Vaanie Krishnan

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.

It’s been over a week since S Shakthidaran opened his latest collaboration with Eamon Flack at Belvoir St Theatre, The Jungle and the Sea (playing at Belvoir St Theatre until Dec 18, 2022), the much-anticipated follow-up to Counting and Cracking, to praise from critics and audiences alike. And funnily enough, Shakthidaran’s life actually shares a lot of similarities with my own. We are both Tamil, Hindu and have mothers that were heavily involved in the classical artforms of our culture.  Almost everyone in our community learnt how to sing, dance or play an instrument. Our weekends were filled with music concerts and Arangetrams – derived from the Tamil word for stage (‘arangu’) and ascent (‘etram’), meaning to ascend the stage – some of which were held by Shakthi’s mother through Lingalayam Dance Company. As Shakthi reminds me, this is a “cultural habit that is built up over a couple of a hundred years.” Art for us is for everyone, by everyone – but here in Australia, it is often just for the community.  Every night of Counting and Cracking, Sri Lankan and South Asian audience members would tell Shakthi how surprised they were to see all these other people love the story. “I came to realise that a lot of migrants are their full selves at home or inside their own community, and then when they're out in wider community, or in public in Australian life, they put on a mask and perform a simulated version of themselves.” With so much to unpack, naturally I started at the centre o

Much of what we learn about love comes from the media we consume. For me, the idea of love was always intertwined with play. “Love at first sight” was an unattainable ideal that existed only on screen. Shakespeare, perhaps one of the most well-known Western and colonial storytellers, captured the complicated realities of love in ways that still resonate today: that it is meddlesome, ever-evolving and often sustained by blind faith in an unspoken kind of magic. Laura Murphy’s (The Dismissal, Zombie! The Musical) adaptation of the Bard’s A Midsummer Night’s Dream, The Lovers, leads with magic. Its music and lyrics are grounded in the modern-day sensibilities of love – swiping right, choosing frivolity over fervour, and navigating the ongoing feminist challenge of knowing oneself while giving to another – all set to the perfect pop soundtrack for a meet-cute. For the theatre-savvy, Murphy’s musical realises the promise that &Juliet only flirted with, doing so through an entirely original score that wins the audience over with novelty rather than nostalgia. What’s the premise of The Lovers? Helena (Natalie Abbott, Muriel’s Wedding, Zombie! The Musical) loves Demetrius (Jason Arrow, Hamilton), who loves Hermia (Loren Hunter, Six), who loves Lysander (Mat Verevis, The Tina Turner Musical) – a classic love quadrangle complicated by friendship, loyalty and the constraints of parental approval. When Hermia defies her father and runs off with Lysander into the magical forest, chaos ens

Every year, I wait with bated breath to see what original Australian musical the Hayes Theatre Company will put forward. In recent seasons, I’ve seen rock-singing country wrestlers, breakdancing zombies, and now – tap-dancing horses? Yes, Phar Lap: The Electro-Swing Musical gallops onto the Hayes stage with all the energy, heart and irreverent Aussie spirit you’d expect from this beloved company. Even for those unfamiliar with Australia’s horse-racing history, the name “Phar Lap” carries mythic weight – the underdog chestnut who became a national hero during the Great Depression, and whose story is forever tied to “the race that stops the nation.” This new musical takes that legend and runs with it, blending history and humour with plenty of high kicks to create a crowd-pleasing spectacle that’s equal parts hoofbeats and hope. What's the premise of Phar Lap: The Electro-Swing Musical? At the centre of the story is Harry Telford (Justin Smith, Into the Woods, The Dismissal, Dubbo Championship Wrestling), a down-on-his-luck trainer who’s never managed to produce a winner. His fortunes change when he stumbles upon Phar Lap (Joel Granger, Guys & Dolls, The Book of Mormon), a New Zealand–born thoroughbred with the makings of a champion. Sensing an opportunity, Telford strikes a precarious deal with the ever-money-hungry David Davis (Nate Jobe, Shrek the Musical). To get Phar Lap into winning form, the unlikely pair must navigate the horse’s relationship with his jockey Jim Pike (S

