The best musicals in Sydney

The opening note of ‘The Circle of Life’ may just be one of the most recognisable in a Disney musical. If you don’t agree, then you may have to convince the entire theatre-going audience who were at Disney’s The Lion King on opening night. The full house’s roars could be heard all the way out of the Capitol Theatre’s front doors as the king of musicals triumphantly returns to Sydney – the first time in more than a decade. What type of show is The Lion King? It’s called The King of Musicals for a reason. If it’s not Elton John’s iconically recognisable music, or Tim Rice’s lyrics you’ve sung over a late-night karaoke session, then its Roger Allers and Irene Mecchi’s book featuring the characters you love, the characters you hate, and the ones you undoubtedly cry over – tears were definitely still shed during that scene. What’s so beautiful about The Lion King is the blurring of worlds and culture that merges in between all of these. Julie Taymor’s directorial conception blends African culture, language, movement and costume underneath masks and puppetry of the animal characters. Mufasa’s “crown” is a stoic, strong and towering headdress. The elegant lionesses soar and leap through the sky through Garth Fagan’s choreography as wing-like gowns flow behind them. The animals of Pride Rock are adorned with larger-than-life puppets of intricate designs and architecture: a re-engineered bicycle becomes leaping antelope, birds fly above the crowd on poles manipulated by performers,...

"They're creepy and they're kooky / Mysterious and spooky / They're altogether ooky / The Addams Family."  If you love that jingle and the famously freaky family associated with it, you'll be thrilled to know that The Addams Family is haunting Hayes Theatre, Potts Point until August 9. Cue dark humour and death stares in this in this Gothic musical comedy where love, family and chaos collide.  Brought to life by the acclaimed team behind The Producers, this new production is directed by Julia Robertson (The Producers, Metropolis) and choreographed by Shannon Burns (Gutenberg! The Musical, The Producers). Based on the beloved characters created by cartoonist Charles Addams, the musical follows Wednesday Addams as she falls for a “normal” boy – forcing the wonderfully weird Addams clan to confront love, acceptance and the awkward business of meeting the in-laws. Leading the cast is Erika Heynatz as Morticia Addams (Legally Blonde, Menopause the Musical), bringing plenty of gothic glamour to the iconic matriarch. Marcus Rivera steps into the role of devoted husband Gomez Addams (Miss Saigon, City of Angels), while Jenny Guigayoma plays Wednesday Addams (Nine, Peter Pan) and Georgia Oom takes on the mischievous Pugsley (Werkaholics, Footloose). Evan Lever brings his peculiar charm to Uncle Fester (The Normal Heart, Muriel’s Wedding), Deborah Galanos embraces the chaos as Grandmama and Elliot Aitken makes his professional debut as the deadpan Lurch. The Addams Family delivers...

Isobel McArthur’s Pride & Prejudice* (*sort of) strips away the intellectual exclusivity of Jane Austen’s classic, not only making it accessible to a wide variety of audiences, but also making clear the sort of tools that Austen herself was using in her original novel: gender, satire, romance, and – most of all – comedy. There’s no Colin Firth here – but there are plenty of karaoke songs to hum along to. What is the premise of Pride & Prejudice* (*sort of)? Told by the servants who work tirelessly behind the main characters within Austen’s work, we’re given a slapstick comedy version of Pride and Prejudice. Dressed in white gowns with Doc Martens poking out underneath, the five-strong cast clean their way through the audience with yellow rubber gloves and individualised accents from across Great Britain. The fourth wall is destroyed immediately – they want you to be a part of the story. After a rather disturbing entrance involving a plunger and a rather messy toilet, Elvis Costello’s ‘Everyday I Write the Book’ launches us into literary territory and the premise is set up. Though you may only know the main characters of Pride and Prejudice, there were unsung heroes helping to push the Bennet sisters along their journey towards love and stability. Now, it’s their turn to tell a version of the events, with a song or two along the way – it’s best not to reason about the artistic merits or reasoning behind this addition, just go with it. Perhaps the jumbled selection of songs...