Cassie Tongue

A Sydney production of Fiddler on the Roof, directed by Jordan Fein, gives the classic musical a vibrant visual and emotional refresh. Troy Sussman brings warmth to Tevye, while the performances by Alexis Fishman, Freya Boltman, Ellen Ebbs and Caity Plummer give the musical's women greater agency and individuality. The production's intimate ensemble work, lively orchestra and symbolic staging are strongly praised, while its ending—depicting the forced removal of a Jewish community—resonates painfully amid contemporary antisemitism, displacement and war.

A new Sydney Theatre Company production of John Patrick Shanley’s Doubt: A Parable features strong performances from Sam Reid and Pamela Rabe while maintaining a crisp, unsentimental staging under director Marion Potts. Though the production’s brisk pacing limits the impact of key emotionally complex moments, its design, cast and tightly delivered dialogue sustain its power. The play’s themes of suspicion, morality and uncertainty remain resonant, creating an engaging and atmospheric live theatre experience.

A vibrant, emotionally rich revival of Iolanthe’s debut play Sistren follows two best friends facing enforced separation at their South London school, exploring themes of identity, friendship, queer culture and Black culture through humour, pop‑culture references and stylised staging. The production, directed by Ian Michael and featuring performances by Iolanthe and Janet Anderson, blends comedy, confessional storytelling and immersive design to highlight the depth and resilience of the characters’ bond.

A Sydney Theatre Company staging of Jez Butterworth’s The River offers strong performances and atmospheric design but struggles under the play’s deliberately opaque structure. Its shifting relationships and hinted menace create intrigue, yet the mystery is seen as overworked and the exposition clunky. While moments of emotional insight appear, the drama’s insistence on ambiguity limits its impact.

A new production of Yasmina Reza’s Art at Sydney’s Roslyn Packer Theatre features Richard Roxburgh, Damon Herriman and Toby Schmitz, earning strong audience reactions and showcasing lively performances. Despite its humor and polished timing, the production avoids deeper emotional or thematic engagement, leaning instead on celebrity appeal and easy laughs. The staging and cast chemistry offer an enjoyable experience, but the overall effect feels hollow, with the play’s potential for richer insight left unexplored.

A new Sydney Opera House staging of Larry Kramer’s The Normal Heart emphasizes the play’s enduring urgency as it confronts the early AIDS crisis, activism, and the tension between accommodation and direct action. Dean Bryant’s production focuses on emotional relationships, particularly Ned’s connections with Felix and his brother Ben, while integrating the broader political context including contemporary protests in Sydney. Strong performances and a reflective nod to ACT UP highlight the continued relevance of collective action and advocacy.

Critics highlight standout Australian stage productions of 2025 across theatre, musicals, opera, dance and comedy, including major adaptations, award‑winning performances and innovative reinterpretations of classic works. Shows such as Beetlejuice, Jesus Christ Superstar, The Talented Mr Ripley and numerous festival pieces are praised for exceptional performances, inventive staging and thematic ambition, showcasing a vibrant year across Australia’s performing arts landscape.

Reflects on the life and impact of Toni Lamond, highlighting her eight-decade career and her defining performance in the Essgee production of The Pirates of Penzance. Describes how Lamond's artistry shaped the author’s love of theatre and influenced their critical career. Emphasizes her enduring legacy through recordings and the connection she fostered with audiences across generations.

A lively, comedic retelling of Phar Lap’s rise from underdog to racing icon is staged as an electro‑swing musical blending jazz, swing and contemporary beats. Strong performances, tight structure and energetic direction support Steven Kramer’s witty score and affectionate satire of racing culture. The production’s humour, pacing and inventive staging help deliver a bright 105‑minute show that positions the musical as a promising work with potential for larger stages or touring.

A new Sydney Theatre Company adaptation of D’arcy Niland’s The Shiralee expands the novel’s emotional and thematic scope, emphasizing connection, trauma and the strength of found community. Kate Mulvany’s script deepens characters beyond the original narrative while highlighting legacies of male violence and previously unwritten stories. Strong performances and evocative staging ground a production rich in compassion, humour and emotional complexity.

A faithful, spectacle-driven adaptation of Back to the Future delivers energetic performances, nostalgic callbacks and impressive staging, especially the DeLorean set-piece, but offers little innovation due to Bob Gale’s tightly controlled book. Strong cast work and visually engaging moments contrast with inconsistent musical language and unremarkable new songs, resulting in a polished but risk-averse production crafted primarily for longtime fans.

