Annie Baker is that rare thing; a playwright who can make the mundane simultaneously luminous and gut-wrenching.

Crowdfunding organisation Pozible launched its latest city-specific initiative, the Adelaide Edit, earlier today.

From the get-go, it's clear that Deceit is positioned as a magic act in a world of its own; it straddles the gap between expert sleight-of-hand and a welcoming self-deprecation, that's rare in pieces as polished as this.

The MSO's latest venture sounds packed with potential for mockery: classic music and good British geekery? Who'd go to that?

Ben Foster has orchestrated and conducted Murray Gold's music for Doctor Who since 2005. Despite the twenty-something hour flight from London to Melbourne, he sounds remarkably chipper.

There's roughly-hewn potential in this comedian and her vaguely-familiar show, that's for sure, though Borensztajn hasn't refined it yet.

The tale of Peter Pan is firmly ingrained in our childhood, both as a whirling reverie of possibilities entertained by dreamers that hoped to escalate past the normality of a second grader, and a quiet guide to the frightening road of adulthood ahead.

The orchestra excels at Miller's thundering, toe-tapping blends of percussion and brass. However, slower numbers provide a smouldering, shimmering difference in a clever balance between the repertoire on offer.

Music is a constant companion to Shakespeare's work, appearing at significant moments throughout his plays - be it associated with magic or the supernatural, or with transformation and new spiritual realisation.

Proving himself an indisputable master of his craft, Paul Kelly enchants young and old alike in his aptly titled 'Conversations with Ghosts'.