Things to do in Sydney today

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

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

Comedy, in this economy? Well heck, I don’t know about you, but I could sure do with a good hearty chuckle right about now. So it’s a good thing that the Sydney Comedy Festival is back with its biggest program ever in 2024 – more than 750 artists are gearing up to flood the city with laughter at more than 315 shows scattered across all corners of the city from April 22 to May 19.  From the household names we all know and love to ground-breaking newcomers who are shaking up the comedy scene, you can pick and choose between a kaleidoscopic array of gala showcases, intriguing solo stand-up shows and special events. With a whole lot of tickets coming in at under $30, there really is a “comedy concert” for everyone (just don’t look for Che Diaz on the line-up).  You can catch new shows from legendary Aussie comedians like Rhys Nicholson, Will Anderson, Tom Gleeson, Reuben Kaye, Melanie Bracewell, Steen Raskopolous, regular The Project panellist Peter Helliar, a hilarious night with Judith Lucy and Kaz Cooke, comedy crack pot Reuben Solo, the sassy and sardonic Gen Fricker, Lizzy Hoo (loved for her Prime Video comedy special Hoo Cares!?) and 2022 Australia’s Got Talent finalist Emo Majok. Joining the long list of international stars is the much loved Stephen K Amos, 2016 English Comedian of the Year Josh Pugh, plus the fierce and fiery Irish comic Shane Daniel Byrne, and American history-meets-comedy podcast The Dollop is also heading Down Under for the Festival. Some of the most e

The Harbour City does a good line in immersive light experiences, and if you can’t wait until Vivid takes over the city later in May, Luna Park is here to help. The iconic attraction’s newest installation – Sonic Neon – will be opening to the public from Saturday, April 13, and tickets are on sale now. Housed in Crystal Palace – a building which dates all the way back to 1935 – Sonic Neon will take visitors on a journey through six different rooms, with state-of-the-art visuals and a layered soundscape creating a transportive experience. Illuminating more than 150 metres of the historic building, the experience will feature more than 26,000 lights set to a pulsating soundtrack using state-of-the-art technology that’s never been used before in Australia. Tickets to the event are available now, and first release ticket holders will be afforded access to what Luna Park has described as a “secret zone”. Details about this mystery “Blacklight Dessert Bar” are thin on the ground, but Luna Park has confirmed: “Visitors will be able to purchase glow-in-the-dark desserts including custom treats by Sydney’s famous Tokyo Lamington along with glowing fairy floss and soft serve ice cream.” The experience will run daily from 10am for approximately four months, though the exact end date is yet to be announced. Tickets for the self-guided Sonic Neon experience (estimated to take around 30 minutes) start at $29 per person, and the first month of tickets are on sale now. If you’re keen to secu

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