Max your summer in Sydney

Just as the warmer days have started setting in, Sydney Harbour has welcomed a glorious new addition – in the form of a free-to-access swimming pool in the heart of the city. Pool by Pier Bar is bringing beach club energy to the Harbour City – with guests at Pier One’s airy indoor-outdoor venue invited to cool off in a pop-up harbourside swimming pool. Running until Friday, January 31, the pop-up swimming pool is transforming the sun-soaked corner of harbourside into an adult playground. Order drinks and summery snacks – like Pier Bar’s signature Margaritas and golden bowls of calamari and soft shell crab – and settle in for a perfectly-fuelled afternoon spent in and out of the water. The pool is netted, so you don’t need to worry about any unwanted friends, and there are towels available to hire at $10 a pop if you don’t want to carry a damp towel home.  Group numbers are capped at 25, but if you want to gather a group of 24 for a day of drinks by the harbour – go forth. The view of the sunset from Pier Bar – dropping behind Walsh Bay and bathing the pier in buttery light – is one of the best in Sydney, so it’s worth staying all day. Access to the pool is free, but a minimum spend of $75 per person applies for groups of ten people and more. Keen? You can book over here.   Stay in the loop: sign up for our free Time Out Sydney newsletter for more news, straight to your inbox. RECOMMENDED:  Want more fun? Here’s what’s on in Sydney this weekend. And these are our favourite wat

The Australian Museum’s latest exhibition, Machu Picchu and the Golden Empires of Peru, is landing in Sydney with one of the most impressive gold collections to ever tour the globe.  From November 23, this blockbuster exhibition will take you back in time with over 130 artefacts showcasing the daily lives, spiritual practices and extraordinary achievements of societies in ancient Peru. In addition to the stunning gold collection, you’ll also find priceless treasures on display, including exquisite jewellery and funerary objects unearthed in royal tombs. The exhibition explores civilisations that predate the Incas, including indigenous groups who lived in the Andes mountains and the desert coastal strip of Peru as far back as 10,000 BCE. The exhibition dives into their rich history, including their fascination with natural life cycles, birth and death. Upgrade your visit with a thrilling VR experience that takes you on an expedition to the Incan city of Machu Picchu for an add-on fee. Using cutting-edge technology, you’ll explore this UNESCO World Heritage site from the comfort of 360-degree motion chairs, immersing yourself in the sights, sounds and sensations of this mysterious city in the sky—all without leaving Sydney. If you want to delve deeper, an exciting series of expert-led talks and experiences are coming soon to the museum. The AM's Journey to Peru series will explore various aspects of Peruvian and Incan culture, covering topics from archaeology to astronomy and t

Well, that rabble rouser Jesus Christ is at it again. Stirring up the people of Judea, angering Caiaphas and the Pharisees, encouraging a revolt against the occupying Roman government – although Governor Pontius Pilate doesn’t seem particularly fussed. Still, even among his own followers there’s dissent in the ranks – his bestie, Judas, seems particularly ticked off. Jesus better watch his sandaled step – and hey, that’s an awfully big Cross taking up a lot of real estate on the stage? I have to assume you’re familiar to at least some degree with the general drift of Jesus Christ Superstar; after all, Andrew Lloyd Webber and Tim Rice’s rock opera is based on one of the most popular books ever published, the Bible – or at least, parts of the New Testament. First staged on Broadway in 1971 (although it was a concept album first, the composers having had trouble finding anyone who would stump up cash for an arguably-blasphemous take on the story of Christ) it was the longest-running West End production of all time until Webber’s own Cats outpaced it in 1989.  It is a spectacular interpretation... passionate, creative, and immensely impressive Now, of course, it’s a classic of the stage, with revivals occurring regularly. Here in Australia, we’ve had Jon English as Judas (1972), John Farnham as Jesus (1992), and even rock ‘n’ roll nerd Tim Minchin as the former in the 2012 Arena Tour (technically not an Aussie production, but Minchin certainly is). Indeed, it was the Australian

