The Australian cast of 'Titanique'
Phootograph: MCG/Daniel Boud | The Australian cast of 'Titanique'
Phootograph: MCG/Daniel Boud | The Australian cast of 'Titanique'

The best theatre to see in Sydney this week

Are you in the mood for a show? Here are our picks for musicals, plays and more showing over the next seven days

Alannah Sue
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There are always a lot of wonderful things to do in Sydney. But whether it's an evening filled with razzle dazzle or cheeky matinee, there is something extra special about going to the theatre.

You can take a deeper dive by with our guide to the best of Sydney's stages this month. For now, here's our picks of the best shows to see this week.

Our top picks on Sydney's stages this week

  • Dawes Point
  • 5 out of 5 stars
  • Recommended
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 is the premise of Mackenzie? As a story adapted from Macbeth, Mackenzie (Kimberley Hodgson) is a highly talented background actress and performer on the tween program ‘The Dahlia Show’. However, blood, sweat and tears are literal here, as the weight of such a role comes at the cost of brutality, abuse and meeting network expectations at the tender age of thirteen. While in hair and make-up, both Mackenzie and her co-star Beau (Ryan González) are told of a prophecy by their make-up artist of a future where Mackenzie is promoted on ‘The Dahlia Show’ and becomes the biggest pop sensation in the world. After the promotion occurs, Mackenzie’s mother, Ruth (Nikki Britton), works with Mackenzie to take down Dahlia and help ensure her rise as the biggest pop star. However, after five years, work, guilt, youth and the misogyny of the...
  • Comedy
  • Eveleigh
  • 5 out of 5 stars
  • Recommended
Apparently, books are dying. Fortunately, Garry Starr is here to save them. Fresh from a sold-out run in London’s West End and winner of the Melbourne International Comedy Festival’s Most Outstanding Show in 2025, comic mastermind Damien Warren-Smith once again transforms into his chaotic alter ego in Garry Starr: Classic Penguins. The show lands at Carriageworks this winter with a literary adventure that’s as absurd as it is laugh-out-loud funny. Armed with little more than a tailcoat, a pair of penguin flippers – and an alarming lack of clothing – Starr sets himself an impossible mission: to perform a whole heap of Penguin Classic novels in under an hour. From Moby Dick and Dracula to Little Women, Frankenstein and The Jungle Book, no literary masterpiece is safe from Starr’s relentless visual gags and perfectly timed physical comedy as a near-naked penguin. And – wait for it – audience members are frequently recruited to help bring the classics to life. You’ve been warned. Time Out Sydney Editor Avril Treasure saw Classic Penguins last year at Redfern’s Grand Electric and says: “I don’t really like using the term ‘must-watch’, but this absurd, ridiculous, laugh-until-you-cry show is exactly that. Starr goes all-in, bush and all, in this not suitable for children homage to Penguin Classics – the funniest, silliest show I’ve seen.” Garry Starr: Classic Penguins is on from June 16 to July 5 at Carriageworks. The show contains full nudity and is strictly 18+. Tickets are...
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  • Sydney
Hop into the passenger seat and settle in for a road trip unlike any other. Making its Australian debut at the Sydney Opera House this June, Truck Driver is a compelling one-person play written and performed by multidisciplinary artist Jonny Hawkins (AKA Aunty Jonny), a familiar figure in Sydney’s nightlife and arts scene. Over 85 minutes, audiences are invited to travel shotgun alongside Bev, a fifth-generation owner-operator long-haul truck driver whose colourful stories, rough-around-the-edges humour and deeply ingrained beliefs reveal a complex portrait of contemporary Australian masculinity. So, buckle up and come along for the ride.  Says Hawkins, "The character of Bev and the ride he takes us on is a love letter of sorts to my working-class background, and the people who find themselves at the margins of society through no active decision of their own." As Bev reflects on life behind the wheel, his genial nature mixed with his confronting attitudes comes into sharp focus, distilling what happens when people spend too long inside their own echo chambers. Co-created with director Nell Ranney, Truck Driver is a companion piece to Hawkins’ acclaimed solo performance Maureen: Harbinger of Death.  Commissioned by the Sydney Opera House as part of its New Work Now program, Truck Driver runs from June 16-20 in the Studio. Standard tickets are $55 ($39 concession), plus booking fee. Find out more here. Stay in the loop: sign up for our free Time Out Sydney newsletter for...
