Hayes Theatre Co Unveils Its 2027 Season

Stylized retro city skyline with a heroic figure standing to the right, symbolizing urban leadership and ambition.

Hayes Theatre Co today announced its 2027 season, the company’s biggest yet, expanding beyond its Potts Point home with work presented at larger Sydney venues under the banner Hayes in New Places while continuing an expansive program at the Hayes Theatre. Artistic Directors Richard Carroll and Victoria Falconer, in their final year as ADs, will lead a season of new work, reimaginings, classics and major theatrical events.

Leading the season is Steven Kramer’s Phar Lap: The Electro-Swing Musical, starring Joel Granger, returning to Sydney for an expanded staging at Carriageworks from 8 July to 8 August ahead of a national tour culminating at Melbourne Theatre Company. Phar Lap previously received rave reviews, sold-out seasons and awards; the 2027 staging is on a larger scale.

The Foundry Theatre will be transformed into an underground bar in October for Mack The Knife, a major new work by Richard Carroll, Victoria Falconer and Jordan Shea that re-imagines The Threepenny Opera. Beginning as an immersive promenade experience, it evolves into a rock-cabaret musical shaped by the audience each night.

At the Hayes Theatre in Potts Point, the season of eight productions spans cabaret, comedy, opera, contemporary musical theatre and drama. The year opens with Peter Allen: Not the Boy Next Door, a new cabaret-concert directed by Hayden Tonazzi with arrangements and musical direction by Steven Kramer (three-week season from 13 January). February and March feature Claudia Barrie’s Lucky Stiff, followed by the return of House of Rot after its sell-out at the 2026 Winter Cabaret Festival. May presents the Australian premiere of the folk epic Swept Away (directed by Drew Livingston), followed in July by Jacinta John’s production of Pulitzer Prize-winning Next to Normal.

In August Matthew Barclay presents a technicolour reimagining of Mozart’s Così fan tutte or The School for Lovers. September brings Cameron Mitchell directing and choreographing the sci-fi satire Be More Chill, and the season closes with Flowers for Mrs Harris starring Rachael Beck and directed by Julia Robertson.

Hayes will again present two major festivals: the Festival of New Work returns for its fourth year extended to three weeks, and the Winter Cabaret Festival returns in June rebranded as Flare. Regular Hayes events include three Neglected Musicals (1776 in March, A Funny Thing Happened on the Way to the Forum in May and Dames at Sea in October), Theys at the Hayes and Victoria Falconer’s Parlour Night for Mardi Gras 2027, plus returning favourites Musical Bang Bang, Home Grown, An Evening With and Carols by Cabaret. Subscriptions are on sale from Monday 14 September, with single tickets on sale at various times in coming months. Phar Lap single tickets are available now from https://hayestheatre.com.au/event/phar-lap-2027-carriageworks/.

With its most expansive program yet, Hayes Theatre Co’s 2027 season is presented as an invitation to discover music theatre in new places, in new forms and at every scale while continuing to champion artists, audiences and Australian work.

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Steel Magnolias: A Celebration of Friendship at The Guild Theatre

Feature-Steel Magnolias

In the welcoming surrounds of a small-town Louisiana beauty salon, six spirited women share laughter, heartache and the enduring bonds of friendship. The Guild Theatre Rockdale presents Steel Magnolias, a much-loved comedy-drama that will have you laughing through your tears.

About The Show - Steel Magnolias

What is this show about?

A delightful comedy/drama about the bond between a group of Southern Women in Louisiana.

In the warmth of a small-town Louisiana beauty salon, six strong-willed women gather to share laughter, secrets, and heartache. Steel Magnolias is a funny and moving celebration of friendship resilience, and the bonds that carry us through life’s joys and sorrows. With quick wit, sharp humour, and moments that will leave you misty-eyed, this timeless classic reminds us that strength can be delicate – and as enduring – as a magnolia blossom

How would you describe this show to someone who has never seen anything like it before?

The show is very moving and takes you for a rollercoaster ride of emotions. You will find yourself smiling, laughing and relating to the characters. There is also some sadness.

Who is this show for? Who is going to have the time of their life?

The show is for everyone ... but perfect for a girls night out.

What do you want the audience to feel in the final moment?

An acknowledgement of the power of female friendship.

Our thanks to the team at The Guild Theatre Rockdale. For those seeking a moving theatrical experience, whether for a girls' night out or simply to celebrate the enduring strength found in connection, tickets can be reserved at the Guild Theatre website.

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“We Have A Great Relationship, Apart From The Communication Issues.”

