A name like Housework is one that evokes domestic drudgery, or if you want something a bit more fun, Freddie Mercury in the “I Want to Break Free” video. But do not be fooled; this new play about Australian politics is nothing short of sharp and hilarious. It is a show that will surprise you with its clever skewering of our great Aussie houses of power.
Emma Steel was originally commissioned to write this play for a season in Adelaide around the time Brittany Higgins and Bruce Lehrmann were making headlines, and it shows in the plot. The play has now had its Sydney Opera House debut and its messages remain as relevant and as clear-eyed as ever. Also making their debut for Sydney Theatre Company is media personality Indira Naidoo who plays a number of very different characters throughout with great aplomb.
Comedian Susie Youssef (The Project) stars as an idealistic, first-term MP named Ruth Mandour (whose seat is a marginal one, we’re frequently told). This character is quite a spiky one at times. While her heart is in the right place, as she advocates for equality in the health setting and has past life experience working as a nurse, her mouth often gets the better of her. In some ways, Ruth is not unlike Malcolm’s character in The Thick of It.
Youssef plays her role in a rather straightforward manner, as does fellow comic actor, Emily Taheny (Mad as Hell), who plays Mandour’s chief-of-staff, Anna. The latter balances the demands of motherhood with a very high-profile job. Anna is also immaculately presented, the antithesis of the naïve but loveable junior staffer Kelly (Franca Lafosse), who gets roped into a last-minute trip to Canberra.
The play also has two hardened men. Laurence Boxhall plays Ruth’s media adviser, who is struck down with COVID. Johnny Nasser, meanwhile, is a minister and silver fox who wields his power by bedding young female staff members (never mind that his wife is dying). This could have made for some overly serious scenes, but there’s plenty of black comedy and funny one-liners to be had. In a refreshing turn of events, the female characters are the ones given centre stage here.
Director Shannon Rush ensures the play has an energetic pace and that all of the jokes really land. This is fine political satire, both well-researched and well-written by Steel. The proceedings feel natural and will give audiences a clearer sense of what goes on in Canberra. It is certainly a story that will appeal to people who enjoyed the film The Ides of March or TV shows like Utopia and The Thick of It.
Ailsa Paterson‘s set is largely static, but some changes are marked by a large boardroom table that pivots. The latter serves as both the Parliamentary floor, a meeting room, and a restaurant. Nigel Levings’ lighting illuminates the stage with enough intensity for those thrilling moments that warrant our extra attention. Bombastic drumming and a ticking clock also mark the scene changes. All of the characters juggle at least one main character and one minor role with great flair and talent, which really hits those central messages home.
Housework puts Australian politics under the microscope. It examines every aspect, from the alliances formed to the broken promises and compromises made. It may not be something that some of us had given much thought to before but it is certainly entertaining and enlightening to say the least. We can all walk away with an understanding of how our politicians must negotiate this complex and sometimes cruel system…it makes you wonder how on earth they find time to go kissing a baby or two with all the lies and manipulation that goes down.
FOUR STARS (OUT OF FIVE)
Housework plays at the Drama Theatre, Sydney Opera House until 17 October 2026. For more information and tickets head HERE.
Reviewer attended 12th September 2026
Header image credit: Prudence Upton