Nearly 30 years after it burst onto Broadway, Rent remains a landmark. It won four Tony Awards and a Pulitzer Prize, but its true legacy lies in how it blew open Broadway’s doors to the misfits, bringing ’90s rock, raw emotion and the gritty diversity of real New York life to the stage. It didn’t just reflect a generation, it shaped one. For theatre kids like me, Jonathan Larson’s words were the ones we belted backstage and found ourselves in. And it wasn’t just us, Rent inspired Lin-Manuel Miranda to write In the Heights and paved the way for the Glee generation: a wave of fans and artists who saw musical theatre as urgent, inclusive and unapologetically cool. Now, Opera Australia is reigniting that spark for a new generation with a bold, heart-filled production. What’s the premise of Rent? Jonathan Larson’s rock musical Rent follows a group of seven struggling young artists and friends trying to survive and create in New York City’s Lower East Side during the late 1980s. As the AIDS epidemic spreads and claims lives around them, they grapple with love, illness, addiction and the looming threat of eviction. At the same time, they face a growing disillusionment with capitalism and the gentrification rapidly reshaping their neighbourhood. Who makes up the cast of Rent? As in Puccini’s La Bohème, the inspiration behind Rent, the story begins with two friends: Mark (Henry Rollo, Rocky Horror Show), a struggling documentary filmmaker, and Roger (Harry Targett, Dear Evan Hansen),

On my seven-month-old baby’s bookshelf sits a brightly illustrated children’s book about Marie Curie. Its pages celebrate her love of science, her marriage to physicist Pierre Curie, and her status as the first woman to win a Nobel Prize. These are the facts most often recited, but women are rarely one-dimensional. Alongside moments of triumph, often lie moments of despair and self-doubt. It is one of those lesser-known chapters that Lauren Gunderson explores in The Half-Life of Marie Curie, a play that premiered off-Broadway at the Minetta Lane Theatre in 2019, and was later released as an audio drama on the Audible platform. The play now makes its Australian premiere at Sydney’s Ensemble Theatre under the direction of Liesel Badorrek (The Glass Menagerie). Gunderson, frequently referred to as “the most produced living playwright in America”, has a signature formula across her 20-plus plays: identify a compelling duo, hone in on a pivotal historical moment, inject sharp, rhythmic dialogue, and keep it snappy – 90 minutes or less. The result is a biographical vignette interspersed with theatrical poetry. The plays often just recount history – however, at its best, her formula  can thrillingly heighten a core emotional conflict. In this case, it’s the friendship between Marie Curie and Hertha Ayrton, and the impact these women had on each other. Though often relegated to a footnote in Curie’s story, here Ayrton commands center stage... The narrative begins at Curie’s (Gabriel

What does it take to choose your values and beliefs over those of others, and to fight for them? What does it take for a woman to be defiant – to go against what is expected of her, and perhaps even go against her own family? Fresh off an international tour of his critically-acclaimed three-hour epic Counting and Cracking (which included a special sold-out season at Sydney’s Carriageworks), S. Shakthidharan returns to the Belvoir stage with another powerful chapter of South Asian history. Detouring from the grand scale of Counting and Cracking and Shakthidharan’s follow-up show, The Jungle and the Sea, this restrained 90-minute fable is told through the perspectives of four defiant women, each of them shaped by differing values, ideologies, survival and sacrifice.  The Wrong Gods is a work of protest – it’s angry, sad, and deeply unsettled by the relentlessness of capitalism The Wrong Gods imagines the protests surrounding the controversial Narmada Valley dam project. Initiated in the late 1980s, the dam is one of the world’s largest hydropower infrastructure projects. It was intended to supply electricity and drinking water to three Indian states, but its legacy is fraught – thousands of indigenous people and villagers were displaced, ecosystems were irreversibly altered and damaged, and the project remains at the centre of sustained protests. Nirmala (Nadie Kammallaweera, who appeared in both Counting and Cracking and The Jungle and the Sea) a farmer and the head of the vi

Congratulations to Vidya Makan, who took out the Critics' Choice Best Performance in a Musical Award for her performance in Hamilton, at the 2025 Time Out Sydney Arts & Culture Awards, presented in partnership with the Sydney Symphony Orchestra. ***** It was always inevitable that Hamilton would make its way Down Under. It’s been almost three years since Lin-Manuel Miranda’s game-changing musical made its five-star Sydney debut in March 2021, and was met with overwhelming audience and critical acclaim. Remarkably, this was also the first production of the Broadway mega-hit to open anywhere in the world, following global pandemic lockdowns. A roaring success, the show went on to tour to Melbourne, Brisbane, New Zealand, and across Asia. Now, Hamilton’s back for round two. The Sydney Lyric Theatre’s exclusive return season reuniting some of the original Australasian cast with mind-boggling new talents, some of whom are making their professional theatre debut (not that you’d even guess).  So, in the year 2024, does the pop-culture hype around Hamilton maintain its heat? And can the live production withstand the test of time, especially when you can stream the original Broadway cast recording on Disney+ for $13.99? The simple answer to both questions is: yes. Although, anyone who is unfamiliar with the Hamilton lore might benefit from reading up on it beforehand (we’ve explained it briefly over here). For Australian audiences, the draw of Hamilton is not really the plot, which ho

