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Eureka Day (Seymour) ★★★★
Parents of school kids are just the ****ing worst.
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Mary Jane (Old Fitz) ★★★★
This is pure theatre—a great text combined with sympathetic acting—storytelling at its best.
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Beetlejuice (Regent Theatre) ★★★★
Forget that stripey creep in the title—the name you’ll want to say three times is “Erin Clare,” “Erin Clare,” “Erin Clare!”
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The Birds (Malthouse) ★★★
Forget Alfred Hitchcock’s classic cinematic thriller. Forget Daphne du Maurier’s original story. Louise Fox has taken the frightening premise of an avian revolt against humanity and placed it in Australia.
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And Then There Were None (Theatre Royal) ★★★
Ten strangers are invited to a secluded island mansion under false pretences. Once assembled, a pre-recorded voice accuses each of them of murder. But who is the mysterious Mr UN Owen who brought them all here? And who is killing them off, one by one?
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Heaven (Qtopia) ★★★½
Heaven is a later-in-life tale of self-discovery firmly rooted in character.
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Women on the Verge of a Nervous Breakdown (Hayes) ★★★★
If chu only see one musical in Sydney this week. Make sure chu choose Women on the Verge of a Nervous Breakdown.
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I & You (Belvoir 25a) ★★★½
It’s the most YA of YA plots—you could probably rename Lauren Gunderson’s 2014 teen romance I and You something like The Fault in Our Star Turtles (you’ll get it when you see the show).
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Happy Days (Sydney Theatre Co) ★★★★
Happy Days is a reminder to address the elephants in the room—before it’s too late.
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The Wrong Gods (Belvoir) ★★★½
For all the small-scale human specificity in The Wrong Gods, it manages to speak to the state of the world in expansive ways.
