This production is a bracing, sharp-witted and entertaining contemporary retelling of a provocative feminist classic, which still feels depressingly relevant.

The world premiere of this new Australian opera – a work that prompts dread as well as wonder about humanity's relationship with the natural world – was an enormous triumph, artistically and logistically.

The Australian premiere production nurtures this novella-like play’s intimacy and intrigue.

SCO will take a new opera by Mary Finsterer to Holland, and explore Britten at home, including a musical response by Luke Styles, with a creative team in residency for both works.

This new production doesn't always hit the mark, but it is inventive, audacious and imaginative, with three superb performances, and it certainly makes you see the play afresh.

This program of artsong concerts, performed by four solo singers for Sydney Chamber Opera, will illustrate where the modern song has found itself in the 21st century.

First staged in 1995, this landmark Australian play still has plenty to say, though there is room for more emotional depth in this production.

Branden Jacobs-Jenkins's cleverly subversive play uses tropes from classic American family dramas, but the STC production still has more depth to find.

By establishing the rift between the boys too early, the production doesn't have the inexorable tension or poignancy of the book.

Kate Mulvany's adaptation places both queens centre stage, providing an excavation of their shared humanity and grave shortcomings.

Australians make a strong case for Saariaho’s well-travelled oratorio, but can’t entirely overcome the work's curiously dissatisfying nature.

With the year drawing to a close, we look back over the theatre that wowed our critics in 2018.