A masterful collaboration from Western Sydney-based playwright S. Shakthidharan and Belvoir St Theatre’s Artistic Director, Eamon Flack, the internationally-acclaimed Counting and Cracking is an epic tale following a Sri Lankan-Australian family across the span of 50 years, four generations, and two continents – featuring 19 performers from six countries. It’s been five years since the play made its five-star debut at the stately Sydney Town Hall for the 2019 Sydney Festival, leaving an indelible mark on the theatrical landscape. Since then, it has toured internationally to the Edinburgh Festival Fringe and on to the UK; won several prestigious awards; and spawned a companion piece in The Jungle and the Sea. Following its Melbourne premiere and before it heads to New York for its US debut, Counting and Cracking has mounted a highly anticipated return Sydney season. The expansive new staging at Carriageworks reunites some of the original company to reprise their roles, alongside new talents. It would be easy for a show that has picked up so many accolades to become too aware of itself, perhaps seeking spectacle and opulence over its original integrity when given the opportunity to develop further. But this ambitious iteration, reimagined in the understated warehouse space, retains its humble heart – employing the theatrical form with a lived-in, child-like sense of wonder to tell a global tale of love, conflict, identity and refuge.  ...It’s a performance that can only be desc

Touted as the greatest love story ever told, Shakespeare’s tragedy about a forbiddenromance between two lovers from feuding families has inspired countless adaptationsaround the world. Its themes of undying love, fate and the duality of life and death haveinspired millions of theatre productions, operas, symphonies, literature and art. The latest take on the famous star-crossed lovers to land on the Sydney stage is a modernballet from the prestigious L.A. Dance Project, which comes with a couple of distinctivetwists. Depending on which session you attend, your “Romeo” and “Juliet” could be two men, two women, or a man and a woman. While same-sex couples are still a rare sight in the professional ballet world, this work also breaks with tradition in more ways than one. Having toured all over the world, Romeo & Juliet Suite is a site-specific thematic account of Shakespeare’s tragedy that utilises live film elements to dramatise the classic – a lá Kip Williams’ The Picture of Dorian Gray – with entertaining cinematic results. Twelve dancers represent the feuding families, with only Romeo, Juliet, Tybalt and Mercutio identified (that is, you can fill in the gaps if you know the basic plot). Much of the story’s complexity is stripped away, with the locations of events remaining nondescript, and there’s also no appearance of a disapproving parent or a meddling Friar Lawrence. The brainchild of artistic director/choreographer Benjamin Millipied (Black Swan), Romeo & Juliet Suite is

Musicals are often a product of their time. So, it is somewhat expected that the show will reflect the sentiment, the tragedy, the conflict and the beliefs of that time. What is rare, however, is when a revival of a musical manages to find that stark relevance again, as if history is repeating itself. Off the back of the celebrated Broadway revival starring Ben Platt, this new staging of Parade arrives in Sydney following a sold-out Melbourne premiere in July 2023.  First staged in 1998, Parade is based on the true story of the 1913–1915 trial, imprisonment, and lynching of Leo Frank (Aaron Robuck – The Great Gatsby: An Immersive Theatrical Experience). A Jewish man from Brooklyn, Frank was a fish out of water amongst the residents of Atlanta, Georgia, where he worked as the superintendent of a pencil factory. When he was accused of the tragic assault and murder of a 13-year-old girl named Mary Phagan (Adeline Hunter – Urinetown), the townsfolk’s prejudices and the sensationalist media coverage of the trial stirred up a storm of antisemitic tension. Witness tampering and scapegoating by the local police force led to Frank being landed with a guilty verdict, a ruling which most modern researchers strongly disagree with. Most significantly, the historic trial spurred the formation of the Anti-Defamation League, whilst concurrently initiating the revival of the Klu Klux Klan. Despite some difficulties...this show succeeds in reminding the audience that prejudice, hate, and the

