“this joyful production … create(s) a vivid world where leadership looks suspiciously like playground bullying and reconciliation is only possible through play, empathy, and a healthy dose of silliness.”
Fiona Hallenan-Barker
4 Moustaches out of 5
The Studio, Sydney Opera House
Presented by Maas Theater and Dance
Monday 7 July 2025
In BullyBully, the acclaimed Dutch company Maas Theater and Dance offers a wordless, whimsical piece of physical theatre that speaks volumes without words. Having toured internationally to high acclaim, this joyful production has finally found its way beneath the sails of the Sydney Opera House, delivering a thoughtful, laugh-out-loud take on conflict, power, and the possibility of change.
Marketed as a musical for toddlers about childish men, BullyBully transcends its label. Its vibrant blend of slapstick, mime and clowning resonates far beyond preschool audiences. In fact, the show’s satirical look at two rival leaders of pink and green kingdoms, each isolated on their own ridiculous throne, offers a biting commentary for adults. Only sophisticated theatre making invites giggles from toddlers and knowing smirks from their grown-up companions in equal measure.
Performers Sue-Ann Bel and Henke Tuinstra are captivating from the moment the audience enters. Perched on opposing pedestals, statuesque and solitary, they radiate discomfort and tension, a visual metaphor even young audience members pick up on. My own young co-reviewer astutely observed that one looked “anxious” and the other “very uncomfortable.” Once the action kicked in, he loved the zany sword fights, exaggerated gestures, and the absurdly funny battles of ego.
The production is completely non-verbal, save for three words: “yes,” “no,” and “thank you.” Yet the absence of language only enhances the clarity of the story. Through exaggerated movement, expressive faces, and a sharp sense of timing, Bel and Tuinstra create a vivid world where leadership looks suspiciously like playground bullying and reconciliation is only possible through play, empathy, and a healthy dose of silliness.
Reinier van Harten’s music and sound design stitch the show’s many moods together effortlessly, never letting the energy lag. Sanne Danz’s set design and Daphne Karstens’ costumes pop with vibrant colour and imagination, crafting a world that’s both cartoonish and strangely real. The piece is tightly directed by René Geerlings, who masterfully weaves together circus, gibberish, dance, ritual, and slapstick into a 40-minute theatrical romp.
While BullyBully keeps audience participation very minimal, children are encouraged shouting responses and squirm with glee during the pantomime chase scenes. After the curtain call, performers extend their generosity with photos and small gifts for every child. This is a touching gesture that adds to the sense of joy and inclusion. (Tip: dress your kids head-to-toe in lolly pink or emerald green for extra magic.)
At one point, the absurdity of global power struggles becomes so pronounced that you can’t help but wish world leaders were in the audience. Maybe it’s time for dance-offs and burping contests to settle international relations at the upcoming G20 summit.
A brief yet powerful nod at the end to the gender imbalance in the world and in global leadership underscores why shows like BullyBully matter. Theatre has a unique ability to cultivate empathy in even the youngest hearts, and sometimes, the biggest egos.
photo credit Kamerich & Budwilowitz
Fiona Hallenan-Barker, Theatre Now