Cooked

Cooked Rating

★★★★★

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Cooked by Angel Duggan and Lana Page
At KXT on Broadway Downstairs

Creative Team
Director: Laura Jackson
Writer/Performer: Angel Duggan
Writer/Performer: Lana Page
Performer: Sally Evans
Lighting and Sound Designer: Sansona Trinh
Costume, Set and Props Design: Sam Hollingshead
Producers: Angel Duggan and Lana Page

I feel a lot of hard work went into this production but I’m not sure if it was cooked, more like half baked.

“Christmas this year is “cooked.” Logan’s world is tested when her mum starts to come home late, disappears, and acts 'off'. She looks to her best friend Jean for support, however a new boyfriend - the kind that you have a ‘funny feeling’ about - begins to test their friendship. Full of vaping, Tn's, Kookai, and 'woo woo energy', these women navigate their insecurities, judgements and some hard truths about each other.
Christmas is fucked but maybe New Years will be better?”

We never heard about New Years funnily enough. A lot like the ending, where we didn’t really get a conclusion.

The play tries to dabble with some heavy hitting themes about alcoholism, depression and domestic violence but nothing really hits the mark. I thought I’d be coming out of this play crying but instead felt rather empty. This could have been the playwright’s intension.

 

I understand why actors start writing their own work so they can create opportunities for themselves and others but sometimes as playwrights, actors are too close to the material, so they don’t quite get there and connect. A lot of sections of the play seemed over rehearsed and not in the moment. There was a lot of playing to the balcony and not the people in front of you, which made it feel really disconnected. Perhaps the show needs to be workshopped more. Opening the play with some super out of tune singing was a choice!

This was their second show in a short run at BXT on Broadway downstairs. I wonder if some of the issues I saw were to do with the classic second show slump.

The space downstairs is tiny, it could do with some slightly raked seating, as sight lines are a problem unless you are in the front row. The speakers are deafening; the high volume is not needed for such a small space. They were so distracting throughout the entire play and so many moments were destroyed because of this. Like the seats upstairs, these are just as uncomfortable. It was lucky the play was only 55 minutes long. Take a cushion with you.

Sally Evans performance as Mum was quite the standout. She craftily balanced quirky comedy, melodrama and very dramatic scenes with ease.

It is lovely to see a full house with so many people supporting live theatre.

To book tickets to Cooked, please visit https://cookedtheplay.weebly.com.

Photographer: The Garage Photo Studio

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Reich: Rejoice: Repeat

Reich: Rejoice: Repeat

Reich: Rejoice: Repeat Rating

★★★★★

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Following this concert I think the Vibraphone is my new favourite instrument. Think tubular bells mixed with a glass harp for the purest sound in an orchestra. As a tribute to Steve Reich who was influenced by Back to Coltrane and master of this instrument, the Ensemble Offspring offered a technically brilliant afternoon of sound. The self-effacing key speaker Claire Edwardes outlined the program and the ensemble’s history and love of Reich’s compositions and technical difficulty. She even wondered out loud why they had chosen some difficult pieces!

First up, Richard Cilli and Claire Edwardes strode on with metronomes and, accompanied by the amazing pianist Gabi Sultana, their body percussion and ballet melded sound, rhythm and the piano providing a surprising pulse. ‘Metronomes’, offered Reich’s classic phrasing of repeat, review and revise. The bodies moved in time matching the metronomes as they were out of sync and then in-sync as if they were a piece of separate music. It was compelling in its fluidity.

Richard then stepped forward and with fluid balletic dexterity presented a conversation with a silent partner as if the beat, piano and his movements were debating with another to get some response regardless. Gabi pushed the piano as if it were vibrating to the music whilst her fingers ran across the notes mastering the difficult phrasing.

 

Next we had the famous piece, Quartet from 2013, which featured two vibraphones and two pianos - just in case! The nimble dexterity and clarity of sound was beautiful and the pace was fast and furious. Lots of counter questions and answers between all four performers as they delved into the complex harmonies and difficult twists of hands and instruments to match the rhythm, fast, slow, fast and then faster. It was amazing to watch the ballet of fingers using the mallets as if playing four keyboards on one instrument and the precision of the timing was everything.

The finale of the whole ensemble added a bass guitar, flute, clarinet, violins, viola and cello which circled the pianos and vibraphones. Radio Rewire from 2012, is a piece not for the fainthearted. With shards of Radioheads’ Everything in Its Right Place and Jigsaw Falling Into Place, Reich offers a throwback to older composers using pre-existing music to weave in to their own variations on a theme. The piece moved back and forward in speed and finalised in a massive pure sound leaving the audience stunned by the sheer technical brilliance and the complex phrasing as variations were weaving around from each performer. The performance culminated in a cacophony of dynamic sound.

To book tickets to Reich: Rejoice: Repeat, please visit https://www.aco.com.au/whats-on/2026/ensemble-offspring-reich-rejoice-repeat.

Photography: Oliver Miller

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