Summer Spectacular Hook’s Neverland Sails Into The Concert Hall

Feature-Hook's Neverland

A thrilling new adventure from the minds behind GATSBY at The Green Light

The swashbuckling spectacular Hook’s Neverland sails into the Concert Hall this summer for its world premiere, with the irrepressible Captain James Hook at its helm. Forget the boy who wouldn’t grow up: this tale is all Hook’s as he flips that well-trod legend of villainy and introduces a world filled with reverie and wonderment. With his right-hand man Smee, and a maverick Tinkerbell causing trouble along the way, Hook guides audiences through an unforgettable journey filled with circus, illusions, humour and tomfoolery. A raucous carnival of extraordinary performers will astonish and delight in this voyage across the realms of Neverland, from the waters of Mermaid Lagoon to the decks of the Jolly Roger.

Captain Hook and his motley crew cast off into the high seas, juggling and teetering towards a luminous Fairyland, where soaring aerials ignite mischief and whimsy. Tripping into the Lost Boys Hideout, they find themselves in a riotous underground world, with high-energy acrobatics echoing the thrumming chaos of childhood, before diving into an underwater paradise filled with sirens and suspense. In Skull Rock, Hook weaves his way across a knife-edge of danger as he tries to evade the relentless crocodile.

Shaped by the imaginations of Craig Ilott, Stuart Couzens (GATSBY at The Green Light and L’Hotel) with Neil Dorward – known for directing theatrical extravaganzas (Circus1903, The Illusionists and Cirque du Soleil’s Mad Apple) – this bold and enchanting production will thrill the young and the young at heart. The show will be brought to life by an exhilarating, cinematic score from Evan Duffy, composer for Cirque Du Soleil’s Auana as well as film franchises such as Now You See Me.

Director Neil Dorward says: “What excites me about Hook’s Neverland is taking a world we all think we know and completely turning it on its head. We’re bringing together an outstanding international cast of entertainers in circus, magic, comedy and variety, alongside dazzling visual effects, to create a Neverland full of danger, mischief, adventure and possibility. I’m incredibly excited to return to the Sydney Opera House with a brand-new production, and I can’t wait for audiences to step into our Neverland for the first time.”

Sydney Opera House Head of Contemporary Performance Harry Prouse says: “Every year, we look for remarkable, large-scale work that matches the daring of the Opera House itself, and Hook’s Neverland is exactly that. This circus of the imagination – led by a cunning, scene-stealing Hook – brings together a first-rate line-up of acrobats, high-flyers and illusionists to transform our Concert Hall into Neverland itself. From the creative minds behind some of the world’s most breathtaking theatrical productions, it’s the perfect addition to our summer program, and a chance for audiences of every age to experience childlike wonder under our Sails.”

KEY INFORMATION
WHAT: Hook’s Neverland
WHEN: 9 January – 17 January 2027
WHERE: Concert Hall, Sydney Opera House
FOR: Ages 8+
PRICES: From $74.90 plus $8.95 booking fee
PRE SALE: 9am, Tuesday 1 September
WHAT’S ON: 9am, Wednesday 2 September
GENERAL PUBLIC: 9am, Friday 4 September

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Kim Hardwick Directs Dixon And Daughters By Deborah Bruce At The Old Fitz Theatre

Feature-Dixon and Daughters

Tiny Dog Productions presents Dixon and Daughters by Deborah Bruce

“…if this house could speak.” An Australian premiere, Dixon and Daughters by Deborah Bruce comes from an acclaimed run at the National Theatre, co-produced with Clean Break Theatre in 2023. With a tight 90-minute run time and an all-female cast, Dixon and Daughters is a raw, compelling exploration of trauma, survival, and the bonds that tie family and in particular women together. When Mary returns home after serving time in prison, she wants to forget the past – intent on rebuilding her life, she walks into a household filled with hostility where her daughters are grappling with their past. Over a weekend, tensions simmer and truths emerge, exposing a history that has shaped their lives. Each woman must confront their past and what they’ve done to survive.

Balancing heartbreak with moments of surprising humour, this is a story about the courage it takes to confront pain, the complexity of forgiveness, and the possibility of breaking generational cycles. Fierce, moving and unflinchingly honest, Dixon and Daughters is a tribute to the strength of women and the painful path of healing.

Following Tiny Dog Productions’ 5-star co-production of The Children’s Hour at the Old Fitz Theatre in 2025 and their 4.5-star season of Monster by Duncan Macmillan at KXT on Broadway, we are pleased to be bringing this important story to the Old Fitz stage in September.

Cast: Vanessa Downing, Linda Nicholls-Gidley, Romney Hamilton, Sarah Jane Starr, Danette Potgieter, Rylea Eilis

Director: Kim Hardwick

Season and Performance Information:
Venue: The Old Fitz Theatre – 129 Dowling Street, Woolloomooloo NSW 2011, Australia
Season: 18 September – 3 October 2026
Performance Times: Tuesday – Saturday 7pm | Saturday Matinee 2pm | Sunday 5pm
Previews: Friday 18 September & Saturday 19 September 2026
Opening Night: Sunday 20 September 2026
Closing Night: Saturday 3 October 2026
Tickets: https://purchase.oldfitztheatre.com.au
Price: $34.50 – $86
Approximate Run Time: 90 minutes
Content Warnings: References to violence against women and girls including child sexual abuse and domestic violence, and depictions of alcohol abuse.

