Things to do in Sydney today

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:  Badu Gili: Healing Spirit, a stunning illumination of the sails This dynamic projection will light up the Eastern Bennelong sails with First Nations artwork five times a night, every night until Friday, December 12. Backstage tours, a peek behind the curtain Explore the inner workings of Australia's most famous buildings on one of these expert-led tours. Dates: DailyTickets: From $48 The Play That Goes Wrong, a beloved piece of slapstick theatre Celebrating ten years of dominating the West End, this slapstick masterwork is bringing big giggles to the Drama Theatre this winter.Dates: Thursday, July 24 - Sunday, August 3 Tickets: From $89 Emily Sun and Slava Grigoryan, an intimate classical performance Internationally acclaimed violinist Emily Sun and multi-ARIA-winning guitarist Slava Grigoryan will perform a magical, serene showcase of mesmerising classical pieces as part of the Opera House’s intimate Utzon Music series.  Dates: Sunday, August 3Tickets: From $69.90 + booking fee.  Generations and Dynasties, a celebration of First Nations storytelling These intimate events (held in the Utzon room, a...

Ed's Note: Hailed by Rolling Stone as “the best rock musical ever”, Hedwig and the Angry Inch is on now at Sydney’s Carriageworks (you can buy tickets over here). Time Out critic Guy Webster reviewed the production last month when it was on at Melbourne's Athenaeum Theatre. Read on for his five-star review... ***** Imagine The Rocky Horror Picture Show’s Frank-N-Furter raised in the American Midwest by Vivienne Westwood. Or Debbie Harry, if she grew up in a queer bathhouse in East Berlin. That’s Hedwig Schmidt: the glam-rock heart of Stephen Trask and John Cameron Mitchell’s Hedwig and the Angry Inch, brought to spectacular life in the first Aussie revival since 2006. You have to picture this show as it began – in a sweaty basement club called the SqueezeBox during New York’s punk scene in 1994. This was a place where a house band performed rock tunes called “the music of gay bashers”, and punters put on messy drag to kick, scream and vamp on stage beside them. Hedwig was born out of this energy; a combination of cigarette ash, anarchism and smut inspired by Cameron Mitchell’s life in Berlin and Kansas and soundtracked by Trask’s work with the SqueezeBox band. It’s the closest I’ve come to calling a musical ‘punk’ without rolling my eyes. With its taboo-flouting lead and the unbridled chaos of its style, it is still as genuinely transgressive as it was thirty years ago. This production succeeds by replicating the intimacy and anger that created the show in the first place....

I have reviewed many shows at the Sydney Opera House, and never – never – before have I been so utterly flabbergasted at the lack of scrutiny and professionalism upheld by a creative team in the running of a production.  For starters, the immense buzz in the the Drama Theatre’s foyer was squashed before the audience had even entered the stalls, as a sign informed us that Hollywood star Tom Cruise would in fact not be appearing at this performance of The Murder at Haversham Manor. This was swiftly followed by the show’s operator, Trevor (Edmund (Eds) Eramiha), wandering up and down the aisles, followed in tow by the stage manager Annie (Olivia Charalambous) as they asked us, the audience, if we had seen a lost dog, Winston, who it appeared was to be a character in the show. Completely unprofessional! After this was resolved, the director of the The Cornley Polytechnic Drama Society greeted us all, ensuring that this production would not follow the mishaps in their previous works, and that they finally have funding and a script that suits their society. It would not be another low budget production (such as their summer season of James, where is your Peach?) and that they do have a full cast, as to avoid a repeat of the debacle of their most recent musical, Cat. The cracks that began to appear even before the curtain lifted on The Murder at Haversham Manor only continued to widen as the show played on, the whole evening building up into a fiasco of disastrous heights – and,...

The Hunter Valley gets cold in winter. Real cold. Come mid-year, temperatures in one of New South Wales’ most popular wine country destinations drop to the single digits. What’s worse than feeling the bite in the air is when you’re not even compensated with piles of fluffy snow for your troubles.The Hunter Valley Gardens took matters into their own hands and for one month and one month only, have created a spectacle of a winter wonderland for the whole family. The botanical venue already takes the cake for the largest Christmas light display in the Southern Hemisphere so expect nothing short of magnificent for their ‘Christmas in July’, if you will. In terms of the kids (and kids-at-heart) burning off some steam, there will be a mega snow play zone for snowman building and snow angel making, a 45-metre ice slide toboggan, and an ice skating rink. When you’re ready to thaw out, you can step away from the chilly action and grab a bite to eat from the food stalls dishing up all the fan favourites, from woodfired pizzas and burgers, to souvlaki plates and dumplings. For dessert, load up on warm doughnuts, crepes and ice snow cones. Who said chilly treats are only for summertime?To keep the fun times rolling, the Hunter Valley Gardens will still be operating their permanent rides, like the teacups, carousel, superslide and ferris wheel that you can purchase additional ticket passes for.  Snow Time in the Garden begins on Saturday, June 28 and runs until Sunday, July 27....

In musical theatre circles, Cats is the show that everyone loves to hate, dismissing it as “weird” and “uncool”. So let me begin this review by stating that I love Cats. I listened to the cast recording over and over as a child, I met my best friend on a Cats mailing list (remember those?) when I was sixteen, and there's probably still some old Cats fanfiction floating around out there that I wrote in my teens. This much maligned show doesn't deserve the hate it gets.  When Cats was first performed in the early 1980s, it was hailed as groundbreaking, bridging the gap between concept musicals and mega musicals in a way no show had done before. It won both Olivier and Tony awards for best musical, and ran for decades on the West End and Broadway. These days, it’s viewed more as a “guilty pleasure” – the show you secretly enjoy but are supposed to pretend you don’t, lest you be seen as uncultured. But why? Concept musicals based around a theme rather than a traditional narrative have existed since the 1950s, with notable examples including Cabaret, Hair and Company. Dance-heavy musicals are also not a unique concept. Cats isn't even the only show to combine these two elements. But while shows like A Chorus Line and Pippin are hailed as iconic, Cats – which is essentially A Chorus Line with tails – is not shown the same love.  Cats may not be too heavy on the plot, but it’s a show for people who love the little details Much of the criticism surrounding Cats comes from wanting...