Have you ever seen somebody embody joy? Someone so comfortable and proud of where they have come from, of where they are now, that they vibrate with unwavering enthusiasm? That’s what it’s like to watch Mandela Mathia perform. Lose to Win is an autobiographical work that tells the story of Mathia’s journey to Australia, or what he calls “Paradise”. From his birth in South Sudan, to the bustling streets of Egypt, to the rickety boat that brought him to Australia as a refugee, Mathia finds poetry in his smallest wins. This deeply personal performance lands at Belvoir St Theatre in 2024 after premiering at the Old Fitz Theatre in 2022 under Red Line Productions. Sharing the same warm and minimalistic staging as Belvoir's concurrent production of Nayika: A Dancing Girl, Director Jessica Arthur has kept the communal campfire feeling from the original staging, focusing the activity in a semi-circle around a simple black dance mat. Props, including traditional jewellery, clothing and other adornments sit within reach behind Mathia. Beside them, sits musician Yacou Mbaye and his assortment of wooden instruments including several different kinds of drums. We need more theatre makers like these, so that we might learn and share in the joy of what it means to lose to win. These elements create an inviting and immersive experience, but it's Mathia’s command of the monologue that calls us to attention. Interspersed with the more harrowing parts of his journey are funny quips, like which

In paintings dating back to the 18th century, the Nayika (the heroine) can be seen with her Sakhi (her confidante). In ancient Tamil poetry, songs and dance forms such as Bharatanatyam, the cherished Sakhi – the friend, accomplice, and at times, the witness – is a catalyst for the heroine to wrestle with and ultimately to accept her truth. It is thus fitting that in Nithya Nagarajan and Liv Satchell’s Nayika: A Dancing Girl, we meet our heroine (Vaishnavi Suryaprakash – Counting and Cracking) as she is reconnecting with her childhood best friend. Beginning with a meeting over over-priced entrees in Sydney, the story explores bursts of the forgotten joy and sorrow the pair shared in Chennai, India, over four formative years as our heroine learned about love, met a boy, began a relationship and ultimately escaped its perils with her own scars. Satchell and Nagarajan’s script is moving, humorous and sensitive in its exploration of heartbreak and trauma. With dramaturgy support from Nick Enright Prize winner S Shakthidaran (the creator of critically acclaimed works Counting and Cracking and The Jungle and the Sea), Satchell and Nagarajan’s script is moving, humorous and sensitive in its exploration of heartbreak and trauma. As the only actor on stage, Suryaprakash is a captivating performer – she utilises accents effectively to indicate shifts in time and place, and is infinitely expressive as a smitten 13-year-old, finding the giddy exasperation of love with ease.  On the violin

Those of us who were born during or after the early ’90s often forget that it hasn’t been that long since women were given the right to bank accounts and the means to cultivate our independence. Just twenty years prior, the options for women to get ahead were often limited to the opportunities that a man (or rather, a husband) could provide her. It is this premise that pervades Andrew Lloyd Webber and Don Black’s fairly vacuous one-woman, one-act song cycle, Tell Me On A Sunday. With a modern-day lens, it is quickly apparent that this is a man’s point of view of a woman of the ’70s – but for young women today, perhaps this production from Hayes Theatre Company and Michelle Guthrie Presents is also a reminder of how far we have come. Initially, the show that is now Tell Me On A Sunday was paired with a ballet and debuted on the West End in 1982 as a show titled “Song and Dance”. The performance made Marti Webb a household name, and the adaptation for Broadway earned her successor Bernadette Peters her first Tony Award. This formula suggests that much of the show’s success teeters on the charisma and vocal proficiency of the sole lead performer. Although often touted as perhaps Lloyd Webber’s best work musically, the show has retained the DNA of an unfinished, discarded manuscript that even an other-worldly talent cannot entirely overcome. This isn’t Hamilton’s New York where you can “be a new man”, or the “centre of the universe” described in Rent. Erin Clare (9 to 5, A Little

Whether it’s reams of snappy videos on our social media feeds, the latest binge-worthy series you’re streaming, or the laptops that drive our economic lives, sight is perhaps our most overstimulated sense nowadays. Not only are so many of us reliant on it to exist in the modern day, but through our eyes, our attention is bought. So much so, that we often begin to neglect our other senses. So what happens when our sight is taken away? How might that change how we experience a rickety aeroplane taking flight, or a spirited dinner party? Darkfield has docked at the brand new Harbour Park in Barangaroo, pulling audiences out of the digital world and crash landing them into the present with four pitch-black, multi-sensory experiences that last between 20-35 minutes (if you dare).   You will be buzzing afterwards, I know I was... Two familiar favourites that Sydneysiders had the chance to experience earlier this year – Séance and Flight – return to the Harbour City after a record breaking season, along with the local premiere of Coma and Eulogy, two entirely different theatrical experiences from UK-based creative directors Glen Neath and David Rosenberg. Each of the four experiences are set inside inconspicuous shipping containers that have been refurbished to visually set the scene for each story. So before being plunged into darkness (I mean it, you cannot see anything) you are immersed in visual clues for your upcoming journey. Beyond the immersive, sensory-overloading escapade,