The Australian Ballet’s Vanguard showcases works from George Balanchine, Jiri Kylian and Wayne McGregor. And two great performances out of three ‘aint bad.

There’s an awkward, eloquent silence to Tom Holloway’s Forget Me Not. It’s one of the finest Belvoir St Theatre productions in quite some time.

An all-male production of Anthony Burgess’ A Clockwork Orange offers a terrifying performance from Martin McCreadie. But its dance beat is too West Side Story for the brutality of the story.

Blak intertwines stories of modern Aboriginal youth with traditional vistas to explore the life of boys and men. It’s arresting in its choreography and design.

Bell Shakespeare’s Henry 4 might be the best place to start for Shakespeare novices. And one of the best performances given by the company’s patriarch.

The Australian Chamber Orchestra takes a walk through the Weimar Republic with a couple of sensationally sassy guides — cabaret star Meow Meow and the incomparable Barry Humphries.

Australia’s most prolific playwright serves up another relationship drama that still has plenty of things to say — by silver-tongued characters.

She’s never acted before. But if Lally Katz can become one of the most performed writers in Australia, why not a one-woman show? It’s full of heart.

From a suburban dance studio a decade ago, Gideon Obarzanek brings his slice-of-life play to the Sydney Theatre Company. It’s a charmingly clumsy tale.

Don Quixote emerges as about the most fun a dancer or dance devotee can have with tights on, or admiring them. It’s old and new from the Australian Ballet.