The best shows to see in Sydney this month

"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 and Jack Twelvetree 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.

Dust off your sequins – a glittery-as-heck night of disco, circus and cabaret is taking over the Sydney Opera House this winter. Showing in the Studio from July 24 to September 13, Velvet Inferno is the very sparkly new evolution of the hit Australian production Velvet, promising wildly impressive acrobatics, powerhouse vocals and a solid soundtrack of disco anthems.

The brilliant Marcia Hines will own the role of The Diva, with beloved multidisciplinary star Brendan Maclean taking on the fan-favourite role of Country Mike. Joining the Velvet family for the first time is singer-songwriter KYE as Gloria, whose coming-of-age story unfolds beneath a sparkling Studio 54-inspired mirrorball. The circus line-up is just as impressive. Expect next-level hula-hooping from Craig "Hula Boy" Reid, the Australian debut of Ukrainian roller-skating duo Duo Stardust, plus terrifyingly impressive aerial performances from Oleg Tatarynov and Zoe Marshall. Hyper-talented vocalists Emma Feliciano and Mateja Sardelis round out the cast.

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.

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.

"They're creepy and they're kooky / Mysterious and spooky / They're altogether ooky / The Addams Family." If you love that jingle and the famously freaky family associated with it, you'll be thrilled to know that The Addams Family is haunting Hayes Theatre, Potts Point until August 9. Cue dark humour and death stares in this in this Gothic musical comedy where love, family and chaos collide. Brought to life by the acclaimed team behind The Producers, this new production is directed by Julia Robertson (The Producers, Metropolis) and choreographed by Shannon Burns (Gutenberg! The Musical, The Producers). Based on the beloved characters created by cartoonist Charles Addams, the musical follows Wednesday Addams as she falls for a “normal” boy – forcing the wonderfully weird Addams clan to confront love, acceptance and the awkward business of meeting the in-laws.

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.

There’s always a lot going on at Sydney’s favourite house. So much so that it can be hard to keep track – with new headliners dropping every other week, and huge events taking over the various venues seemingly out of nowhere. Keen to go to a show under the sails over the next few months? We’ve rounded up a few top picks in the Sydney Opera House winter to spring season.