Theatre - Whats The Show

Steel Magnolias Opens In Sydney Tomorrow

12/05/2026 Breaking News

After a hugely successful Brisbane season, the play that inspired the iconic film, Steel Magnolias opens at Theatre Royal Sydney tomorrow. This beloved Southern classic features an extraordinary line up of Australian TV royalty starring Lisa McCune, Belinda Giblin, Debra Lawrance, Mandy Bishop, Jessica Redmayne and Lotte Beckett. Tickets are now available from steelmagnoliasplay.com. “A Heartwarming Star-Studded Triumph” – The Scoop “Unforgettable. When Australian theatre gets the casting right, trusts the material and lets the performances breathe, it doesn’t need gimmicks.” – The Courier Mail “A Joy to Behold”- Stage Whispers “Six Actresses at the Peak of their Powers”- Absolute Theatre Written by Robert Harling, the timeless tale of Steel Magnolias opens at Theatre Royal Sydney from 13 May 2026, before heading to Wollongong and Canberra in June 2026, His Majesty’s Theatre, Perth in July 2026 and Melbourne’s Athenaeum Theatre from July 2026. Tickets are on sale now from steelmagnoliasplay.com.

In the role of M’Lynn is Gold Logie winner and leading lady of stage and screen Lisa McCune (Blue Heelers, The 39 Steps) joined by Home and Away icons, Belinda Giblin (Amadeus, Doubt) as Ouiser and Debra Lawrance (Harry Potter and The Cursed Child AU and UK, A Christmas Carol) as Clairee. Acclaimed performer Mandy Bishop (Wharf Revue, Blue Heelers) plays Truvy while current Home and Away star Jessica Redmayne (800 Words, The Great Gatsby) plays Shelby. Newcomer Lotte Beckett (Julia, The Election Monologues) joins this elite line up in the role of Annelle.

Jessica Redmayne, Belinda Giblin, Lisa McCune, Mandy Bishop, Lotte Beckett, Debra Lawrance SteelMagnolias_Production_PhotoBrettBoardman_007566 LR.jpg

Step inside Truvy’s beauty salon, the heart of a small Southern town, where local women share their joys, struggles and a little neighbourly gossip. From weddings and babies to divorces and funerals, they face life’s highs and lows with humour, courage and impeccably styled hair. When tragedy strikes, it’s in these familiar walls that they find comfort, support and the unbreakable bonds of friendship that carry them through.

Steel Magnolias originally opened in Australia at the York Theatre at Sydney’s Seymour Centre in May 1988 and toured to Melbourne’s Athenaeum Theatre, featuring a cast which included Maggie Dence, Nancye Hayes, Melissa Jaffer, Genevieve Lemon, Pat McDonald and Nicole Kidman making her professional stage debut.

Bursting with sass, warmth and Southern charm, Steel Magnolias delivers laughter, love and unforgettable heart. www.steelmagnoliasplay.com.au

STEEL MAGNOLIAS
By Robert Harling
Director – Lee Lewis
Composer & Sound Designer – Brady Watkins
Set and Costume Designer: Simone Romaniuk
Lighting Designer – Paul Jackson
Producer – Neil Gooding Productions and Woodward Productions
By Arrangement with ORiGiN Theatrical
On behalf of Samuel French Ltd, A Concord Theatricals Company

SEASON DETAILS
SYDNEY
Venue: Theatre Royal Sydney
Season: 13 – 30 May
Performance Times: Tue-Thurs 7pm, Fri-Sat 7:30pm, Wed, Thurs & Sat 2pm, Sun 1pm, 3pm & 6pm (times vary weekly)
Prices: From $59 (Transaction fees apply)
Bookings: theatreroyalsydney.com or 1300 163 808

WOLLONGONG
Venue: Illawarra Performing Arts Centre
Season: 3 – 11 June
Performance Times: Tues 6:30pm, Wed 11am or 1:30pm, 6:30pm or 7:30pm, Thurs 1:30pm & 6:30pm, Fri-Sat 7:30pm, Sat & Sun 1:30pm (times vary weekly)
Prices: From $89 (Transaction fees apply)
Bookings: merrigong.com.au or (02) 4224 5999
Groups 8+ call (02) 4224 5999

