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The cast of Phantom of the Opera
Photograph: Supplied/Daniel Boud

Sydney theatre latest reviews

Our critics offer their opinions on the city's newest musicals, plays, operas and dance shows

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There's always a lot happening on Sydney's stages – but how do you know where to start? Thankfully our critics are out road-testing musicals, plays, operas, dance and more all year-round. Here are their recommendations.

Want more culture? Check out the best art exhibitions in Sydney.

5 stars: top notch, unmissable

  • 5 out of 5 stars
  • Theatre
  • Musicals
  • Haymarket

Beauty and the Beast the Musical revives Disney’s 1991 animation in a theatrical masterpiece that captures a tale as old as time, through the panorama of a multi-sensory spectacle in this two-and-a-half hour production. Before you see anything, it’s what you hear that captivates your attention. The orchestration by Danny Troob and sound design of John Shivers completely shifts the atmosphere in each scene, accentuating that gravitas of emotional range of the characters and their circumstances. The presence and influence of the music and orchestration is truly felt in the few moments of its absence. In an artform where too much music can easily become overkill, the sound design shifts seamlessly between diegetic and non-diegetic to support transitions between dialogue and musical scores.  Shubshri Kandiah, who plays Belle (and who also played princesses in Disney’s Aladdin, Roger and Hammerstein’s Cinderella and Belvoir St Theatre’s Into The Woods), has become Australia’s go-to princess, and deservedly so. Kandiah’s performance carries the youthfulness and animation of a Disney cartoon while exuding the elegance of a woman born to be royalty. While Belle’s disdain for Gaston (Jackson Head) falters in the pair’s duet, ‘Me’, this oversight is beyond compensated for in her timbre and melody throughout the rest of the performance.  Head plays the repugnant role of Gaston delightfully. His performance elicits a tug-of-war of admiration for his execution but also an unease at the

4 stars: excellent and recommended

  • 4 out of 5 stars
  • Theatre
  • Musicals
  • Darling Harbour

I was in Year 9 when I first saw the video on Youtube of Idina Menzel performing ‘Defying Gravity’ from Wicked at the 2004 Tony Awards. It was the first time that I could watch an original Broadway cast perform a new musical – and as a young musical theatre enthusiast, I was captivated. What was this song? Who was this character? Why was she green? Menzel went on to win a Tony for Best Leading Actress in a Musical that year and then moved beyond the stage, permeating the zeitgeist on screens everywhere through Disney properties. But before there was Frozen’s Elsa, there was Elphaba. Before she told girls everywhere that “the cold never bothered me anyway,” she told us that “everyone deserves a chance to fly.” Like me, Elphaba was different – the antithesis to the perfectly blonde G(a)linda the Good. She was awkward, misunderstood, judged for her skin colour, and trying to figure out where she belonged. Twenty years after it opened on Broadway, Elphaba’s journey to find herself through justice, self-love, and friendship still resonates. The new cast surpasses expectations by infusing their own unique interpretations into these fan favourite characters Wicked is one of the longest running musicals in the world, and Sydney’s 20th anniversary production has been a much-anticipated affair. Based on Gregory Maguire’s novel Wicked: The Life and Times of the Wicked Witch of the West, the musical shares the untold story of the mysterious Wicked Witch of the West, who is revered and fe

  • 4 out of 5 stars
  • Theatre
  • Redfern

Think Jay Gatsby hosted the best roaring '20s parties? Not anymore. It’s time to crack open some Champagne, because this scintillating smash-hit show is back for a third encore run! The sparkling toast of the Sydney summer, Blanc de Blanc Encore has been wowing audiences since it opened in January in the totally refurbished cabaret venue the Grand Electric (on the Redfern side of Surry Hills). Clearly, Sydney can't get enough of this much-loved cabaret, circus and burlesque show. The Blanc experience serves up the top shelf of cabaret-burlesque-circus entertainment with a devilish smile and a knowing wink. This show is bubbling over with hilarious hosts, talented perfomers dressed up (and down) in dazzling couture-fashion-level costuming, interactive stunts and so-rude-it's-right jokes. It's quite an accomplishment to stage a variety production that can so seamlessly gear-change from clownish wielding of crotches to superb aerial artistry, and from phallic percussion to a soulful pop crooner – all while maintaining a fun, playfully risqué vibe.  The internationally sourced cast packs some of the most stunning talents from near and far, with numerous Cirque du Soleil alumni in the ranks. Want an idea of the calibre? The inimitable Jake DuPree (they/them) – burlesque performer, fitness instructor, lingerie model and the first non-binary person to perform at the famous Crazy Horse in Paris – recently came direct from LA to join the Blanc de Blanc Encore cast for a strictly limi

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  • 4 out of 5 stars
  • Theatre
  • Musicals
  • Darlington

“Well may we say God save the Queen, because nothing will save the governor-general.” I hadn’t even been born when Gough Whitlam stood on the steps of Parliament House on November 11, 1975, and uttered his most famous speech – when he decried his dismissal from the position of prime minister by the then governor-general, Sir John Kerr. And yet, this speech is almost burned into my brain, thanks to living with the kind of stepdad whose shelves are lined with auto (and not so auto) biographies of Hawke, Whitlam, Keating and Gillard, and who watches Question Time like it’s a sport. What a delight, then, to be able to take him to a musical about these momentous events in Australian history – and it’s a bloody good one. Brought to the stage by Squabbalogic and Watershed, The Dismissal charts the unceremonious sacking of Australia’s most reformist and socially progressive PM, and everything around it, with remarkable accuracy and a charming sense of humour. The show is narrated by Norman Gunston, the bumbling fictional journalist from Wollongong who was beloved by ’70s Australia and created by comedian Garry McDonald. Unbelievably, Gunston was one of the first reporters on the steps way back when; interviewing then Labor Party president Bob Hawke and addressing the crowd with the only joke he’d had written for him before arriving. Matthew Whittet (Darlinghurst Theatre’s Let The Right One In) plays Gunston like he was born for the role – endearingly idiotic, complete with a twitchin

  • 4 out of 5 stars
  • Theatre
  • Musicals
  • Elizabeth Bay

Of all the Sondheim musicals that could be staged at the small-yet-perfectly-formed Hayes Theatre, A Little Night Music is perhaps the best suited to the venue’s pint-sized proportions. This waltzing rom-com about the “follies of human beings” and the emotional cross-currents that twist and churn in lovers’ hearts explores a realm of intimate yearnings, personal crises, and moving revelations that not only fit comfortably within the Hayes, but thrive in its close quarters. Broadly inspired by the 1955 Ingmar Bergman film Smiles of a Summer Night, this 1973-penned show is set during a duskless Swedish midsummer at the turn of the 1900s, as a collection of ill-suited couples try to ignore the glaring incompatibilities standing between them and the lives that they long for. Lawyer Fredrik Egerman (Leon Ford) has married a trophy bride, Anne (Melanie Bird), decades his junior. While lovely and kind hearted, she is physically repulsed by her new husband, so much so that after 11 months, their marriage remains unconsummated. Frederick’s grown-up son Henrik (Jeremi Campese) wants to devote himself to purity and goodness in a quest to be seen as a serious person, but his ambitions to join the clergy are overshadowed by his unrequited desire for his stepmother.  ...a focused production that invites the audience to eavesdrop on the quiet intimacies of its characters Meanwhile, revered-but-fading actress, “the one and only” Desiree Armfeldt (Blazey Best), is no stranger to adoration, bo

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