Truly – the best example of all the joy, delight and emotion that can come with a genuinely crafted and massive musical theatre production.

There are several clear issues with Sydney Theatre Company's latest production.

Typically, when artists are described as 'giving their all', it conjures images of a brutal, vulnerable harrowing experience. A form of sacrifice.

Of the audience gathered for tonight’s performance of Matthew Whittet’s Girl Asleep, the majority found it uproariously amusing. This reviewer, rightly or wrongly, was not counted among that majority’s number.

Oleanna is an uncomfortably honest portrayal of escalation, misunderstanding, privilege, aggression and confrontation between a young woman and her university professor.

A genuine concern that arises over the course of the production is that Frayne simply hasn’t figured out how to translate his considerable skill and imagination to an arena environment.

Dads is (mostly) an impeccably crafted and remarkably sophisticated piece of work – stylistically daring, consistently well-crafted and fundamentally relatable.

The production is wisely divided into three discrete acts – each work given time to breathe and be digested by audiences. The importance of this device becomes more pronounced over the course of the production.

American Ballet Theatre’s Swan Lake is, in many ways, an unassailable titan.

What’s compelling about the work is watching three world-class creatives interact with such precision, invention and, frankly, joy.