CANBERRA
Venue: Canberra Theatre Centre
Season: 17 – 21 June
Performance Times: Wed 6:30, Thurs 7pm, Fri-Sat 7:30pm, Thurs 2pm, Sat-Sun 1pm, Sun 6pm (times vary weekly)
Prices: From $55 (Transaction fees apply)
Bookings: canberratheatrecentre.com.au or (02) 6275 2700
Groups 8+ call (02) 6275 2727

PERTH
Venue: His Majesty’s Theatre, Perth
Season: 7 – 18 July
Performance Times: Tue-Thurs 7pm, Fri-Sat 7:30pm, Wed & Sat 2pm
Prices: From $59 (Transaction fees apply)
Bookings: artsculturetrust.wa.gov.au or (08) 6212 9292
Groups 8+ call (08) 6212 9291 or email groups@artsculturetrust.wa.gov.au

MELBOURNE
Venue: Athenaeum Theatre
Season: 23 July – 9 August
Performance Times: Tues- Thurs 7pm, Fri -Sat 7:30pm, Wed & Sat 2pm, Sun 3pm
Prices: From $55 (Transaction fees apply)
Bookings: ticketmaster.com.au or phone (03) 9650 1500
Groups 8+ visit ticketmaster.com.au
Groups 20+ email groups@ticketmaster.com.au

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Hit Hayes Theatre Co Musical Opens This Week At The Foundry Theatre

11/05/2026 Breaking News

For the first time ever, Hayes Theatre Co brings The Pirates of Penzance, one of its landmark productions to the Foundry Theatre stage, from tomorrow evening, with the official opening night on Friday 15 May. After a sold-out extended season at Hayes in 2025, plus visits to Wyong, Wollongong and Canberra, Hayes Theatre Co-Artistic Directors Richard Carroll and Victoria Falconer will raise the Jolly Roger once again as they revive their acclaimed version of The Pirates of Penzance. Madcap, hilarious and bursting with invention, Carroll’s sparkling new adaptation harnesses the irreverent, genre-busting spirit of Gilbert & Sullivan’s sprawling satirical masterwork and launches it into the 21st century with raucous new life. And the wildest part? Just five actors play every role.

Original cast members Jay Laga’aia (The Pirate King and others), Brittanie Shipway (Ruth and Mabel) and Maxwell Simon (Frederic) return to the motley pirate crew once again, joined by new recruits Jonathan Holmes (The Major-General and others), Sarah Murr (Isabel, Barry and others) and Tana Laga’aia (swing). Together, this fearless ensemble conjures a world of pirates, lovers, sisters, major-generals, and many, many more. Transforming in an instant as costumes, voices and characters fly past at breakneck speed, it’s a breathtaking theatrical feat, with no safety net and truly “all hands on deck”. A “riotous example” of Carroll and Falconer’s famous “What if?” approach to theatre-making, the production was hailed by the Sydney Morning Herald as “a stroke of hilarious genius.”

Brittanie Shipway in The Pirates of PenzancePHOTO John McCrae (1).jpg

Brittanie Shipway, Jay Laga'aia in The Pirates of Penzance PHOTO John McCrae (2).jpg

“Hayes shows thrive on being inventive, nimble and always entertaining, which aligns perfectly with the vision behind the Foundry Theatre. We’ve been looking for the right moment to bring a show to this space, and our rollicking, rowdy Gilbert & Sullivan reimagining is the ultimate way to kick off this exciting new partnership,” said Richard Carroll.

“There is a specific magic built into the DNA of every Hayes production – an intimacy that we know will translate beautifully to an innovative space like the Foundry Theatre. Expanding our reach to new spaces, creative partnerships and bigger audiences isn’t just a growth milestone, it paves an ambitious pathway that will directly fuel the creativity and scope of future Hayes productions,” said Victoria Falconer.

