had been squashed or denied entry. 

First stop, Sista She, a queer hip hop comedy act that she created with her musical improv buddy Sarah Ward. Next she launched her solo works Who’s that Chik? and Australian Booty and then her kid’s hip hop show MC Platypus and Queen Koala’s Hip Hop Jamboree. She created Black Honey Company with her big sister Kim Busty Beatz Bowers produced Hot Brown Honey Burlesque. 

Her efforts and popular appeal did not go unnoticed and she began to be cast in main stage productions including as Came in Katori Hall’s the Mountaintop for Queensland Theatre Company and the Ring Master/ Vocalist for Circus Oz. Candy was then commissioned to adapt Shakespeare’s Twelfth Night by Queensland Theatre Company and to create a new work for young people by Campbelltown Arts Centre. Twelve, A Soul Musical from the Streets is ready for a Broadway (come at me) and One the Bear has already toured, C-A-C, La Boite, Arts Centre Melbourne and the Sydney Opera House. In 2016 Candy had her comedy debut on free-to-air TV because Australia finally allowed black Australian women from the African Diaspora on television. (Jokes!!!! there were at least five AWftAD on Aussie TV just never at the same time.)

Candy is now hanging in Hollywood as she was chosen to partake in the extraordinary Talent USA/ LA program and also nabbed the brilliant Mentor/LA Comedy Showrunner spot. She is attached to the Black-ish spinoff Mixed-ish and lives to nag her US Mentor Peter Saji- who absolutely loves how weird she is. Truly. Also, the white writers are the diversity hires on the show, which is a nice change. 

Candy is currently working on a short form comedy series based on her visual artwork King Shit and Lady Muck and turning One the Bear into an animation series. She has a feature on the boil with Rob Connolly’s Arena Media and does acting when her playwriting royalties run out, which is often.

She writes for SBS voices and has a couple short stories and poems featured in She’s Having A Laugh (Affirm Press), Growing Up African in Australia and Queerstories (Hachette).

Right now Candy is plotting new ways to steal more roles from cis-men because gender is not a thing. She’s trying to catch the attention of Lin Manuel Miranda, Taiki Waititi, Issa Rae, Trevor Noah and of course Lizzo. To be crystal clear, if Lizzo asks her to be a back-up dancer on tour EVERYTHING WILL BE PUT ON HOLD. 

Peace Out.