Johannes Fritzsch conducts a celebration of Bohemian music, including Smetana's Má vlast, Janáček's Taras Bulba and Brent Grapes' world premiere performance of Nigel Westlake's Trumpet Concerto.

This home-grown, semi-staged concert version is pretty darn good and a real crowd-pleaser.

In its Australian debut, the sax quartet, with violin, performs a seamless program of Bach, Weil and Gershwin, showcasing an exemplary sense of balance, clarity and tone.

Traversing time and place, this must-see play examines the oil industry, empire and greed through the microcosm of a timeless mother-daughter relationship.

This family comedy has an impressive set and shining musical numbers, but is a bit too eager for a happy ending.

Andrea Keller's ideal mid-week concert allows listeners to indulge in meditative escapism.

Updated to 1953, and with an Aussie Elsie, this good-looking production misses too many opportunities.

With music performed by Elena Kats-Chernin, Sydney Philharmonia Choirs and Taiko drummers, choreographer Paulina Quinteros has fashioned a genre-defying display that deserves more than one viewing.

Pianist Jonathan Biss demonstrates dignified introspection in a fine Beethoven concert that also features the Australian premiere of Brett Dean's Gneixendorf Music, a Winter’s Journey.

Among an excellent cast, Anthony Warlow gives the most complex portrayal as Captain E.J. Smith, but problems with the production detract from their performance.

Heather Mitchell gives a magnificent performance in Suzie Miller's one-woman play about Ruth Bader Ginsburg, highlighting the play's strengths and smoothing its bumps.

If this First Nations-led contemporary circus ensemble can maintain the raw physicality displayed in this piece, it will be walking a sure path to success.