Nick Dear’s Frankenstein is perhaps closest to Mary Shelly’s original vision as anything else. And now Sydney audiences can see the National Theatre smash.

There’s some big ideas in playwright Tahli Corin’s ambitious new Griffin Theatre play. Perhaps too many — they all end up being a little overcooked.

The world loved Martin McDonagh’s The Pillowman. Our critic saw a new production at Sydney’s New Theatre and doesn’t quite understand why.

The very best of Britain comes to Australia in the Olivier-winning, Tonys-conquering National Theatre mega-hit. Its Sydney showing proves the universal appeal of a side-splitting adaptation.

Irish playwright Enda Walsh wrestles Beckett, Joyce and Homer and comes out a little worse for wear in Red Stitch’s Penelope, despite some winning (near-naked) performances.

Joanna Murray-Smith’s one-woman tour de force — originally written for Caroline O’Connor — is in safe hands with Sharon Millerchip at Ensemble Theatre. It’s an extraordinary performance.

What happens when you put seven seniors from south-western Sydney, who’ve never acted before, on a stage? It’s rough and ready but has important things to say.

It’s a show with horses far removed from the circus tent or race track. Under a white big top, Cavalia is full of fire and vitality and a sense of the oneness of all things.

The last few months of Judy Garland’s tragic life comes alive on a Brisbane stage in End Of The Rainbow thanks to a powerful performance from Christen O’Leary.

Songs For The Fallen is a drama, comedy, musical, cabaret … or something else entirely. The lush Seymour Centre production is certainly a tour de farce.