The best shows to see on Sydney stages this week

Ray is a farmer. Ray is dying. Ray is falling in love. Ray has had a tough year. Ray mourns his wife. Ray meets his wife. Ray doesn’t want to live in a nursing home. Ray’s kids don’t understand him. Ray doesn’t understand why the world won’t let him live his life. Ray, played with impressive physicality and nuance by veteran actor Colin Friels, is the central figure of Into the Shimmering World – a new work commissioned by Sydney Theatre Company that makes the intimate epic, seesawing back and forth in time but remaining locked in space. The main arena of conflict is the family farm that Ray and his wife, nurse Floss (fellow veteran Kerry Armstrong) have run their entire adult lives. It’s a hard existence, but a rewarding one, contending with droughts, floods, fluctuating markets, and unruly neighbours (one dubbed “The Crook” remains an unseen presence, but a constant source of grievance).  Written by 2020 Patrick White Playwrights Fellow Angus Cerini and directed by STC’s Director of New Work and Artistic Development Paige Rattray, Into the Shimmering World is a study of Australian masculinity – as were the previous works in Cerini’s Australian gothic trilogy, The Bleeding Tree and Wonnangatta. In many ways this play is a study of stoicism, its strengths and its limitations. The laconic Ray meets every challenge with a resigned determination that borders on fatalism, an attitude that has served him well for decades. But the sons his work put through university don’t want to

Whether arriving via a luxurious water taxi or taking a leisurely stroll through the Royal Botanic Gardens, the journey to Handa Opera on Sydney Harbour is as picturesque as the setting itself. Each year, a vibrant theatrical hub emerges, complete with a five-storey pop-up bar and dining venue with a variety of offerings, ranging from cheerful pizzas, hotdogs and pies to decadent three-course feasts. This annual event embodies the very essence of spectacle, and this year's performance of West Side Story (which makes an anticipated return to Mrs Macquries Chair after its 2019 debut) wows us while compelling us to wrestle with the stark relevance of its themes, both to Australia’s own history and the turf wars at play globally. Leonard Bernstein and Stephen Sondheim’s classic musical masterpiece West Side Story debuted on Broadway in 1957 and most recently got the Hollywood treatment by Steven Speilberg, to seven Oscar nominations. It’s a modern take on Shakepeare’s well-known tale of star crossed lovers, Romeo and Juliet, set in the Upper West Side of Manhattan, New York City, during the 1950s. The Jets, a gang of All-American boys, are in a turf war with the Sharks, the new Puerto Rican immigrants on the block. When Maria (Nina Korbe) – the sister of the Sharks’ leader, Bernardo (Manuel Stark Santos) – and Tony (Billy Bourchier), a former Jet, lock eyes at the local dance, the rivalries escalate. You might assume that the open-air ambiance would diminish the impact of the ove

Australian acting legend Hugo Weaving returns to the stage for this epic story, joined by one of Ireland’s greatest actors, Olwen Fouéré (Terminus). In a first-time co-production, Sydney Theatre Company has joined forces with Dublin’s renowned Gate Theatre to mount this new adaptation of Thomas Bernhard’s visionary touchstone of twentieth-century playwriting, The President. This unmissable theatrical event arrives at Roslyn Packer Theatre (playing April 13–May 18) direct from its premiere season in Dublin, and marks the first time Bernhard’s play has ever been staged for Australian audiences. In this dark comedy, Weaving and Fouéré play the President and First Lady of a small, unnamed country, whose regime is under siege. Despite a revolution brewing right outside their front door, the couple seem frozen in time. What follows is a mysterious trip into a complicated marriage and an unravelling political system. Joining the leading powerhouse duo is an exceptional Australian and Irish cast including Danny Adcock, Helmut Bakaitis, Tony Cogin, Alan Dukes, Julie Forsyth and Kate Gilmore.STC’s artistic director, Kip Williams says: “It's a phenomenal opportunity for audiences in both cultures to see this great play, but also for artists from both cultures to have their work seen on either side of the world. So I'm hugely excited for this, it's going to be an electric night of powerhouse performance.” Stay in the loop: sign up for our free Time Out Sydney newsletter for more news, t