A new Belvoir St Theatre adaptation of Virginia Woolf’s Orlando uses four trans and non-binary actors to portray the protagonist across eras, highlighting themes of gender and sexuality fluidity. Visually inventive and often humorous, the production offers warm performances and striking design but sacrifices emotional depth by compressing the story into a tightly structured, message-focused narrative. Its contemporary framing emphasizes self-acceptance and social change but becomes repetitive, culminating in a feelgood but less impactful modern montage. The result is heartwarming and affirming, though lacking in dramatic passion.

An Australian animated feature follows introverted space princess Saira as she attempts to rescue her ex‑girlfriend from a group of antagonistic aliens, blending queer comedy, bold 2D animation, and emotional themes of self‑esteem. Strong performances, especially from Shabana Azeez, and playful writing enrich a story filled with visual references, musical elements, and LGBTQ+ representation. Balancing light humour with heartfelt moments, the film offers an uplifting, joyful cinematic experience.

A stage adaptation of Max Porter’s Grief is the Thing With Feathers at Belvoir St Theatre delivers strong performances and emotional resonance but is limited by a literal and overly safe approach. While the production captures moments of imaginative power and provides space for personal reflections on grief, its reliance on prescriptive visual elements diminishes the book’s open, symbolic quality. Performances by Toby Schmitz, Philip Lynch and Fraser Morrison stand out, yet the overall staging lacks the adventurous spirit needed to fully realise the story’s imaginative potential.

A review of Trophy Boys highlights the play’s energetic exploration of power, privilege and gender as a group of elite schoolboys confronts the contradictions between their professed feminism and their actions. The production’s twist intensifies its examination of social dynamics and moral compromise, though some early scenes lack cohesion and deeper character integration. Despite dramaturgical unevenness, the play is praised for its urgency, sharp dialogue and strong audience engagement, contributing to a broader moment of Australian theatre gaining international recognition.

A Sydney Theatre Company production of Annie Baker’s Circle Mirror Transformation highlights the playwright’s intimate, character-driven style through Dean Bryant’s warm, attentive direction. Rebecca Gibney leads a strong ensemble portraying a community drama class where vulnerability, connection and personal growth unfold through exercises and shared stories. Performances by Ahunim Abebe, Cameron Daddo, Nicholas Brown and Jessie Lawrence add depth to themes of presence, empathy and human complexity. The production softens some of Baker’s sharper edges while preserving her focus on small, resonant moments that reveal the emotional worlds within ordinary lives.

A Sydney revival of Cats showcases strong performances and choreography but suffers from an outdated, unchanged production that highlights the musical’s structural flaws and waning cultural relevance. While international theatres reinvent Andrew Lloyd Webber’s works with contemporary, diverse interpretations, Australia continues to rely on nostalgic reproductions that limit artistic innovation. The review argues for allowing older shows to evolve or make room for new voices, urging a refreshed approach to musical theatre.

Judy Davis leads a dynamic Belvoir adaptation of Helen Garner’s novel The Spare Room, portraying Helen’s grief, anger and care for her terminally ill friend Nicola with precision and emotional charge. Eamon Flack’s direction preserves Garner’s sharp prose while an ensemble cast and fluid staging create an intimate, shifting world. Despite minor unevenness typical of early performances, the production is grounded, moving and poised to grow stronger across its season.

A visually striking Hayes Theatre production of Women on the Verge of a Nervous Breakdown succeeds through Alexander Berlage’s inventive direction and Amy Hack’s standout performance, despite technical sound issues and persistent weaknesses in David Yazbek and Jeffrey Lane’s musical adaptation. Strong design and staging elevate the show, but structural and musical flaws limit its emotional impact, leaving it best suited for dedicated musical fans or viewers interested in exceptional individual performances.

A one‑hour parody musical about former New South Wales premier Gladys Berejiklian delivers strong musical compositions but lacks narrative coherence and comic sophistication. Despite energetic performances and varied musical styles, the show relies heavily on audience familiarity with past political events and uses broad, superficial humor. Character development is thin, with the structure positioning Berejiklian as secondary in her own story, and key political moments rushed or underexplored. The production succeeds musically but falls short as both theatre and comedy, resulting in an entertaining but insubstantial and belated political satire.

An arena-scale revival of Les Misérables delivers a high‑energy, fan‑focused celebration featuring an international cast of veteran performers, strong orchestration and dynamic concert‑style lighting. Iconic songs anchor the production, which succeeds through full commitment from its ensemble despite minor pacing issues. The staging resonates emotionally in large venues, offering a heartfelt tribute for the musical’s 40th anniversary.