The best things to do in Sydney in November

You know it's December when streets and suburbs across Sydney turn sparkly. But sometimes, it’s worth heading out of the city. For instance, just over two hours' north of Sydney you’ll find the Hunter Valley Gardens with its Christmas Lights Spectacular – the biggest Christmas lights display in the Southern hemisphere. Now in its 18th iteration, the Christmas Lights Spectacular is on from now to January 26, 2026 (note: it's closed on Christmas Day) – and is brighter than ever. It's got more than 4.5 million lights sparkling across eight acres, transforming the Gardens into a Christmas wonderland. There are illuminated pathways, immersive installations, festive food stalls and endless photo opportunities – including a towering 3-metre mistletoe (perfect for romantic moments, we say).  What's new in 2025? How about HO HO Harvest where you can wander through the Italian Grotto Garden for the first time; a playful Aussie Christmas cricket display with Santa and the elves playing a match; a Christmas tree farm with a new 6-metre Christmas tree centrepiece; and Santaville, where you can meet Santa and his helpers. Long-time favourites like Candyland, 12 Days of Christmas and family rides like the Spinning Teacups and Ferris Wheel are back. As for food, they'll have wood-fired pizza, tasty burgers and dumplings as well as sweet treats like donuts, churros and gelato on offer.  Christmas Lights Spectacular is on from 5.30pm till 10.30pm every day, except Christmas (with last...

Nothing will come between us and a free flick and the magic of an outdoor movie will never wear off. Add an iconic location to that, and we’re ready to say "pass the popcorn". So yeah, we're pretty pleased to hear that The Rocks is bringing back its Laneway Cinema this summer. Catch a flick every Wednesday night between November and February – think the big screen and bean bags among the golden sandstone buildings and cobbled lanes of The Rocks. Located on the end of Playfair Street, it's a short stroll from Circular Quay, so you can easily get there by train, ferry, bus or light rail. You can even grab a bag of popcorn (minimum $2), with proceeds in support of deserving charities.  November is all about millennial throwbacks. From horror to teen comedy and romance, the line-up includes Final Destination and Can't Hardly Wait. December, on the other hand, gets festive with Christmas rom coms like Bridget Jones's Diary (December 3) and The Holiday (Dec 17).  A bunch of the Rocks’ food and drink offerings are just a few steps away. Our resident food and drink fanatic recommends popping into Le Foote, The Doss House, Saké or one of the many eateries in the area.  Doors open at 5.30pm with the movie commencing at 7pm. Tickets are released every Monday for the following week's Wednesday screening. Be sure to register here for free tickets to secure your seats, as there is limited seating available.  Stay in the loop: sign up for our free Time Out Sydney newsletter for more...

Cue the jingle bells for your office commute: the beloved annual Martin Place Christmas Markets are back for 2025, kicking off on Thursday, November 27 and ending on Saturday, December 20. The merry CBD markets will then be held every Thursday, Friday and Saturday (and on one Sunday, November 30) leading up to Christmas (AKA the biggest day in Mariah Carey’s calendar). It's your chance to get gifts for your loved ones and support small businesses at the same time. How’s that for Christmas cheer? From ripe and juicy cherries to festive wreaths, deliciously scented candles, boutique wines, Christmas puddings, handcrafted jewellery and chic homewares, these markets are stacked with excellent stalls and passionate stallholders, set to bring festival cheer to even the most Grinch-identifying CBD worker. This year, they will also introduce a washable service system in partnership with Betizen, aiming to significantly reduce single-use waste.  You’ll find the Christmas markets in the pedestrian boulevard of Martin Place in the heart of the city – just above the huge Martin Place metro station.Stay in the loop: sign up for our free Time Out Sydney newsletter for more news, straight to your inbox. Get in the festive spirit with these Christmas markets running all throughout the November and December.