This is it, we have found the yassification of Shakespeare. Fuelled by a playlist of certified pop hits, this jukebox romp billed as “the greatest love story ever remixed” poses a simple but provocative question: What if, instead of joining Romeo in eternal slumber, Juliet decided to live? A contagiously joyous musical spectacular, & Juliet has finally landed at Sydney’s Lyric Theatre after being met with critical acclaim on Broadway and the West End, not to mention the rapturously received Australian debut in Melbourne.  Filled with sing-a-long-able chart-topping bangers made famous by the likes of Britney Spears, The Backstreet Boys, Katy Perry and more from the songbook of Grammy-winning Swedish songwriter/producer Max Martin, the Aussie cast is overflowing with talent in this feel-good, flashy production. & Juliet is Shakespeare remixed for the girls, the gays and the theys... [but does it] really cut it as the feminist reclamation that we are promised? Will you be entertained? Absolutely. Does & Juliet set a new standard for jukebox musicals? Yes. Will you see one of the most diverse and charismatic casts of triple-threats ever assembled on an Australian stage? Heck yeah. Does the story deliver on the feminist retribution we are promised? Not quite. “What if Juliet didn’t kill herself?” Anne Hathaway (played by the enthralling Amy Lehpamer) posits to her husband, William Shakespeare (the ever-charming Rob Mills). “She’s only ever had one boyfriend, and frankly, the endi

What would you do if you were struggling to afford to pay your rent, gas, and electricity bills, only to discover that you’ve been priced out of paying for basic groceries too? When the quick-witted Antonia (the prolific actor Mandy McElhinney – who, yes, is also “Rhonda” from those insurance ads) and her fellow weary housewives discover that prices at the local supermarket have doubled overnight, their shopping run erupts into a revolt. The women begin to loot – or, as Antonia would describe it, “liberate” – food off the shelves. When the excitement is over, Antonia finds herself back home with a random assortment of fruits and vegetables, dog food (she doesn’t own a dog), canary pellets (she doesn’t own a canary) and rabbit heads. She enlists the help of her neighbour Margherita (Emma Harvie) to hide the stolen goods from her moralist husband Giovanni (Glenn Hazeldine), a staunch unionist who’s a stickler for rules and due process. The supermarket riot sets a ripple effect of absurdity in motion, ranging from a briny phantom pregnancy with added  “womb olives”, to an unconscious cop with a flatulence problem – and that’s just the highlights.  ...simultaneously leaves you wheezing from laughter and slightly deaf from the roars of others No Pay? No Way! is two hours and twenty minutes of comedic gold. Marieke Hardy’s laugh-out-loud political satire initially premiered with Sydney Theatre Company in February 2020, before it was plagued by lockdowns. But with the way that the

For many of us, our first introduction to The Rocky Horror Show involved a beaten up VHS tape and an exhilarating brew of conflicting feelings about Tim Curry’s iconic fishnet-stocking-clad role as Frank-N-Furter – the cross-dressing mad scientist alien from Transsexual, Transylvania. Beyond its immortalisation in the cult classic 1975 film, this rollicking rock’n’roll musical has been continuously on a stage somewhere in the world ever since it premiered to a small London audience in 1973 – and while today’s slick mainstage productions are a far cry from its grungy roots, there’s still no denying the appeal of doing ‘The Time Warp’ again. After touring around the country, Australia’s 50th anniversary production of Rocky Horror has taken a jump to the left (and a step to the right) to land back at Sydney’s Theatre Royal, about a year after it premiered at the same venue in the same month as Sydney WorldPride, with a couple of notable cast changes this time. It appears that the time on the road has done this company a world of good; the cast take to the stage with a more relaxed and playful energy as they tackle this risqué, silly, borderline-pantomime musical.  Former Australian of the Year and Paralympian Dylan Alcott is a delight to witness in his stage acting debut as The Narrator. With good humour, an ability to roll with the punches, and an injection of signature charm, Alcott nails the difficult-to-pin-down prerequisites to fill this role. The Narrator must be someone a

Few musical references are as iconic as those from Grease. A simple "rama lama lama" or "a wop ba-ba lu-bop a wop bam boom!" may invoke joyful nostalgia, transporting you back to the first time you witnessed John Travolta's gyrating hips or “our” Olivia Newton-John's sweet Sandy smile. For me, it takes me back to my own high school musical experience. With my Pink Lady jacket and Pink Lady sunglasses, the Grease stage is where I first forged my life-long love affair with musical theatre and the passionate community that came with it. That is what musicals are forged on: passion – and this production of Grease: the Musical at Sydney’s Capitol Theatre has an infectious amount of it. Before the 1978 film adaptation cemented Grease’s place in the global pop culture consciousness, this show set in the working-class youth subculture of 1950s Chicago was first staged in 1971. Like any rebellious teen tale, Grease tapped into the angst of young people of the time; it had a '50s style and a '70s attitude. Everyone wanted to be as cool as Kenickie (played here with delectable zeal by Keanu Gonzalez, who has also appeared in Hamilton and West Side Story), as bold as Rizzo (the eye-catching triple threat Mackenzie Dunn, as seen in Hairspray), or as sweet as the nervous Doody (Tom Davis). There were definitely elements of my high school production that built my confidence, brought me out of my shell, and changed my perspective – but the plot wasn't one of them. The musical numbers were jo

