The best shows to see in Sydney this month

I had high expectations – I won’t lie. As a literary and theatre purist, I am always a little wary of adaptations, but the mix of Y2K child star culture with Shakespeare’s Macbeth had me curious. I mean, what could explore power and unchecked ambition more than the kingdom of Hollywood? Virginia Gay’s modern adaptation, Mackenzie, not only raised the bar but crushed it into rhinestones and scattered it across the stage. This fabulous Bell Shakespeare production, now on at The Neilson Nutshell in Walsh Bay, plays with power without ever wavering from its camp and comedic register. Gay has reminded us that camp, done right, is that serious.

What do you think of when you hear "barbershop quartet"? I doubt many would answer "a trans-led, independent Australian barbershop quartet musical"... but that's exactly what Sheanna Parker Russon (No Love Songs for Lady Basses) and Lillian M. Hearne (Natasha, Pierre & The Great Comet of 1812) have conjured up for Griffin Theatre's Lookout Program, now playing at Belvoir's Downstairs Theatre.

From the creators of the acclaimed 'Counting and Cracking' comes 'The Jungle and the Sea', a powerful play exploring the human cost of the Sri Lankan Civil War – and it’s returning to Belvoir this July. The production follows Gowrie, a mother searching for her estranged son amid escalating conflict, while fighting to keep her family together as violence tears their world apart. Drawn from real-life testimonies and woven with elements of the Mahabharata and Antigone, this moving and deeply human story examines loss, love, survival and the search for justice. Written and directed by S. Shakthidharan and Eamon Flack, 'The Jungle and the Sea' will run from July 11 to August 2.

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.

Anastasia (1997) was among the first musical films I knew in its entirety. While many children frolicked to Timon and Pumbaa’s playful anthem in The Lion King, I was instead reenacting “Once Upon a December” in my living room, captivated by a heroine whose quiet determination carried her through danger and uncertainty. At the time, I could not have anticipated how deeply this film would shape my relationship with musical theatre. “Journey to the Past” soon became a staple audition piece, and Anya’s unwavering belief in her own worth quietly informed my own developing sense of confidence.