Solid acting from Marta Dusseldorp and her supporting cast at MTC can’t save A Doll’s House, Part 2, an unnecessary and misguided sequel to Ibsen’s masterpiece.

Actress-singer Christie Whelan Browne catapulted to the attention of theatregoers at a young age, untrained but bursting with talent. Here, she talks about fate, timing and discovering a love of musical theatre. “I was the clown, I really made people laugh. Boys told me I was ugly … I used comedy to fit in.”

Branden Jacobs-Jenkins’ much-hyped Gloria is well executed by MTC, but its pretensions outweigh its eminence.

A tricked-up Andrew Lloyd Webber version of a timeless classic has the viewer realising they’re not in Kansas anymore.

In the contrived and uproarious relationships of The Real Housewives of Melbourne, emotional truths emerge that are poignant as well as entertaining.

Elijah Moshinsky’s interpretation of Verdi’s tragic masterpiece La Traviata has been wowing Opera Australia audiences since the ’90s. The latest iteration – both visually rich and lovingly handled by its stars – doesn’t let down the canon.

While the cast of Beautiful: The Carole King Musical fails to deliver an uplifting experience, Bernadette Robinson, in her solo performance of The Show Goes On, is transcendent as she channels the great women of song.

Theatre director Ivo van Hove is often drawn to adapting film screenplays for the stage, but his latest work, juxtaposing three warrior kings from Shakespeare’s histories, shows he also finds contemporary relevance in the classics. “Richard III just wants to be king, but once he’s got the crown, he’s totally bored. He can only reign, only live, only feel in order to have power.”

John Bell delivers perhaps his finest performance as a man suffering dementia in Florian Zeller’s masterpiece The Father.