This is Gilbert & Sullivan like you’ve never seen it before; a full throttle tour de force, as five wildly outnumbered actors (swash) buckle up for an epic voyage.

★★★★★ “A practically perfect Pirates experience… Beautifully ridiculous charm” – Time Out
★★★★ “A hugely sophisticated show” – Sydney Morning Herald
★★★★ “A delight!” – Stagenoise
★★★★ “Keeps the laughs bubbling up” – Cultural Binge
★★★★☆ “Such a treat to watch” – What’s the Show

Batten down the hatches and jig along to the Foundry Theatre for The Pirates of Penzance or The Slave of Duty. Five Actors. Every Role. The original mega-musical – re-wired, re-booted, re-duced!

SEASON DETAILS
Venue: Foundry Theatre, inside the Sydney Lyric, Pirrama Road, Pyrmont
Season: 12 May – 7 June
Performance Times: Tues 6:30pm, Wed-Sat 7pm, matinees Wed or Thurs 1pm, Sat 2pm, Sun 1pm or 3pm (performances vary weekly)
Prices: From $59.90 (Transaction fees apply)
Bookings: ticketmaster.com.au or 136 100

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Macbeth: An Engaging, Modern Reimagining

11/05/202611/05/2026 Paul Ellicott🥉

Macbeth Rating

★★★★★

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Something wicked this way comes to Javeenbah Theatre – where fair is foul and foul is fair; Macbeth, directed and adapted by Brooke Edwards, is a bold reimagining of a timeless tragedy – set against the glitz and grit of mid twentieth century Las Vegas. Drawing parallels between Macbeth’s unhinged ambition – and ultimate downfall – with the destructive nature of gambling addiction, this layered and lively retelling is certainly not Macbeth as you remember it from high school English class.

For the uninitiated, Macbeth follows the rise and fall of the titular character who – spurred by his wife and with the assurance of witches – commits regicide to ascend the Scottish throne. The misdeed unleashes paranoia and intense guilt – unravelling the nefarious plan and ultimately Macbeth himself – before order is restored by the rightful heir.

One of Shakespeare’s shorter plays, this edit is tight and well-paced, running at around two hours. The play’s three key roles – Macbeth, played by Ethan Hough, Lady Macbeth, played by Samantha O’Hare and Macduff, played by Rory Impellizzeri – would each be at home on a professional stage. There is great chemistry between Hough and O’Hare in their scenes, each bringing animated, well-developed characterisations and a great sense of familiarity and connection with each other. Hough is a charismatic Macbeth who naturally draws attention, and O’Hare a nuanced Lady Macbeth, at once fiend-like – yet fallible. As Macduff, Impellizerri is compelling – also making a haunting impression near the beginning of the play in the additional role of Soldier. The combat scene between Macbeth and Macduff is a highlight, bringing the play to a dramatic climax.

The remaining ensemble performs with confidence and credibility; As Malcom, Ben Walton grows in stature throughout the performance, showing nice moments of emotional connection. Rob Kenna brings presence and propriety as Duncan and Siward. Bryce Berrell and Sol Buckley show vibrance and versatility in their multiple roles (with special congratulations to Buckley for performing Shakespeare in her second language!) with Rhyll Tedeschi providing an interesting study, especially as the morally ambiguous Banquo. Faith Moore-Carter, Hannah Collins and Marina Pennisi are each capable and commanding in their respective roles.

The cast handle the primarily Brooklyn-esque accents well, but there are times when the diction of the Elizabethan language is lost a little in accommodating that feature. The sound and lighting are creative – I especially enjoy the scene of Duncan’s death, and Macbeth’s monologues, although occasionally sound levels overpower the dialogue. The costumes look wonderful, with Lady Macbeth especially glamourous, in addition to effective set design. I enjoy the creative and immersive ways the theatre is utilised, with action occurring all over the space, not just onstage.

As with all community plays, acknowledgement is due to the entire production team and other volunteers who make it all possible. The collective efforts shine through here – J’bah’s Macbeth is an engaging, modern reimaging, exploring timeless themes, drawing interesting parallels with a social scourge, and reminding us that all that glitters is not gold. Highly recommend.

