REVIEW:
Happy Days at Sydney Theatre Company
Reviewed by: Bridget Whitford
Three Words: Existential. Dreary. Nuanced.
Best Thing: Pamela Rabe, Pamela Rabe, Pamela Rabe!
Reason to Stay: Witnessing Rabe’s intelligent mind and skilful command of her craft breathe new life into a classic tale.
Reason to Leave: If 100 minutes of one person talking sounds like a challenge.
Watch if You Feel Like: Having an existential crisis.
Best Line of Dialogue: “Another heavenly day.”
If I Could Change One Thing: I’d love to see a quirkier take that leans harder into Beckett’s absurdism. Rabe is a consummate performer—full of gravitas and strength— and the existential themes are intelligently at the forefront of this production. But a more offbeat or comedic approach might elevate the production’s energy and tackle the near-impossible task of holding audience attention for such a long, text-heavy solo piece.
Lighting & Set: The lighting is surprisingly simple, aside from the striking whirring and sound design that bookend both acts. While Nick Schlieper’s lighting and set design leans minimalist, it evokes a quiet grandeur. Though Winnie’s isolation anchors the piece, Schlieper’s design reminds us that a broader, unseen world exists just beyond her reach—one we feel but never fully see.
Acting: Pamela Rabe delivers a riveting performance as Winnie, full of nuance and technical brilliance. Her mastery of Beckett’s rhythm, subtext, and emotional terrain is evident in every moment. She navigates shifting tones and psychological depth with poise, balancing stillness and vitality. What makes her performance so compelling is not just her presence but her visible engagement with the work—she lets us see the craft without breaking the illusion. In contrast, Markus Hamilton brings an understated but strong presence as Willie. Despite limited dialogue, he offers a quiet counterbalance to Winnie’s monologue-driven world, grounding the play with subtle weight.
Writing: Samuel Beckett’s Happy Days is an enduring masterwork of absurdism, with its metaphor of maintaining appearances in the face of decay still resonating today. The image of someone insisting "everything is fine" as they sink deeper into despair is powerful. That said, the play’s repetition and length felt tiresome at times, and its conservatism—both in content and form—left me underwhelmed. It’s undeniably a classic, but it’s disappointing to see one of our leading theatre companies continue to favour well-trodden two-handers over riskier, contemporary works that speak more directly to the complex, urgent issues of our time.
Direction: The production’s direction is uniquely collaborative, led by performer Pamela Rabe and designer Nick Schlieper, with Kenneth Moraleda as assistant director—likely providing the essential outside eye. It’s an unusual setup, but perhaps a deliberate one: a selling point that highlights the creative vision of two well-known theatre-makers stepping beyond traditional roles. This shared leadership brings a fresh energy to the production and may point toward exciting new models of authorship and process in mainstage theatre. It’s this approach—more than the text itself—that feels like the boldest part of the work.
Overall: Happy Days is a slow-burning classic delivered with intelligence, restraint, and undeniable artistry. Pamela Rabe is magnetic, anchoring the show with a performance that’s as meticulous as it is moving. While Beckett’s themes remain potent, the play’s traditionalism and length might leave some audiences wanting more. Still, the experimental direction and Rabe’s performance make it a worthwhile experience—especially if you’re drawn to existential reflection, theatrical precision, and the challenge of watching a solo performer carry a world on her shoulders.
My review in emojis: 🎭🌀🤔
Diamond Rating (out of 5): 💎💎💎.5
Runs until: 15 June
Tickets can be bought at: https://www.sydneytheatre.com.au/whats-on/productions/2025/happy-days
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