The best things to do in Sydney this weekend

Looking for a winter night out that won’t torch your bank account? We’ve got just the thing. Nocturne is returning to Barangaroo this July, bringing a month of free live music to the harbour’s striking Pier Pavilion. Kicking off on Friday, July 3 and running every Friday and Saturday night until July 25, this after-dark concert series transforms the waterfront venue into an intimate listening space, complete with ambient lighting, theatre-style seating and views across the water.RELATED READ: 26 cool things to do in Sydney this winterCurated by Musica Viva Australia, the 2026 program spans classical, folk, jazz and genre-blurring sounds. Opening weekend sets the tone with contemporary cellist Freya Shack-Arnott, Irish-Australian artist Bonnie Stewart and double bassist Ben Ward. Across the following weeks, audiences can catch performances from internationally acclaimed guitarist Karin Schaupp, Sydney’s Enigma Quartet, and the genre-defying ensemble Elysian Fields, who close out the series. Designed as an easy (and free) winter night out, Nocturne invites you to make an evening of it. If you've got a little money to make it an occasion, grab a pre-show drink at Henry Deane or The Lord Nelson, settle in by the water as the music rolls in then fuel up nearby (Aori, A’mare and Anason are our fave restaurants in the area).Shows kick off from 6pm, making it just as suited to a post-work wind-down as it is to a low-key date night. And with Barangaroo Metro, Wynyard Station,...

Let's face it: beach weather is behind us. But thankfully, every winter, Australia’s most famous sretch of sand levels up its entertainment offering with a soul-warming multi-week festival. Running from Friday, July 3 to Sunday, July 19, this year’s fest brings 17 days of music, theatre, comedy, visual arts and immersive experiences to the sand – all anchored around Bondi Pavilion and its surrounds. But 2026 isn’t just any year: it marks a once-in-a-lifetime alignment with Bondi’s postcode (2026), and the festival is going bigger to match. The winter staples are, of course, back. Expect the crowd-favourite ice rink, the ever-iconic Bondi Vista Ferris Wheel (complete with sweeping coastal views), and the technicolour chaos of the Bondi Beach Sea Wall, where artists will once again transform the shoreline into an open-air gallery. New for 2026 is Accordion by Amigo & Amigo – a large-scale, playful light and sound installation taking over the Bondi Pavilion Courtyard from late June through July. Foodies are also in for a treat, with the Blue Sky Markets returning after a buzzy debut last year. Across multiple weekends, Bondi Park will transform into a beachside feast of street food, artisan drinks and sweet treats, soundtracked by live DJs and musicians as part of Music in the Park. The festival kicks off with the opening of the 40th annual Waverley Art Prize – a milestone year for one of Australia’s leading contemporary art awards – alongside the always-sold-out Bondi...

It’s easy to think that tales of raucous Vikings are the stuff of fiction: horned helmets, fierce warriors and wooden boats that were as intricately carved as they were fearsome on a misty horizon. This year, the Australian National Maritime Museum is displaying an awe-inspiring exhibition with some very real artefacts that show just how pivotal the Viking Age was in forming what we know as modern-day Scotland, England and Ireland.  The Treasures of the Viking Age: The Galloway Hoard exhibition uncovers items that were buried around AD 900. Due to all the looting synonymous with the Viking Age, it was really common for treasure troves of goods to be buried and forgotten about, only to be discovered centuries later.  In 2014, metal detectorists uncovered The Galloway Hoard with five kilograms of precious metals, rare organic materials like silk, heirlooms and more. Sydney's own Australian National Maritime Museum is displaying the collection, on loan from National Museums Scotland, until October. Tickets start from $15 for children, $25 for adults and free for members. You can catch the exhibition open daily from 10am-4pm now, until October 11. Book your tickets here.

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...

Sydney’s Darling Harbour is turning to ice once again. No, the harbour itself hasn’t frozen over (though the winter chill might have you fooled), but the much-loved ice skating rink has officially glided back into town for the 2026 season – and it’s bigger, busier and more entertaining than ever. If you’ve always dreamed of landing a triple axel – or simply recreating your own Home Alone 2 moment under twinkling city lights – consider this your cue. Whether you’re planning a wholesome date night or looking for a foolproof way to tire out the kids these school holidays, this icy pop-up delivers. From Friday, June 27 until Sunday, July 19, you can head down to the Palm Grove Forecourt (just outside IMAX Sydney) to lace up your skates and take to the rink. Sessions run daily from 10am to 9pm, giving you plenty of time to channel your inner figure skater – or wobble your way around like Bambi on ice. (Pro tip: thick pants are still your best friend.) The rink welcomes skaters of all levels, with handy skating aids available for little ones still finding their footing. But the big new addition for 2026? Friday night performances. Each week at 5.45pm and 6.45pm, six professional skaters will take to the ice for a dazzling 12-minute show, bringing a touch of winter magic to the waterfront with elegant choreography and serious skill. Once you’ve had your fill of spins (intentional or otherwise), Darling Harbour’s surrounding precinct is packed with dining options – from quick...