[Content note: this review discusses themes of suicide and mental health issues. If you need support, you can call Lifeline on 13 11 14, or find more options at healthdirect.gov.au.] I suspect anyone reading this is either a huge fan of Dear Evan Hansen, or you’re not. The middle ground is sparsely populated. If you’re part of the former cohort, it’s because the show is beloved in musical theatre circles and revered by critics. It’s a new classic in the canon, and we don’t get those too often. Premiering on Broadway in 2016, it was an instant hit, and at the 71st Tony Awards it handily scooped up six out of nine nominations, including Best Musical, Best Book for Steven Levenson, Best Score for Benj Pasek and Justin Paul, Best Actor for Ben Platt, and Best Featured Actress for Rachel Bay Jones. It’s now making its Australian debut at the Roslyn Packer Theatre ahead of a national tour, and its reputation ensures an audience is built in – expect tickets to go fast. If you’re part of the latter, that’s probably down to the widely derided 2021 screen adaptation, which saw Platt, at the age of 27, reprise the title role, a move that drew scathing criticism – largely because he very much did not look like a teenager, especially alongside his age-appropriate co-stars. The film tanked, and the play closed shortly thereafter (in fairness, the pandemic didn’t help). Perfectly cast, perfectly mounted, perfectly polished...and surprisingly complex in its themes I was in the latter group.

It’s time to stop and smell the popcorn and grab your picnic basket – this popular outdoor cinema is returning to the beautiful surrounds of Centennial Parklands this summer. From November 22, 2024, Moonlight Cinema is back in action for its 29th year in Sydney and screening a bunch of flicks in the open air and under the stars. The program features a stellar line up of 2024 Box Office blockbusters, festive movie favourites and family flicks right through to March 30, 2025. The Moonlight experience is about more than the movie. You can snuggle up in the comfiest of bean bags – and so can your furry best mate, because dogs are allowed! It’s BYO friendly (so chuck a bottle of bubbles on ice) but if you’re famously under prepared, have no fear – there’s a phalanx of food trucks, licensed bars for libations and on-site activations flogging free samples, to boot.  There are multiple ticketing options at various price points to choose from. Are you the extra-AF type? Level up your outing with the ‘Mount Franklin Lightly Sparkling Platinum experience’, which includes sparkling water (naturally) plus a food package and personal waiter service direct to deluxe double bean bags. If you're an outdoor cinema aficionado, it's worth signing up as a Moonlight Cinebuz member for reduced-price tickets, every time. So what’s playing this summer? Moviegoers can expect a line-up of some of 2024’s biggest Hollywood blockbusters, including Challengers, The Fall Guy, The Substance, Wicked, Gladiato

Tracy Letts’ Pulitzer-winning black comedy has come to Sydney’s Belvoir St Theatre – slouching in through the door, bottle in hand and a cigarette dangling from its fingers, simmering with rage and love and resentment and sorrow and disappointment – and all the other emotions, and emotional scars – that belonging to a big, messed-up family can leave you burdened with.  Debuting in Chicago in 2007, August: Osage County went on to conquer Broadway and the West End before Hollywood took a swing at it in 2013. The story is set in Oklahoma, the playwright’s home state, but the tradition it’s drawing on is Southern Gothic – or maybe it’s Midwestern Tragic? There’s a bit of William Faulkner in the mix, maybe a bit of Truman Capote and Harper Lee. There’s a touch of Shakespeare, too – specifically King Lear, which also features three daughters caught in a dynastic struggle after their father abdicates.  Alcoholic former poet Beverly Weston (John Howard, superb in a one-scene appearance) is missing, presumed drunk, which prompts his three daughters to return home to care for their acerbic, pill-addled mother, Violet (a brilliantly bitter Pamela Rabe). There’s the dutiful Ivy (Amy Mathews); the wild child youngest, Karen (Anna Samson) who brings her fast-talking, sleazily charming fiancé, Steve (Rohan Nichol); and prickly eldest daughter Barbara (Tamsin Carroll) along with her college professor husband, Bill (Bert LaBonté), and precocious teen daughter, Jean (Esther Williams). Also bac

What was the time of death for the American dream? In her Pulitzer Prize-winning play Sweat, Brooklyn-born playwright Lynn Nottage offers a compelling starting point: with the heedless disregard for the plight of the working class, which flatlined with the North American Free Trade Agreement. Set in Reading, Pennsylvania, as the country’s once-strong Steel Belt turned to rust, the play is a sociological exploration of class struggle in the United States. Directed by Zindzi Okenyo (Is God Is, Orange Thrower, Choir Boy) the play’s timely Australian premiere is here to close out Sydney Theatre Company's huge 2024 season. Sweat is oft-quoted as the “play that explained Trump’s win” in the 2016 presidential elections. However, this description does not do justice to the depth of Nottage’s work and extensive research. Sweat is not merely an explanation, as that connotes a retrospective reflection – rather, when it debuted in 2014, the play served as a prescient warning that highlighted the dissatisfaction of blue-collar workers, who were once regarded as the backbone of the American economy. There is an eerie sense of déjà vu that comes with watching this play in light of the result of the United States’ recent presidential election. Sweat’s themes and concerns are just as relevant today, and have arguably become worse for both the working and middle classes. The story unfolds in a bar, the watering hole of choice for the factory workers who toil away at the local steel mill. The n

