Review: Circle Mirror Transformation Finds Truth In The Ordinary

Annie Baker’s Circle Mirror Transformation is a quietly profound play. Through the vehicle of a six-week adult drama class in small-town Vermont, the play reveals the deep longings, connections and emotional wounds between five strangers. Sydney Theatre Company’s 2025 production captures Baker’s signature minimalism with sensitivity and joy.

I am a long-time fan of Annie Baker’s work. The Flick is a play that has had a very genuine impact on my life; it even played a part in how I met my partner. So, the opportunity to review Circle Mirror Transformation, staged by arguably our country’s premier theatre company, was one I could not pass up.

I’m very pleased to report this production, directed by Dean Bryant, delivers all the qualities that make Baker’s writing so endearing: its stillness, its human complexity, the way her writing allows for so much room around the words where the actors can play.

Play. It’s the sensation that I keep returning to when trying to gather my thoughts about this work. The ensemble’s work feels truly playful. And not in a frivolous sense but in the deeply engaged, present way Baker’s work demands.

Many of the scenes themselves are deceptively simple. For example, a recurring group exercise where the characters count to ten without speaking over each other. On the page, it’s just numbers. On stage, thanks to masterful performances, it comes alive. This attention to the ordinary gives the actors space to really live in each moment, as is the magic of Baker’s writing.

Rebecca Gibney delivers a magnetic performance, anchoring the ensemble with warmth and authority. But this is truly an ensemble piece. Each cast member, whom I will now list as their spectacular performances should be noted down in print, Jessie Lawrence as Theresa, Nicholas Brown as Schultz, Ahunim Abebe as Lauren, and Cameron Daddo as James, deliver layered, deeply felt performances.

There is a striking authenticity to their group dynamic. Each actor not only shines in their own right but also lifts up every other performance. This ‘lived-in’ sense of connection is what gives the relationships real emotional weight and ultimately a very moving payoff.

The play takes a while to pick up traction. At first, I found myself waiting for the dramatic turn, the big conflict or a shocking reveal that never quite comes. But the longer I sit with the work, the more I understand the value of that restraint.

In a world that is overwhelming and oversaturated, this show welcomes our attention in a way that feels like escape, reminding me of the beauty in small, seemingly unremarkable moments. Words that go unsaid, a missed connection, a fleeting smile. This show asks for our curiosity and rewards it.

Wharf 1 is one of my favourite venues in the country. The view of the Harbour, the lapse of the sea, corridors adorned with Sydney Theatre Company greats. The space feels so alive, so mammoth. I was curious to see how this venue would serve such an intimate work.

Jeremy Allen’s design exceeds the challenge. The focal point, a large studio mirror, not only reflects the title, which really tickled me, but also the actors and the audience. It’s a constant reminder of the shared experience of theatre and a clever visual nod to the play’s meaning; we see ourselves in others.

One of the unexpected highlights for me is Clemence Williams’ sound design. Using breath work and vocal warm-ups as a striking soundscape for each scene transition provides a beautiful continuity, ensuring audiences remain deep in the world of the play despite regular blackouts.

There’s no question that this is a safe programming choice from Sydney Theatre Company. That is not to say I didn’t enjoy it, quite the opposite. There is something beautifully meditative in experiencing a play driven by the joy in mundanity. It cuts through the noise. However, I am excited to see Sydney Theatre Company begin to push the bounds again, programme more daring material. My favourite art has always been that which draws a visceral sensation from me; great overwhelming joy, gut-churning sadness, a spurring inside. Art that is truly experimental and wholly experiential.

All this to say I am excited for what is to come from Sydney Theatre Company. Circle Mirror Transformation moved me, quietly, but I’m ready to be shaken again. Still, in a world that often demands noise, there is something radical about a play that simply listens.

Sydney Theatre Company’s Circle Mirror Transformation runs to 7 September at the Wharf 1 Theatre, Wharf 4/5 Walsh Bay, Sydney.

Tickets: https://www.sydneytheatre.com.au/whats-on/productions/2025/circle-mirror-transformation

Website: https://www.sydneytheatre.com.au/

Socials: https://www.instagram.com/sydneytheatreco/

Photo credits: Daniel Boud