Type – Theatre, Novel Adaptation, Sci-Fi horror
If you liked – The Birds, 28 Days Later, The Last of Us
The Day of the Triffids: A dark and brooding journey across post-apocalypse England
Day of the Triffids was the first of John Wyndham’s novels, and arguably his most famous. He had already published detective and science fiction books under pseudonyms and brought a thriller writer’s craft to his tale of apocalyptic horror.
Wyndham was influenced by H.G. Wells’ The War of the Worlds, but it was looking out across wartime London, during the Blitz, as the normally bustling streets emptied, that helped inspire The Day of the Triffids. Wyndham sci-fi horror novel in turn inspired Danny Boyle and Alex Garland’s apocalyptic horror movie 28 Days Later with its protagonist waking in hospital to find a quiet and terrifying London.
The stage of the New Theatre looks deceptively bare. Props and screens are brought on and off throughout the show and cables dangle ominously from above like tendrils.
A moment later you’re plunged into darkness and jolted from scene to scene as the story unfolds. If you don’t know Wyndham’s novel you may struggle to follow what is going on as the play moves forward, shuddering between the next set piece and many flashbacks. If you do know Wyndham’s novel you may have other issues with the show.
The programme warns that: This production contains scenes of prolonged darkness, loud sounds, smoke and haze effects, depictions of violence, and some coarse language. Wyndham’s novel manages to disturb and unnerve without any f-bombs. But here, this production of The Day of the Triffids decided that what the script really needed was lots of swearing. Sadly, it diminishes the play. There’s nothing edgy or modern in the overstuffing of it here.
The slow building dread of the novel is often abandoned for short scenes, played for shock. The triffids themselves are very effectively created through eerie sounds and clicking noises. This works well, so the one moment when props were used is jarring. The triffids of our imaginations will always be more terrifying than any real prop.
The cast are advantageously busy. There’s a lot of words packed into two hours and lot of characters appear and disappear shortly afterwards. Standouts were Claudia Elbourne (She Threaded Dangerously) who shone in multiple roles, bringing a real spontaneity to her lines and life to her characters. Max Ryan (The Player Kings), with his bowler hat seemed to channelling Malcolm McDowell as Alex in Stanley Kubrick‘s A Clockwork Orange, with his sneering attitude and sudden acts of violence. Natasha Todd (The Steamie) had time to develop Coker across the play; when she is allowed to speak rather than yell, she commands the stage.
Newsreel announcers drew laughter from the audience which veered the atmosphere left and right between comic and grim. Moments, like the blinded and bandaged trio of swing singers illuminated, blood red, stand out as striking and memorable. The play needed time to breathe and revel in more of these moments.
Is The Day of the Triffids Worth Seeing in Sydney?
You have a decision to make when you take your seat for The Day of the Triffids in the New Theatre. Will you sit with most of the audience in the main seating area, or will you bravely venture out onto the stage for four rows of seating in the middle of the action? Choose wisely. This play is two hours with no interval. This is not a play for those with a nervous disposition or a fear of darkness, balloons popping or of sudden loud noises.
A worthy and rare attempt to bring a classic of sci-fi horror to the stage.
Tickets and Practical Info for The Day of the Triffids in Sydney 🎟️
New Theatre, 542 King Street, Newtown
Season 2 – 25 July 2026 (previews: 30 June & 1 July)
Tickets: www.newtheatre.org.au
CAST
Bill: James Collins
Susan/Ensemble: Claudia Elbourne
Walter/Ensemble: Nathan Farrow
Dennis/Ensemble: Tony Llewellyn-Jones
Mary/Ensemble: Kate Mannix
Torrence/Ensemble: Max Ryan
Josella Umai: Shantharajah
Coker/Ensemble: Natasha Todd
CREATIVES
Director: J. James-Moody
Lighting Designer: Holly Nesbitt
Sound Designer: Aubtin Namdar
Production Designer: J. James-Moody
Costume Associate: Alysia Butlin
Intimacy Co-ordinator: Sonya Kerr
Associate Directors: Angela Yarad, Carla Te Paa
Sound Assistant: Cameron Hissey
Lighting Assistants: Marc Monnet-Demarbre, Ron Abuhalaiqa.
PRODUCTION TEAM & CREW
Stage Manager: Matilda Holton
Operator: Ricci Costa
Technician: Jay Murrin
Set Construction Crew: Tom Bannerman, Rodger Wishart,
David Marshall Martin