If you've ever wondered what would happen if a kid's drawing of their wildest dream utopia suddenly came off the page and into real life, you're in luck, because that's pretty much what's happening right now beneath the Art Gallery of NSW.  Artist and professional disruptor Mike Hewson has taken over the weird subterranean world of The Tank with his one-of-a-kind new exhibition, Mike Hewson: The Key's Under the Mat, where for the first time ever, all the main lights in the normally pitch-dark Tank will be switched on, revealing a weird wonderland of interactive art pieces and play equipment that have to be seen to be believed. We're talking: A steam room with stained glass windows that you can actually sit in, a functioning sauna with bespoke church pews, five actual operating public barbeques that you can cook on, rushing water to play in (seriously, bring your swimmers), a working laundry,  and a free-to-use recording studio, plus a whole plethora of bright and delightful surprises that are all about getting community together, to do cool stuff, for free. Basically, break your imagination and delete all adult expectations. This is unlike anything we've ever seen.  Kids who aren't afraid of some risk are also one of Hewson's big targets with this show (although parents, rest easy, the floor is specially made out of recycled soft rubber that's rated for use in public playgrounds), with the space also home to a wild children's playground. Intrepid kidlets can test their...

It’s part history, part drama – Belvoir St Theatre is taking Shakespeare’s The Tragedy of King Lear back to its roots. Named after one of the play’s original titles, The True History of the Life and Death of King Lear and his Three Daughters, reflects director Eamon Flack’s vision to portray more than the story of a king in power – rather, his succession (and the unravelling of it).  King Lear is on the edge of retirement. His plan is simple: pass the throne on to his three daughters who will each rule an equal portion of the kingdom. That is, until power and ego muddies the waters.  The highly anticipated Colin Friels (Into the Shimmering World) stars as King Lear, Alison Whyte (Death of a Salesman) as the Countess of Gloucester, Peter Carroll (Coriolanus) as Fool and they’re joined by an all-star 14-person ensemble. Watch The True History of the Life and Death of King Lear and his Three Daughters at Belvoir St Theatre from November 15 to January 4. Tickets start from $43 – you can book yours here.

Sticks and stones may break your bones, but words can spit out venom so lethal that there is no antidote. There are not many works which can produce such poisonous sparring and emotional violence with the same acclaim and excellence as Edward Albee’s Who’s Afraid of Virginia Woolf? The Pulitzer Prize and Tony Award-winner’s work is a gruelling feat of art, which director Sarah Goodes tackles with a fresh ferocity and with all the classical nuance and complexity that comes with Albee’s work. What is the premise of Who’s Afraid of Virginia Woolf? Martha (Kat Stewart) and George (David Whiteley) are a middle-aged couple who have spent their married life at New Carthage University where George works as an associate professor in the history department. The couple arrive home at two o’clock in the morning after attending a faculty party hosted by Martha’s father, who is also the University’s president. During what seems like a slight marital dispute after the party, Martha informs George that she has invited a younger couple who have recently joined the university to their house. As the argument begins to heat up, Nick (Harvey Zielinski) and Honey (Emily Goddard) arrive at the couple’s place just as Martha is cursing at George, foreshadowing the tumultuous night ahead.  The story uses the two couples’ relationships to explore ideas of truth and illusion. By using the privacy of a vicious domestic argument, the audience, like Nick and Honey, become a witness to a generally...

The Art Gallery of New South Wales’ newest exhibition – Dangerously Modern: Australian Women Artists in Europe 1890-1940 – spotlights 50 trailblazing females who were among some of the first to draw attention to the fact that women can make some pretty bloody great art too.  The speedy rate of industrialisation in the 19th century meant a major shift in European society. Artists used it as a chance to reject traditional themes like religion, and instead focused on fresh ways to portray individuals (in a time where it felt like machines were going to rule the world). Meanwhile, women used it as their ticket to pull a seat up at the table. The focus of the exhibition is specifically on our very own Australian and New Zealander artists who made the journey to Europe to immerse themselves in the modernist movement. Gallery-goers can peruse works from historic names like Nora Heysen, Margaret Preston and Grace Cossington Smith, and also witness the work of some lesser-known but equally important creatives like CL Allport, Justine Kong Sing and Stella Marks. Featuring celebrated and rediscovered paintings, prints, drawings, sculpture and ceramics, the exhibition includes work by celebrated artists such as Nora Heysen, Margaret Preston and Grace Cossington Smith, alongside lesser-known but equally compelling figures such as CL Allport, Justine Kong Sing and Stella Marks. Dangerously Modern’s run in Sydney spans all the way to mid-February so a hot (art) girl summer awaits. You...

