Circle Mirror Transformation (Sydney Theatre Co) ★★★★

Written by Annie Baker. Wharf 1 Theatre. Sydney Theatre Co. 12 Jul – 7 Sep, 2025.

Circle Mirror Transformation is a tonic for the real-world dramas taking place. This gentle character comedy unveils itself at a careful pace, with a spacious script that allows five fantastic performances to fill the stage. Tip: Keep an eye on everyone’s faces, its all in the hilarious micromoments.

A group of strangers meet in an empty studio to take introductory acting classes from Marty (Rebecca Gibney). There is Theresa (Jessie Lawrence), who moved from New York to this small Vermont town five months ago; the recently divorced carpenter Schultz (Nicholas Brown); and the shy 16-year-old Lauren (Ahunim Abebe), who wants to study theatre, or perhaps veterinary science, when she goes to university. The group is rounded out by Marty’s husband, James (Cameron Daddo). Over the course of six weeks, personal boundaries come crashing down and everyone receives more than they anticipated.

There is a refreshing simplicity to Circle Mirror Transformation that is instantly relaxing. It is undoubtedly a comedy, but the laughs don’t come from set-ups and punchlines; they bubble up out of character. Annie Baker’s script gives us time to get to know these people, their foibles, and their dreams. Told in a succession of short moments (it reminded me a lot of Nick Payne’s Constellations, seen at STC in 2023), the story lies not in what is said, but in the reactions of the characters. It’s a relatively slow burn for a comedy, but worthwhile.

Many people will no doubt buy tickets to see the STC debut of two of Australia’s most beloved screen talents, Rebecca Gibney and Cameron Daddo—both of whom deliver disarming and warm performances—but the real gems come from the trio of Ahunim Abebe, Nicholas Brown, and Jessie Lawrence. This cast, under the direction of Dean Bryant, keeps things grounded and is all the richer for it. Each role feels both quirky and authentic, without trying too hard to get a laugh from the audience. These may be the most organic performances I’ve seen all year, deliciously underplayed, drawing you in.

Once the audience learns the play’s rhythms, its humour truly begins to shine. It rewards us by layering the laughs into the action. These five flawed and fickle people are all too familiar and relatable. Their desires and slights are petty on a grand scale, but seismic within this small group.

As anyone who has attended any form of introductory acting class knows, the process of breaking down people’s inhibitions and inviting them to play can seem peculiar to onlookers, and Circle Mirror Transformation makes the most of this awkwardness. Jeremy Allen’s set, with a mirrored wall looking back at the audience, puts us right in the action. It also allows the cast to perform scenes with their backs to the audience in a naturalistic way. Clemence Williams’ sound design makes use of Wharf 1’s crisp speaker system to immerse us in breaths and the odd noises of vocal warm-ups between scenes.

Circle Mirror Transformation does not have the political edge of recent comedies like Eureka Day or Hir, and its levity feels like a deliberate counterweight to STC’s last show, the meaty existential comedy Happy Days. The pace may frustrate some, but after a hectic few days I rejoiced in being able to decompress in its staging. It felt like drinking a glass of wine after a stressful day—a crisp, aromatic Pinot Gris rather than a woody Chardonnay.