Whispering Jack: The John Farnham Musical is set to make its grand debut in Sydney in November 2026, coinciding with the 40th anniversary of the iconic album. The musical, which captures the essence of Farnham’s remarkable comeback from a struggling former pop star to a national icon, promises to be a highlight of the Sydney Theatre Company’s (STC) upcoming season.
Set between 1980 and 1986, the musical narrates the inspiring journey of John Farnham and the pivotal people who believed in him. Among them are his wife Jill, and his manager Glenn Wheatley and his wife, Gaynor, who took the bold step of mortgaging their home to fund the album. The writer of the musical, Jack Yabsley, known for his work on ABC TV’s Gold Diggers, describes this era as a “zero to hero” story, emphasizing its compelling nature.
“What does that mean when you’ve had success as a teenager to be 35 and down and out?” Yabsley reflects. “And to have the strength to take all those risks to change your sound, your name, everything that you’re doing and say, ‘I still have something to say’.”
The Vision Behind the Musical
Sydney Theatre Company’s artistic director, Mitchell Butel, will direct Whispering Jack, marking one of 13 shows in his inaugural season leading the company. The season also features a new play about the AFLW by Prima Facie writer Suzie Miller, an adaptation of Homer’s The Iliad starring David Wenham, and Miranda Otto’s return to the stage in The River by Jez Butterworth.
For Butel, bringing Farnham’s story to the STC holds personal significance, having first seen the singer perform as Pippin in Sydney in 1974. “For many people, their first entrée into theatre is through musical theatre,” Butel notes. “Whispering Jack: The John Farnham Musical is not traditional Sydney Theatre Company fare … [but] it’s something I think will hook a different, younger, more rock ‘n’ roll crowd.”
A Hardcore Fan’s Dream
Yabsley describes himself as a “hardcore fan” of Farnham, having grown up listening to the singer during long drives through regional New South Wales. His appreciation for Farnham’s work extended to the Jesus Christ Superstar cast recording from 1992, featuring Farnham as Jesus. “After a trip to and from Coonabarabran to Sydney, my mum snapped the CD because we had listened to it non-stop for 16 hours,” Yabsley recalls.
His passion for Farnham’s music led him to sneak into a concert in Sydney by posing as a waiter. “I was metres away from my hero, watching him just wail on stage,” he remembers fondly. Yabsley’s enthusiasm for the project caught the attention of Michael Cassel Group and co-producer Gaynor Wheatley, who were intrigued by his pitch.
“I think they liked the direction I was going in because I kept coming back to [the idea that] this show has to be funny and it has to make you feel good, because that’s what John does on stage,” Yabsley explains.
Broadening the Theatrical Horizon
Butel’s vision for the STC’s 2026 season is about “holding space for difference,” featuring a diverse mix of plays and musicals. “In every show, a point of view is changed because of a conflict or rhetoric or persuasion or an event,” Butel says. “Theatre does that better than any other medium.”
The season’s lineup includes three world premieres of new Australian works, including Yabsley’s Whispering Jack, Suzie Miller’s Strong Is the New Pretty, and Bennelong in London by Muruwari playwright Jane Harrison. Among the international offerings is Larry Kramer’s The Normal Heart, a poignant drama about the AIDS crisis, which holds a special place in Butel’s heart.
“I was 19, and that show changed my life,” Butel shares. He will reprise his role as Ned in the STC production, having first performed it at State Theatre Company South Australia in 2022.
Navigating Financial Challenges
As the STC prepares for its ambitious season, it faces financial hurdles, with government funding and philanthropy on the decline. The company posted a loss of $565,759 in 2024, prompting a shift towards advocacy for more sustainable arts funding and a tax offset for pre-production expenses.
“We’re looking under every rock, [asking] ‘How can we ensure that the money that we’re spending goes onto the stage?'” Butel says. Such measures could provide a significant boost, akin to the producer offset offered to the Australian film industry.
With a season rich in diversity and innovation, the Sydney Theatre Company aims to captivate audiences and secure its financial future, all while celebrating the enduring legacy of John Farnham and his music.