This year, I am learning to be less. It might sound counterintuitive, but I promise this is a positive thing. Instead of being responsible for everything and everyone around me, on my own, because “no one else can do it”, it helps to remember that I am made up of all the people I have ever met. With the outrageous amount of plays, books, essays, etcetera, penned by him, Louis Nowra seems like he could be one of the bigger personalities in the world. But after watching his theatrical alter-ego “Lewis”, of The Lewis Trilogy, it seems even he aspires to be less – to be part of a whole, rather than one big thing on his own. A fittingly extravagant goodbye to the SBW Stables Theatre – home of Griffin Theatre Company, in its current form – The Lewis Trilogy is a loaded triple-bill (five hours of theatre in total!) that spotlights the work of a legendary Australian playwright and his beloved adopted home city of Sydney. This nostalgic and immense production is as much a love letter to the writing of Louis Nowra as it is to the spirit of Kings Cross, to Aussie theatre, and to community, wherever we may find it.  ...the magic of The Lewis Trilogy is that there’s a way to find yourself somewhere in the expanse of it all. The Trilogy is a collaboration between Griffin’s Artistic Director Declan Greene and Louis Nowra himself, associate directed by Daley Rangi (Takatāpui). It brings together Nowra’s two hit 1992 works Summer of the Aliens and Così, and his 2017 return to writing for the

It's been almost 27 years since a certain bespectacled boy came out from under the stairs and learnt of his snake-conversing, broomstick-flying, billions-making powers. And he's as popular now as ever, spawning films, spin-off films, toys, games, apps and multiple stage adaptations – only one of which is, well, actually authorised. Whether you missed Melbourne’s record-breaking four-year run of Harry Potter and the Cursed Child, or you’re just looking to fill the void, Potterheads are in for a treat.  Who wants to sit through six hours of theatre anyway? Potted Potter – the hilarious show that condenses the entirety of the Harry Potter series into a tight 70 minutes – is ready to reunite Aussie audiences with the antics of Harry, Ron and Hermoine. (We are assuming show creators Daniel Clarkson and Jeff Turner glide over a lot of the endless camping that takes up an enormous amount of Deathly Hallows.)  The show has been touring for more than 15 years, and has even played Off Broadway and on the West End. Returning to Australia for the fifth time, the tour will kick off at the Canberra Theatre Centre from April 4–7 before heading to Sydney’s Seymour Centre from April 12–21, and finishing up at Melbourne’s Athenaeum Theatre from April 24–May 5. So go on, relive Harry's days at Hogwarts. And although the show wasn't written by You Know Who, what it lacks in intellectual property compliance it more than makes up for in laughs. We're pretty sure Fred and George Weasley would appro

Those of us who were born during or after the early ’90s often forget that it hasn’t been that long since women were given the right to bank accounts and the means to cultivate our independence. Just twenty years prior, the options for women to get ahead were often limited to the opportunities that a man (or rather, a husband) could provide her. It is this premise that pervades Andrew Lloyd Webber and Don Black’s fairly vacuous one-woman, one-act song cycle, Tell Me On A Sunday. With a modern-day lens, it is quickly apparent that this is a man’s point of view of a woman of the ’70s – but for young women today, perhaps this production from Hayes Theatre Company and Michelle Guthrie Presents is also a reminder of how far we have come. Initially, the show that is now Tell Me On A Sunday was paired with a ballet and debuted on the West End in 1982 as a show titled “Song and Dance”. The performance made Marti Webb a household name, and the adaptation for Broadway earned her successor Bernadette Peters her first Tony Award. This formula suggests that much of the show’s success teeters on the charisma and vocal proficiency of the sole lead performer. Although often touted as perhaps Lloyd Webber’s best work musically, the show has retained the DNA of an unfinished, discarded manuscript that even an other-worldly talent cannot entirely overcome. This isn’t Hamilton’s New York where you can “be a new man”, or the “centre of the universe” described in Rent. Erin Clare (9 to 5, A Little