To book tickets to Macbeth, please visit https://javeenbah.org.au/playbill/macbeth/.

Photographer: Buttery Smooth Images

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A Very Welcome Pinter Production

11/05/202611/05/2026 Linda Nathaniel

The Homecoming Rating

★★★★★

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Kult Klassic’s production of Harold Pinter’s, ‘The Homecoming’, is an absolute triumph. This play set in 1960s London, depicts a dysfunctional family with its many complexities. All the characters bring a provocative undercurrent of struggle. Pinterseque dialogue is like no other. The audience needs to be shocked and taken out of their comfort zone. Co-Directors, Lola Carlton and Bora Celebi have the actors working at the peak of their powers. The result is intense. We are gripped.

Max (Neil O’Donnell), the brutal patriarch, wields his walking stick around the home. Even with declining mobility, the stick is used as a weapon. Max has his sons Lenny (Alejandro Sarmiento Castro), a menacing pimp, and Joey (Harrison Down) a demolition worker by day and a trainee-boxer by night, living with him. Sam (Linton Atlas), Max’s brother, is non-threatening and polite. Sam is a chauffeur and is allowed to stay in the home, whilst he still brings in a steady income and the occasional gift from clients.

Max’s wife Jessie has died. There is a lack of femininity in the household. Max refers to Jessie often. Sometimes fondly, sometimes cruelly. It depends on Max’s mood. All the men, except Sam, see women in a derogatory manner.

Unexpectedly, Teddy, (Tate Wilkinson Alexander), the eldest son arrives, after a six year absence. Teddy is a Doctor of Philosophy in America and has a glamorous wife, Ruth (Danette Potgieter). Together they have three sons.

Ruth has an immediate effect on the men of the household. They all become intoxicated by her and Teddy is powerless. Ruth enjoys the male attention and swoons in their presence. Max and Lenny offer her a work proposal. The role of prostitute for a few hours a day, in her own flat, followed by doing some domestic duties in the family home.

When Max, Lenny and Joey, literally fall at her feet, Ruth dismisses Teddy. He leaves. Ruth has abandoned him and their boys, to be swept up my male adoration. The audience questions who has the real power here. Ruth or the men? It’s a provocative question. Is Pinter being misogynistic or is he showing that men are somehow under Ruth’s spell.

In many ways, it’s a shocking ending. A wife abandoning her husband and children, to be a prostitute is alarming. Several audiences members were gobsmacked. That’s the magic of Pinter. He takes an absurdist stance and then challenges us.

Neil O’Donnell is convincing as the cantankerous Max. We believe his intimidating presence. O’Donnell makes the monstrous Max, seem real. Alejandro Sarmiento Castro is dazzling as Lenny. Castro reminds me of a young Robert De Niro. Utterly charming, yet, able to play sinister at the same time. When Lenny laughs his prolonged laugh, it’s scary. Sam (Linton Atlas) provides an eloquent counterbalance to Max. Tate Wilkinson Alexander exudes an academic nerdiness as Teddy. The Doctor of Philosophy has achieved much acclaim, but his achievements are not valued back at home. Alexander carefully brings the necessary sense of vulnerability to this role. Danette Potgieter entrances as Ruth. Potgieter reminds me of a young Uma Thurman in a Tarantino creation. She is quite beguiling. Harrison Down as Joey, conveys vulnerability and some thuggery, as the young man grapples with self identity.

Bronte Taylor’s set is perfect. It sets the mood of a male-dominated home. Studio One in the Esme Timbery Creative Lab at the University Of NSW, is an ideal venue for this play. The audience is up-close-and-personal. Occasional wafts of herbal cigarettes smoked on-stage, titillate our nostrils. Kult Klassic Productions is an exciting new company, that deserves our patronage.

To book tickets to The Homecoming, please visit https://events.humanitix.com/the-homecoming-kult-klassic/tickets.

Photographer: whtvrlolawantslolagets

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