As I’m on my way to Sydney's Capitol Theatre for the new Australian production of The Book of Mormon, my friend tells me it’s the very first musical a lot of people see. Created by South Park duo Trey Parker and Matt Stone (with Robert Lopez), the show’s reputation for extremely irreverent jabs at religion draws a non-traditional theatre crowd. What I now realise my friend didn’t mean was, “it’s often the first musical kids see”. When I say the musical is extremely irreverent, I mean it. The humour is crass, verging on grotesque (some things I wouldn’t dare repeat). So it’s probably questionable that I’ve brought along my 13-year-old son with me. That said, he loves it.  Some of the humour is classic teen boy (i.e. a regular exclamation from one of the Ugandan characters that he has “maggots in my scrotum”). Very South Park. My son laughs loudly with the rest of the audience – and when the jokes go too far, he cringes, glancing around with a “should I be laughing at this?” look. Although the shock value is high, it’s nice seeing a Gen Alpha-ite who’s been raised on Youtube and other screen-based entertainment bopping along in his seat to the song and dance of a stage show.    What’s the premise of The Book of Mormon? The Book of Mormon tells the story of two young Mormon missionaries sent to a small village in Uganda. Although the story centres on Mormonism, Parker and Stone have been known to refer to the show as an “atheist’s love letter to religion” – a wink and a jab...

In 2025, we're all rolling around in the screen-fuelled dystopia of the AI-verse, and things are feeling pretty weird. Strangely convincing videos and eerily-real (yet not quite) photos have taken over the internet, and with it, our collective perception of reality. Whether it's the current US President or your mum, there are few folks on the planet today who aren't grappling with the inane and mysterious powers of artificial intelligence. It is this truth that has launched the MCA's newest exhibition, aptly titled Data Dreams: Art and AI, an immersive and first-of-its-kind art show that will sweep through a series of interconnected gallery spaces in the MCA from November 21, 2025 through to April 27, 2026. Featuring the groundbreaking works of ten otherwordly artists from all around the world, Data Dreams is setting itself up to be a guide for all of us confused, bumbling humans who have suddenly found ourselves thrust into the AI age. Through immersive installations, AI-films and hallucinatory imagery, the exhibition aims to make you really and truly question what it means to exist in the AI era, and what we can expect from the years to come.  You'll be pointed through Big Questions, like how technology influences power, how our algorithims are shaping each of our individual world views, and how to navigate an illusory "reality".  The artists asking you to expand your mind come from all over, and each of them have something very fascinating to say. From palawa artist...

For generations, the dynamics between women have been sidelined in theatre. Few classic plays explore the complexities of womanhood, the fraught relationships between mother and daughter, or, more specifically, the intricate bonds between Asian grandmothers, their daughters and their granddaughters. In cultures shaped by large joint families, where matriarchal relationships (often behind closed doors) deeply influence a woman’s identity, these stories are particularly rich – and yet rarely represented on stage. As a South Asian Australian woman who coincidentally named her daughter after her grandmother, I feel a connection to Merlynn Tong’s experimental exploration of her matriarchal ancestors in her new play, Congratulations, Get Rich!, an international collaboration between La Boite Theatre, Singapore Repertory Theatre and Sydney Theatre Company. What's the premise of Congratulations, Get Rich! Congratulations, Get Rich! kicks off inside Mandy’s (Merlynn Tong) ailing karaoke joint, Money Money Karaoke, where she and her relentlessly upbeat, pun-loving boyfriend Xavier (Zac Boulton) are staring down a make-or-break night. It also happens to be the seventh day of Chinese New Year – Human Day – and Mandy’s 38th birthday. As an ominous storm rolls in and the pipes begin to groan, the couple is plunged into sudden darkness. Out of that blackout emerge two very unexpected visitors: Mandy’s long-dead mother (Seong Hui Xuan) and grandmother (Kimie Tsukakoshi), returning as...