Earlier this year, Carriageworks announced its exciting program for 2024, responding to Sydney’s seasonal energy to give the city the kinds of art and live performance that we crave, when we crave it. Throughout the winter months, the focus was firmly on storytelling, with spring bringing new energy in the form of spellbinding performances including Counting and Cracking, Swim and Gilgamesh. As silly season sets in, Sydney's original post-industrial multidisciplinary arts space is turning up the heat in Eveleigh, with a high-energy summer program running through November and into January with a major focus on music and movement that spotlights circus, live music, dance, drag, cabaret and more.  "Carriageworks Summer is an invitation to everyone to celebrate the joy of Sydney’s favourite season," says Carriageworks CEO, Fergus Linehan. "We are proud to celebrate Australia ́s incredible dance, circus and cabaret artists in a program for all ages. But we also want you to interact with art and artists, and join in with dance classes and unforgettable parties." First up, The Famous Spiegeltent (that’s it's actual name, though we’re not here to argue) will be taking over Bay 17, transforming the cavernous industrial space into a whimsical wonderland (Nov 23-Dec 15). Expect sparkling cabaret shows and breathtaking circus performances, all within those magical mirrored walls. From Wednesday, Nov 27, the tent will play host to Club Briefs: The Works, a deliciously flamboyant show from

Do you know the one about the love triangle behind one of Australia’s most famous artistic exports? And the remarkable woman, who many argue was the guiding hand behind Sidney Nolan’s iconic Ned Kelly paintings? Get down to the Sydney Opera House to see how the paint and passion plays out in Sunday. Under the guidance of acclaimed director Sarah Goodes (Julia), this is playwright Anthony Weigh’s tribute to the late patron of the arts and Melbourne icon, Sunday Reed.  The extraordinary Nikki Shiels reprises her role in this Melbourne Theatre Company production, which is brought to the Harbour City with the helping hand of Sydney Theatre Company. A woman ahead of her time, Sunday Reed helped shape Australian modernism by co-founding the Heide artistic commune with her husband John Reed (played by Matt Day) on Melbourne’s then-rural edges in the 1930s.  The play focuses on the passionate love triangle between the Reeds and the Heide Circle’s most notable member, Sidney Nolan (James O’Connell). They are joined by Ratidzo Mambo as celebrated modernist painter Joy Hester, and Jude Hyland as Sweeney Reed.As attested by critic Stephen A Russell in his three-star review of Sunday’s debut in Melbourne, there is brilliance to be discovered amidst the play’s somewhat dreary staging and drawn-out runtime. Especially when Shiels – who “shines as bright as the dappled Melbourne sunlight” – is given space to shine. After all, she is an actor of such high calibre that she swung in for Eryn-Je

Ah, the Titanic. An unsinkable cultural icon, the “Ship of Dreams” has appeared in almost as many movies and stage productions as the songs of Canada’s queen of the power ballad, Céline Dion. It’s even got a two-and-a-half-hour (surprisingly serious) movie musical adaptation based on Maury Yeston’s Titanic: the Musical. Although, none can hold a candle to the cultural impact of James Cameron’s 1997 blockbuster – you know, the one with Kate Winslet and Leonardo DiCaprio. So, with nostalgia being such hot property right now, it was only a matter of time before we got the camp-as-hell musical fantasia-made-for-and-by-the-gays that is Titanique. Created by Marla Mindelle (who originated the role of Céline Dion – well, as imagined in this show), Constantine Rousouli (who originated the role of Jack) and director Tye Blue (whose countless industry credits include working on the casting team of RuPaul’s Drag Race), Titanique is revisionist history at its best. Loaded with Céline Dion’s greatest bangers, it casts Queen Dion herself (played so wonderfully by cabaret legend Marney McQueen here in Aus) as the narrator of the tragic tale, who continuously places herself at the center of the action – quite literally – much to Jack and Rose’s repeated dismay. It brings the campness of the film to the front, with Stephen Anderson (Mary Poppins) playing Rose’s awful mother Ruth (complete with a bird’s nest headpiece), and Abu Kebe (Choirboy) playing a brilliant, tear-jerking drag parody of T