Back in May, sommelier Nick Hildebrandt and chef Brent Savage announced they would be closing their fine diner Bentley Restaurant and Bar this winter after more than 20 years at the top of its game (and five-star reviews from Time Out). The award-winning restaurant, which originally opened in Surry Hills in 2006 before moving to its current home in Sydney’s CBD on O’Connell Street in 2013, is housed within a heritage sandstone building dating back to the 1850s, now part of The Paradox Hotel Sydney. It will have its final service at the end of August. But because this is the Bentley Group we’re talking about – talent who are always one step ahead of the curve and not afraid to change things up, close the curtains when the time is right, or start fresh when opportunity arises (see: Monopole, Cirrus, Yellow, King Clarence, Watermans, and the soon-to-open Ashe and Bar Vespertine, for example) – this isn’t goodbye for good. Instead, Hildebrandt and Savage are on the lookout for the next perfect home for Bentley’s third act. “This feels less like an ending and more like a natural moment to pause and reset,” says Hildebrandt. “The move from Crown Street to the CBD was a defining evolution for Bentley, and now it feels like the right time for that next transformation.” For the final few months of service, Bentley Restaurant and Bar has rolled out the culinary red carpet with a greatest hits menu for both the tasting menu and bar menu – featuring the restaurant’s best dishes over...

If you missed out on seeing the powerful and deeply moving play, The Jungle and the Sea in 2022, it returns to Belvoir St Theatre from July 11 to August 2. Created by S. Shakthidharan and Eamon Flack, the creative team behind Counting and Cracking, the production tells the story of one family caught in the devastating Sri Lankan civil war, which raged between the Sinhalese-majority government and the Liberation Tigers of Tamil Eelam (LTTE) from 1983 to 2009, leaving unimaginable death and destruction in its wake. At the heart of the story is Gowrie, a mother desperately trying to reunite her family as violence engulfs her homeland. After an act of destruction tears her loved ones apart, she takes a radical vow of defiance, blindfolding herself and refusing to see the world again until her family is reunited. While she sends her husband and one daughter to Australia for safety, she and her other two daughters search through the jungles of northern Sri Lanka for her estranged son.  Drawn from real-life testimonies and woven with elements of the Mahabharata and Antigone, the play is both grand in scale and deeply human. Featuring live Carnatic music with a stellar cast including Bharathanatyam dancer Anandavalli, plus Prakash Belawadi, Nadie Kammallaweera and Shiv Palekar, The Jungle and the Sea is a stirring tale of love and loss in the face of war. The Jungle and the Sea runs from July 11 to August 2 at Belvoir St Theatre's Upstairs Theatre with a run time of almost three...

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,...

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...

Institution versus intuition. Power versus prejudice. Bias versus belief. It’s all laid bare in the stage production of Doubt: A Parable, coming to the Sydney Theatre Company from June 30 onwards. Sam Reid (The Newsreader, Interview with the Vampire) stars opposite Pamela Rabe (Wentworth) in John Patrick Shanley’s Pulitzer Prize and Tony Award-winning play that’s directed by Australian theatre great, Marion Potts. The production also features Zindzi Okenyo (director of Purpose) and Shannen Alyce Quan (The Dictionary of Lost Words), bringing together a stellar cast for this engrossing 90-minute drama. Set in a Catholic school in the Bronx, New York in 1964, Doubt centres on a shocking accusation that blurs the lines between suspicion and truth. Sister Aloysius (Rabe), the rigid headmistress of St. Nicholas Church School suspects the charismatic Father Flynn (Reid) of inappropriate sexual behaviour towards the school’s sole black student, Donald Muller. If the plot sounds familiar, it’s perhaps because you’ve watched the 2008 film adaptation, starring Meryl Streep and the late Philip Seymour Hoffman.  Provocative and deeply unsettling, the play asks audiences to question everything – and is as relevant now as when it made its Broadway debut about 20 years ago. As the evidence remains frustratingly inconclusive, audiences are left to wrestle with their own assumptions long after the final curtain falls. Doubt: A Parable is at the Sydney Theatre Company’s Roslyn Packer Theatre...