Sydney Theatre Company has had a blistering start to the year with hit after hit in Mitchell Butel’s debut season as Artistic Director, but Bennelong in London has been one of the most hotly anticipated shows on the company’s calendar, being the world premiere of Jane Harrison’s new work. The play tells the story of Woollarawarre Bennelong, who became the go-between for the colonists and First Nations Australians in the early days of the colony, through the lens of a young actor auditioning for the role of Bennelong in a new play about his life (which, in a nice bit of meta-theatre, is called Bennelong in London). This framing device is a nice touch as it allows Harrison and director Ian Michael to to explore not only Bennelong’s history, but also how that history is interpreted and remembered.

Harrison’s playwriting is particularly clever in that it doesn’t seek to portray history in a documentary style that this type of play could easily lend itself to, or indeed fall into the trap of feeling like. Rather, it feels like a fresh and modern take on Bennelong’s story, with frequent references to modern-day Sydney and it genuinely feels like an interpretation of how Bennelong would react to the present day, which maintains interest for the audience.

The audience reacted particularly well to the many quips about Bennelong’s wife, Barangaroo, which took on a great deal of irony given that just a few steps from the Wharf 1 Theatre is the new(ish) Barangaroo precinct, with one of the funniest moments in the production coming when Bennelong discovers that Barangaroo got a whole precinct named after her while he merely got an electorate. The absurdity of the dreamlike scenario lends itself to comedy from the outset, and the fantastic execution counterbalances the seriousness to come (with excellent meta-theatrical jokes about NIDA and Australian acting schools giving the production a distinctly local flavour while eliciting many laughs from the opening night audience).

After the humorous beginning, the play quickly takes a more serious turn as it examines the emotional impact of colonisation and the complex emotions surrounding Bennelong himself as a controversial figure who occupied an uneasy position between two worlds. The conversations between Bennelong and Sebastian become increasingly emotional and powerful, with a poignancy in Harrison’s writing that resonates deeply with the audience and creates an accessible entry point into a far more confronting exploration of colonialism and Bennelong’s complicated legacy. Importantly, Harrison also steers clear of lionising Bennelong, including discussion of domestic violence, although this could perhaps have been explored in greater detail. 

In a two-person production, even with exceptional writing, the play depends heavily on the performances of its leads and both actors were superb on opening night, with Googoorewon Knox, in particular, completely embodying Bennelong, bringing heart, soul, passion and a fiery intensity that brought the character vividly to life. Having already established himself within the Australian theatre scene through musical theatre, it was fantastic to see Knox excel in such a more meaty dramatic role, further demonstrating the depth of his acting ability and adding to his already impressive resume. Guy Simon was equally impressive in what initially appeared to be primarily a supporting role to Knox, but as his character’s understanding of and connection to Bennelong deepened, Simon gradually shedded his uncertainty before delivering an emotionally charged and heart-wrenching performance of his own. The chemistry between the pair was palpable throughout, adding another layer of authenticity to the production, with the duo also handling a technical difficulty on opening night with complete professionalism, a testament to their skill and composure.

As always with Sydney Theatre Company, the production values were first class. Trent Suidgeest’s lighting beautifully enhanced the dreamlike quality of the work while James Peter Brown’s evocative score gave the production considerable emotional richness, further complemented by the performances and singing of both actors. By the final scenes, as the emotional and thematic lines between Bennelong and Sebastian began to blur, every production element worked in complete harmony to create an exceptionally moving theatrical experience, leading to a richly deserved extended standing ovation. 

Overall, the world premiere of Bennelong in London really did feel like a special moment in Australian theatre, with the audience truly feeling the synergy of this exceptional play. Harrison’s storytelling combines humour with emotional depth to create a production that is consistently engaging while asking profound questions about a complex figure and his legacy The play is perfectly paced at 90 minute and the performances by Knox and Simon showcase Australian theatrical magic at its finest. This is a poignant and beautifully crafted production that tells an important story with sensitivity and honesty, resonating with everyone in the room. It is a production that deserves to be seen and is undoubtedly one of the highlights of Sydney Theatre Company’s 2026 season. Don’t miss it. 

Rating: ★★★★★

Bennelong in London plays at the Wharf 1 Theatre until 16 August 2026. For more information, click here. 

All photo credits: Daniel Boud/Sydney Theatre Company @daniel.boud