  • 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,...
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  • Musicals
  • Darling Harbour
  • 4 out of 5 stars
  • Recommended
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.  What I did not yet understand, however, was the historical context behind the story: the execution of the Russian imperial family in 1918 and the long-standing myth that Grand Duchess Anastasia Romanov survived. The 1997 animated film leans fully into fantasy, using magic and spectacle to distance itself from historical reality. The stage musical, which premiered on Broadway in 2017 with a book by Terrence McNally and music and lyrics by Stephen Flaherty and Lynn Ahrens, takes a different approach, removing the supernatural elements in favour of a more realistic political setting. This creative decision has lingered uneasily over the production since its premiere, inviting criticism for its revisionist narrative – a species of theatrical “fake news,” further undermined by the musical’s questionable commitment to American accents. In performance, now at Sydney Lyric Theatre, this shift...
  • Darlinghurst
It’s time to paint the precinct purple! Yes, Qtopia Sydney is dialing up the glam and glitz for Pride Fest 2026, Sydney’s queer arts and culture festival that celebrates International Pride Month this June. Bigger, bolder and more unapologetic than ever, the 2026 program serves up more than 300 events celebrating queer creativity, community and connection for the entire month of June. From theatre that shocks to drag that dazzles, plus film, dance, fitness, workshops, book launches, panels, parties and pop-up restaurant takeovers – if it’s queer, it’s here. For the first time ever, Pride Fest spills out of the walls of Qtopia Sydney and takes over the entire Oxford Street precinct, transforming fab venues including The Loading Dock Theatre, Eternity Playhouse, Ginger’s at the Oxford, Universal and more into a month-long celebration of LGBTQIA+ pride. The festival kicks off with a bang at the inaugural Pride Fest Gala on June 2 – a high-energy, glitter-soaked night showcasing the best of what’s to come. This year’s headliners include award-winning cabaret icon Skank Sinatra with The Name on Everybody’s Lips (10-14 June), Nails: The Musical (June 25-27) and Juicy Riot (29 June), a high-femme variety extravaganza by Kala Gare and Victoria Falconer. Elsewhere, the program is stacked with must-sees including Homo Grown (June 1), comedian Jess Fuchs’ Feral (June 12-13), Dykes on Bikes (June 14), Saddle Club Line Dancing (June 17), and Still Proud: Honouring the 78ers (June 24),...
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  • Drama
  • Dawes Point
Fans of the Bard, we’ve got news. Two thirds of the way through a huge 2025 season, with critically acclaimed productions of Henry V and Coriolanus all wrapped up and a beloved production of Shakespeare’s most famous love story returning to the Opera House this summer, Bell Shakespeare has just released the details for its 2026 season. Next year, Sydney’s Shakespeare enthusiasts will be treated to a world premiere of Mackenzie, a new production of Julius Caesar and the return of Bell Shakespeare's critically acclaimed 2023 production of Macbeth. The first Bell Shakespeare production to light up our stages in 2026 will be a new production of Julius Caesar, opening in the Harbour City in March before touring Canberra and Melbourne. This entirely new staging will be directed by Artistic Director Peter Evans, with Leon Ford (Elvis, Hamlet) as Cassius and Brigid Zengeni (Coriolanus, The Artful Dodger) as Brutus. Next up, Bell Shakespeare will bring to life a new reimagining of Macbeth, described by the theatre as “hilarious, twisted, and deeply camp”. Mackenzie is the brainchild of award-winning creator Yve Blake in partnership with Artistic Director Virginia Gay, who have rewritten the Macbeth story with the titular character being a 13-year-old child star in the heights of early 2000s TV stardom, and Lady Macbeth her “ruthlessly ambitious stage mum”. Mackenzie will open in Sydney in June of 2026, before showing in Melbourne.For the company’s annual national tour, Bell...
  • Sydney
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...
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