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YOU WONT BELIEVE: Sydney theatre company - What They Never Told You

The River review – slippery Jez Butterworth play remains a headscratcher

Sydney Theatre CompanyMiranda Otto, Ewen Leslie and Andrea Demetriades are all pleasant to watch but this decade-old play is sometimes obnoxiously mysterious

The Guardian - AU

The Normal Heart: the early years of the fight against AIDS in an articulate, but fierce, cry of anger

Larry Kramer – writer, playwright, activist, and author of the 1985 play The Normal Heart – has been a polarising figure in queer politics.

The Conversation

The Shiralee brings a Shakespearean energy to the Aussie swag-man’s life

A lyrical homage to the spirit of the Australian bush, Sydney Theatre Company’s The Shiralee is set on the highways and byways of 1950s Australia, with brief visits to the urban squalor of Kings Cross.

The Conversation

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The Shiralee review – love grows in the harshest place in bountiful adaptation of outback epic

Sydney Opera HouseJourney of swagman and daughter feels vast in production that reaches beyond D’arcy Niland’s classic novel

The Guardian - AU

John Farnham musical Whispering Jack headlines Sydney Theatre Company’s 2026 season

STC program also features an AFLW drama by Prima Facie playwright Suzie Miller and star turns from Sam Worthington, David Wenham and Miranda Otto

The Guardian - AU

Congratulations, Get Rich! is a glittering ghost story where emotion is lost to theatrics

Merlynn Tong’s new play, Congratulations, Get Rich!, bursts onto stage with all the colour and flair you’d expect from a work set in a struggling Singaporean-style karaoke bar.

The Conversation

Impressive performances and production values – but Joanna Murray-Smith’s The Talented Mr. Ripley doesn’t quite land

Playwright Joanna Murray-Smith has a long held fascination with the brilliance of Patricia Highsmith, who published the classic novel The Talented Mr. Ripley in 1955.

The Conversation

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The Talented Mr Ripley review – stylish thriller gets a pacy, crowd-pleasing stage adaptation

Heartbreak High’s Will McDonald does an admirable job as antihero Tom Ripley, while playwright Joanna Murray-Smith dials up the humour and homoeroticism

The Guardian - AU

Will McDonald On His Eshay Inspiration & Kissing Heartbreak High Goodbye

When Netflix’s Heartbreak High reboot became a global smash hit, it not only catapulted a group of previously unknown Aussie talents into the spotlight, it also introduced the world to a uniquely Australian stereotype: the humble eshay. Ca$h, played by Will McDonald, was initially your typical eshay – living his…

Pedestrian.tv

Circle Mirror Transformation review – a heart-first play of human connection

Logie winner Rebecca Gibney leads a suite of strong performances in Pulitzer prize-winning playwright Annie Baker’s gentle, generous comedy set in a community centre drama class

The Guardian - AU

Sydney Theatre Company books $10m revenue boost after Dorian Gray production becomes global hit

Company due to reap more millions from cut in award-winning Broadway run starring Sarah Snook

The Guardian - AU

Sarah Snook wins best actress at Tony awards for The Picture of Dorian Gray

Australian actor performed all 26 roles in Broadway production of the Sydney Theatre Company play directed by Kip Williams

The Guardian - AU

Cynthia Erivo to play Dracula and 22 supporting roles in West End transfer of Australian show

Wicked star to play Bram Stoker’s bloodsucking fiend in a production from the creators of Olivier award-winning hit The Picture of Dorian Gray

The Guardian - AU

Pamela Rabe shines in this hypnotic revival of Samuel Beckett’s classic play Happy Days

Samuel Beckett is justly regarded as one of the greatest playwrights of the 20th century – and unquestionably one of the most demanding. Few of his works illustrate this more clearly than Happy Days, first performed in 1961, and currently playing at the Sydney Theatre Company.

The Conversation

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The Guardian - AU

Happy Days review – Pamela Rabe gives an aching performance in Samuel Beckett’s unrelenting play

This is a particularly oppressive and tragic take on Beckett’s famous play, with fewer laughs than usual – making it a tough space to exist in for its run-time

The Guardian - AU

Picnic at Hanging Rock review – a haunting, heady horror story

Sydney Theatre Company’s adaptation of the beloved Joan Lindsay novel, in which four schoolgirls go missing during a bush excursion, reveals the ghost story lurking within

The Guardian - AU

From irreverent musicals to unresolved histories, live theatre will provide rich entertainment in 2025

Australian voices will be centre stage in the Sydney Theatre Company’s 2025 program

The Guardian - AU

Three things with Lisa McCune: ‘I’ve never found coffee nirvana but this machine comes close’

In Guardian Australia’s weekly interview about objects, the actor and four-time Gold Logie winner tells us about her near-perfect kitchen contraption – and a little brown beret

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The Guardian - AU

Sweat review – sociological snapshot doesn’t always make for compelling drama

Wharf 1 theatre, Sydney Theatre CompanyIn Pulitzer winner that ‘explains Trump’s win’ in 2016, everyone looks the part and hits their marks but the spiral into toxicity is mechanical

The Guardian - AU

Dear Evan Hansen: Australian production of Broadway hit puts mental health centre stage

The team behind the new staging of the Tony award-winning show leaned into emotional authenticity and a design that evokes the overwhelming experience of social media

The Guardian - AU

Talented Mr Ripley and the Shiralee headline Sydney Theatre Company’s 2025 season

Picnic at Hanging Rock, Happy Days and aged care musical Bloom also on next year’s STC program, which will the last from outgoing artistic director Kip Williams

The Guardian - AU

Philip Quast: ‘I don’t have anything left to say in theatre, it’s not my turn any more’

The three-time Olivier award winner, and ‘voice of Playschool’, on why musicals have been a curse and love, and why it’s now time to leave

The Conversation

Sydney Theatre Company’s Dracula: a virtuosic performance, sexy staging, and a queer rewriting

The figure of Dracula has always lived somewhere between the written word, screen projections and our fantasy lives. His story is tailor-made for one of Kip Williams’ hybrid adaptations.

The Guardian - AU

Dracula review – a clever and playful victory lap for Kip Williams’ gothic cine-theatre trilogy

Zahra Newman is remarkable in the director’s last production with the company

The Conversation

New play American Signs looks at the nefarious world of consultancies – but leaves Australia off the hook

Anchuli Felicia King’s new one-performer piece, American Signs, written for the talented Catherine Văn-Davies, thrusts us into the world of a campus hire at “The Firm”, one of the “Big Three” consultancies in the United States.

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