Aquasonic is a sonic exploration of water and the effects produced when instruments are played though it. It is part concert, part performance art and totally hypnotic.

The internet as we know it has morphed into The Nether, a virtual playground similar to Second Life that demands almost as much attention as our own “real world”. Unfortunately, it has also inherited the dubious moralities of The Dark Web.

This is a chilling thunderbolt of a production and yet the viewer is still left with some reservations. The first half seems a little rushed if you are overly familiar with the story.

This elegantly simple comic premise is spelled out in the title. This is the play that goes wrong and anything that can surely does.

In Institute, filing cabinets stand ominously around the stage. Yet these are strangely beautiful, thanks to Chris Swain and Amit Lahaw’s superb lighting.

The Proud Circle is a self-contained island. So self-contained, that its inhabitants believe that it is the only island in the entire world. They are in for quite a shock when their island springs a leak.

The story is reminiscent of classic fairy tales such as The Emperor’s New Clothes in its simple yet profound message. Golem could be your smartphone or tablet, appearing to make life easier, all the while sprouting sales pitches in rhyming couplets.

Arcadia sees the much anticipated return of the work of Tom Stoppard, grandmaster of the play of ideas, to the Sydney Theatre Company. This time he tackles literary History and Chaos Theory.

Christopher Brett Bailey sits at his desk reading from papers, like a newsreader. He resembles a young David Lynch with the top button of his shirt done up and his hair severely combed over.

A man and woman, unnamed, stand in a small square crate on an otherwise empty stage, riffing on possible scenarios for a future earth. It is an experience, rather like reading each blurb in the science fiction section of a book shop.