Hadestown - Australian premiere
Photograph: OA/Lisa Tomasetti
Photograph: OA/Lisa Tomasetti

Our latest Sydney theatre reviews

Time Out's critics offer their opinions on the city's newest musicals, plays and every other kind of show

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There is a lot happening on Sydney's stages each and every month. But how do you even know where to start? Thankfully, our critics are out road-testing musicals, plays, operas, dance, cabaret and more all year round. Here are their recommendations.

Want more culture? Check out the best art exhibitions in Sydney.

5 stars: top notch, unmissable

  • Musicals
  • Haymarket
  • 5 out of 5 stars
  • Recommended
The opening note of ‘The Circle of Life’ may just be one of the most recognisable in a Disney musical. If you don’t agree, then you may have to convince the entire theatre-going audience who were at Disney’s The Lion King on opening night. The full house’s roars could be heard all the way out of the Capitol Theatre’s front doors as the king of musicals triumphantly returns to Sydney – the first time in more than a decade. What type of show is The Lion King? It’s called The King of Musicals for a reason. If it’s not Elton John’s iconically recognisable music, or Tim Rice’s lyrics you’ve sung over a late-night karaoke session, then its Roger Allers and Irene Mecchi’s book featuring the characters you love, the characters you hate, and the ones you undoubtedly cry over – tears were definitely still shed during that scene. What’s so beautiful about The Lion King is the blurring of worlds and culture that merges in between all of these. Julie Taymor’s directorial conception blends African culture, language, movement and costume underneath masks and puppetry of the animal characters. Mufasa’s “crown” is a stoic, strong and towering headdress. The elegant lionesses soar and leap through the sky through Garth Fagan’s choreography as wing-like gowns flow behind them. The animals of Pride Rock are adorned with larger-than-life puppets of intricate designs and architecture: a re-engineered bicycle becomes leaping antelope, birds fly above the crowd on poles manipulated by performers,...

4 stars: excellent and recommended

  • Musicals
  • Sydney
  • 4 out of 5 stars
  • Recommended
Isobel McArthur’s Pride & Prejudice* (*sort of) strips away the intellectual exclusivity of Jane Austen’s classic, not only making it accessible to a wide variety of audiences, but also making clear the sort of tools that Austen herself was using in her original novel: gender, satire, romance, and – most of all – comedy. There’s no Colin Firth here – but there are plenty of karaoke songs to hum along to. What is the premise of Pride & Prejudice* (*sort of)? Told by the servants who work tirelessly behind the main characters within Austen’s work, we’re given a slapstick comedy version of Pride and Prejudice. Dressed in white gowns with Doc Martens poking out underneath, the five-strong cast clean their way through the audience with yellow rubber gloves and individualised accents from across Great Britain. The fourth wall is destroyed immediately – they want you to be a part of the story. After a rather disturbing entrance involving a plunger and a rather messy toilet, Elvis Costello’s ‘Everyday I Write the Book’ launches us into literary territory and the premise is set up. Though you may only know the main characters of Pride and Prejudice, there were unsung heroes helping to push the Bennet sisters along their journey towards love and stability. Now, it’s their turn to tell a version of the events, with a song or two along the way – it’s best not to reason about the artistic merits or reasoning behind this addition, just go with it. Perhaps the jumbled selection of songs...
  • Woolloomooloo
  • 4 out of 5 stars
  • Recommended
"To be, or not to be" is the question that has haunted generations, but Goodnight Sweet Prince, now playing at Sydney's The Old Fitz Theatre, asks a more contemporary one: how do you keep living when the world you have inherited feels irreparably out of joint?  Liesel Badorrek’s intimate 70-minute reimagining of Shakespeare’s Hamlet transforms the prince’s famous existential crisis into a meditation on generational grief, the mourning of not only what has been lost, but what was promised and never arrived. It begins with a deceptively simple theatrical question: who will be Hamlet tonight?  With Raj Labade(The Talented Mr Ripley, My Brilliant Career, King Lear) and Jack Twelvetree (Blackout Songs, Revolt. She Said. Revolt Again) swapping the roles for each performance, Badorrek makes the casting itself part of the drama. Hamlet becomes less a fixed character than a vessel for uncertainty, contradiction and the overwhelming weight of inheriting a broken world. What is the premise of Goodnight Sweet Prince? Rather than offering another adaptation of Hamlet, Goodnight Sweet Prince is less interested in Hamlet the play than Hamlet the man. Drawing from excerpts of monologues and scenes across Shakespeare’s most famous tragedy, Badorrek creates a portrait of a man consumed by grief, paralysed by indecision, and haunted by questions that cannot be resolved through logic alone. With Hamlet at the centre, the tragedy feels less like something he participates in and more like...
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  • Dawes Point
  • 4 out of 5 stars
  • Recommended
A new work by revered Australian playwright Jane Harrison (The Visitors, Stolen) is always one to be celebrated. Her works tackle and investigate both the past and present existence of First Nations communities, weaving a contemporary lens through which she aims to reconcile, teach and honour. The newest Sydney Theatre Company-commissioned work, Bennelong in London, is no different. Here, Harrison dissects the historical narrative of Woollarawarre Bennelong, a man who found himself in an unprecedented moment in history. At the centre of the work is a complex individual whose historical narrative has been documented by the colonisers and whose history can only truly be known by his actions. This is a play that is ultimately a conversation between generations, focusing on identity, representation and the responsibility that comes with one’s story. What is the premise of Bennelong in London? Sebastian (Guy Simon – Stolen, Holding the Man) is a contemporary First Nations actor preparing to audition for the role of Woollarawarre Bennelong (Googoorewon Knox – Hamilton) in an unnamed project. It’s clear from the outset that he can’t quite get a grip on the portrayal of one of the most significant figures in the early years of invasion as he shoots numerous takes on a precariously propped phone. Harrison’s plot takes no time in getting to the crunch – after an offhand plea to summon the spirit of Bennelong for help, Sebastian gets what he asks for in the form of the figure...
  • Sydney
  • 4 out of 5 stars
  • Recommended
Regent's Park Open Air Theatre in London has become a home for staggering visuals and reimaginings of classic musicals. The most recent touring production of Jesus Christ Superstar arrived with rave reviews and award-winning performances from its electrifying revival of the rock musical. Now, Fiddler on the Roof gets its turn for a facelift at Theatre Royal Sydney, with a backing from a stellar team whose work covers Olivier and Tony Award-winning productions.  What is the premise of Fiddler on the Roof? It’s 1905 in the fictional shtetl of Anatevka set in Tsarist Russia, twelve years before the Russian Revolution of 1917. A ghostly rise of the curtain sees Ben Adler’s Fiddler on a flat-roofed stage, the name of the village faces backwards towards the band sitting behind a high row of wheat fields. Tevye, a Jewish milkman, leads his family by their proud traditions. This means a loyal wife, visits to the matchmaker, five obedient daughters, and daily conversations with God. But this is a time of change, his daughters wish to break away from the closed community’s traditions amidst the backdrop of a changing world.  Throughout, we see more than just Tevye’s family dynamics needing to grapple with forces far greater than Anatevka can withstand.  Who are the cast and crew of Fiddler on the Roof? Jordan Fein’s direction gives ample scope for spectacle, particularly when Julian Cheng’s choreography is placed front and centre – the high-energy traditional dances are the show’s...
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