Henry Purcell’s pocket opera Dido and Aeneas is a work ripe for reconstruction.

There is an ironic parallel between this musical’s faded movie star lead character and Sarah Brightman’s underwhelming return to musical theatre.

A pitch-perfect acting ensemble keeps the audience on the hook for an uninterrupted 100 minutes of stewing resentment and unrequited feelings.

A new Nick Wales score puts the momentum into Sydney Dance Company's visually spare, aurally rich momenta.

Despite some fine performances, this new production of Puccini’s tragedy feels diminished in Margaret Court Arena.

WASO trumpet star Jenna Smith's abilities showcased in a concert of instrumental high-wire acts.

Oscar and Felix are back, this time with Shane Jacobson and Todd McKenney in the title roles of Neil Simon’s classic comedy.

Lally Katz’s two-hander is gender flipped with perfectly placed energy, integrity, zest and clowning.

Perhaps Candide, like its hero, is never destined to find its true form as a work of theatre. But there is still much to enjoy.

A passionate serenade of guitar and strings featuring Karin Schaupp’s virtuosic veracity and a tender tribute to a life cut short.

Neil Armfield's powerful production persuasively backs the argument that Arthur Miller's drama is true tragedy.

Having perfected the formula for its annual festival, Opera Queensland ups the ante with its most sophisticated program to date.