The best theatre to see in Sydney this week

Ever since Graham Chapman galloped across the silver screen as King Arthur (with the help of one trusty sidekick and an even trustier coconut) the world has loved Monty Python and the Holy Grail. In 2004, original Python Eric Idle turned the show into a glittering stage musical called Spamalot and the rest, as they say, is history. With three Tony Awards in its saddlebag and global fans made among lovers of classic Python and musical theatre alike, this particular production originated with a sell-out season this year at Planet Royale in Perth. Now, it's galloping into NSW for a limited Sydney season. This time it features the likes of legendary Aussie actor and comedian Stephen Curry (The Castle) as King Arthur and celebrated theatre star Marney MacQueen as the Lady of the Lake. You'll find its first stop at Pyrmont's Sydney Event Centre from October 15-18, before it gallops to Rooty Hill's Coliseum Theatre from October 22-25. Expect plenty of love for the all-time comedic chops of Monty Python and The Holy Grail, reinforced by squires packing coconut shells and sight gags, as well as big Broadway numbers and a bunch of (non-threatening) audience participation. On second thought... let's not go to Camelot... It's a silly place.  You can get tickets for Monty Python's Spamalot here for the Sydney Event Centre (Oct 15-18) and here for Rooty Hill's Coliseum Theatre (Oct 22-25).

If you’ve ever felt the push and pull between expectation versus opportunity, then you should nab tickets to the upcoming Belvoir St Theatre takeover, A Room with a View. This stage adaptation of E.M. Forster’s timeless story is heading to the Surry Hills theatre for a month-long stay from next month, and promises a refreshed take of the original work.   In a production boasting a female-led creative team and an exciting cast, expect a modernised take on Lucy’s whirlwind journey as she navigates romance, hope and challenging social norms.  From Saturday, October 3 ’til Sunday, November 1, this book-to-stage adaptation will grace the cosy upstairs space of Surry Hills haunt, with evening sessions running from Tuesday to Sunday each week. You’ll still be met with all the best elements of the original, including the familiar Edwardian era charm and light comedic streaks. But this time, it’s contemporising the narrative that grapples with femininity, societal pressure, freedom and choosing self-expression – themes that still feel pertinent.  Co-produced with Melbourne Theatre Company, this reimagining of E.M. Forster’s classic by rising playwright and Aussie homegrown talent, Grace Chapple (Never Closer), has Hannah Goodwin (Never Closer, The Wrong Gods) directing and will feature Nathalie Morris (Bump), as Lucy Honeychurch. With tickets from $58, you can delve deep into Lucy’s experiences with womanhood, and the expectations that are attached to it, as she travels from her...

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,...

You should know the premise by now – divorced, beheaded, died, divorced, beheaded, survived all set to a fiery, feminist live band. Henry VIII’s six ex-wives reclaim their stories and their thrones in the worldwide sensation that is Six the Musical. This is the fourth time in (wouldn’t you know it) six years that the queens have graced Sydney stages, the second at the Theatre Royal. So has Toby Marlow and Lucy Moss’ Tony- and Grammy-nominated electrifying pop-concert hit lost some of its glam? The short answer is “No Way”. What is the plot of Six? What started as an Edinburgh Fringe hit went on to capture the hearts of the West End, Broadway, and beyond. At its core, Six retains those fringey roots in its tight 80-minute, one-set, one-act pop-concert musical in what is a song-cycle of the Tudor Queens turned Pop Princesses who remix five hundred years of history to win their crowns. Who had it the worst under Henry’s reign? Who deserves the most sympathy? And is it all about his-story or is it time for a bit of herstory? The beauty of Six is that it’s a star vehicle for female and gender diverse talents. Thankfully, the creative team have offered up six of the best to fangirl over, from young veterans of the stage through to mainstage debuts: Sarah Murr as Catherine of Aragon, Mia Paris Scalise as Anne Boleyn, Cara Bessey as Jane Seymour, Kadesa Honeyhill as Anna of Cleves, Angela Brischetto as Katherine Howard, and Lorinda May Merrypor as Catherine Parr. Alongside them...

Theatre fans, take note. Sydney Theatre Company – Sydney’s largest and most prominent theatre producer – has just dropped the details for its 2026 season. The beautifully varied 2026 season will comprise 13 productions, with more than 80 beloved and emerging performers set to take to the stage throughout the year. Following Kip Williams' departure from the company, the 2026 season will be the first curated by new Artistic Director Mitchell Butel, who joined STC in late 2025. Reflecting on what theatre-goers can expect in 2026, Butel described the 2026 program as a "season of dream teams: celebrating the diversity of Australian storytelling. Highlights from STC’s 2026 season will include three world premieres of brand-new Australian works, the Australian Premiere of the most awarded Broadway play of 2025, the Sydney premiere of a new Australian musical and a handful of other Australian and international plays. If you’re keen to see something new, get in line for the season’s key world premieres: Whispering Jack: The John Farnham Musical (from award-winning writer and director Jack Yabsley), Bennelong in London (by Jane Harrison, the brilliant playwright behind The Visitors and Stolen) and Strong is the New Pretty by Olivier Award-winning playwright Suzie Miller. Bennelong in London will be showing from July 24 until August 16 2026, Strong is the New Pretty will be playing from October 26 until December 5 2026, and Whispering Jack: The John Farnham Musical will be showing...

It’s been a great week for women in musical theatre. Recently, new queens of Six took to the stage at Theatre Royal Sydney for the musical’s third Sydney season. Across town at Hayes, another female-led production opened with an altogether bloodier agenda: We Are The Tigers. Both productions reflect a musical landscape increasingly shaped by pop sensibilities, spectacle and stories that put women centre stage. But where Six turns female history into a pop concert, We Are The Tigers trades the royal court for a cheerleading sleepover gone spectacularly wrong. I can’t remember the last time I saw an ensemble of nine women and gender-diverse performers command a musical with such collective force. Their chemistry, vocal blend and sheer stage presence are worth celebrating in their own right. What is We Are The Tigers about? Written by Preston Max Allen, We Are The Tigers premiered in Los Angeles in 2015 and then Off-Broadway in February 2019. The musical follows Giles Corey High School cheer captain Riley (Brianna Bishop, Grease, Hairspray), her best friend Cairo (Olivia Vasquez, In the Heights, West Side Story) and their band of misfit cheerleaders and one aspiring cheerleader-turned-mascot Reese (Caitlin McCallig). Under Riley’s L-E-A-D leadership, the team hopes to redeem themselves after last year’s spectacular flop and that viral incident. But what unfolds is more slaughter than spirit. What are the highlights of the cast, music and performances? Preston Max Allen’s...