Creative Team highlights: Playwright Deborah Bruce; Assistant Director Jenni Russell; Producers Romney Hamilton & Celine Widjaya; Set & Props Designer Mia MacCormick; Lighting Designer Topaz Marlay-Cole; Composer & Sound Designer Nicky Pardesi; Costume & Props Designer Amelie Brown; Stage Manager Bianca Dreis; Dialect Coach Linda Nicholls-Gidley; Social Content Creator Chloe Callow; Photographer Campbell Parsons.

This production is generously supported by Darlo Drama and donors of our Australian Cultural Fund.

Tiny Dog Productions acknowledges the Gadigal people of the Eora Nation as the traditional custodians of the land on which we work. We pay our respects to Elders past and present and acknowledge that sovereignty has never been ceded. Always was, always will be Aboriginal land.

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Monkey Baa wonders: “Where is the Green Sheep?”

Where is the Green Sheep?

Where is the Green Sheep? Rating

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Making brilliant live theatre for small children is tricky, but Monkey Baa make it look easy.

A review of “Where is the Green Sheep?” at The Coliseum Theatre, Rooty Hill.

Small children are the best audiences in the world but also toughest. They don’t clap politely. They don’t pretend to enjoy themselves if they’re not having fun. They will just get up and wander off if they are bored. There was no danger of that during Monkey Baa’s Where is the Green Sheep?

“Where is the Green Sheep?” is a beloved picture book, a modern classic created by Mem Fox and Judy Horacek.

So, how do you adapt a treasured children’s picture book into an immersive visual theatre experience?

You’ve got to think about the size of the stage and the size of your audience. The Coliseum is a very big stage, and the stalls were crowded with hundreds of tiny children, slightly bigger children, and their grown-ups. That means you’ve got to fill that space with wonders. Think big!

You’ve also got to work out how you’re going to make the audio work. Monkey Baa wisely decided not to mic up any of their performers. Each of the three performers got to focus on puppeteering, dancing, movement and miming. The audio throughout is a bouncy mix of sparkly original music and lines read aloud by children from Bankstown West Public School.

The stage is a lovely green field with round hills and a big arched screen in a hill for projected animations. Colourful props are carried or rolled on and off stage throughout the show.

The big projection screen is a mixed blessing. Sometimes the interaction of the screen and puppets works brilliantly, for example with animated splashes for water for the Bath Sheep.

 

 

But it was interesting to watch and listen to the reactions of the children in the audience. Their response switched dramatically between animations projected on the screen and live puppetry on the stage. An animated sheep flying across the screen was watched, like it was a movie in the cinema or an animated show on the TV or a phone. No interaction. Just consuming it like filmed media. The reaction to the real live puppet sheep and live performers was completely different. Happy shouts and interaction, clapping and giggling. The difference was obvious from my seat in the audience.

The animated projections added something beautiful when they enhanced the live puppetry. A live sheep puppet flying a kite on screen. The moon and starry night sky. Rain falling. The interior of the circus tent. This brought the scenery alive. But an animation of a sheep? It’s no longer alive and real.

This was most striking with the Near Sheep and the Far Sheep. The Near Sheep was fully projected on screen, duplicating the pages of the picture book, but with the book, when the Near Sheep fills the page, it does look like that sheep is near to the reader. On the big screen on stage that sheep became the Gigantic Sheep, scaling up bigger and bigger until it filled the whole screen, looming over the three performers like Sheep-zilla.

In comparison the simple effect of the Far Sheep being taken off stage by a puppeteer and up the aisles to the back of the audience in the stalls brought whoops of laughter and instant understanding. The Far Sheep was far away from the people on the stage.

The sheep puppets, made by Kay Yasugi, are fabulous. Big, soft and squishy with some sparkles in their wool that catch the light. The three performers, Ebony Tucker, Michael Ho and Paul Grabovac, are absolutely world class.

Highlights? The Bath Sheep, the Rain Sheep and the Far Sheep.

The simplicity of a performer blowing bubbles was met with a huge cheer of ‘bubbles!’ from everyone and the Bath Sheep, splashing and being dried with a towel had the audience in stitches.

The Rain Sheep is beautiful and colourful, dancing around a lamppost and opening an umbrella, in a woolly tribute to Gene Kelly in “Singing in the Rain.”

Knitted hats off to everyone at Monkey Baa, with special mentions to director and writer for the stage Eva Di Cesare, and puppetry director Kailah Cabanas.

Monkey Baa’s adaptation of “Where is the Green Sheep?” is an absolute delight that everyone will love.

Monkey Baa’s “Where is the Green Sheep?” is touring New South Wales, Tasmania and the ACT.
https://www.monkeybaa.com.au/shows/where-is-the-green-sheep

To book tickets to Where is the Green Sheep?, please visit http://www.monkeybaa.com.au/shows/where-is-the-green-sheep.

Photographer: Robert Catto

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