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...
  • 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...
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