Written and performed by Phoebe Waller-Bridge (Fleabag, Killing Eve) and directed by Vicky Jones, Fleabag is a rip-roaring look at some sort of woman living her sort of life. Fleabag may seem oversexed, emotionally unfiltered and self-obsessed, but that's just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose. 

Fidelio’s unusual structure, glorious score, and life-affirming aura make it a unique experience. It has been called a hymn to freedom and human dignity. Formally a singspiel (with musical numbers separated by spoken dialogue), Fidelio had a long and complex gestation. Its uplifting spirit made it the obvious choice for several important productions marking the end of World War II, including the reopening of the Vienna State Opera in 1955.

A profoundly humane comedy, Le Nozze di Figaro is a remarkable marriage of Mozart’s music at the height of his genius and one of the best librettos ever set. In adapting a play that caused a scandal with its revolutionary take on 18th-century society, librettist Lorenzo Da Ponte focused less on the original topical references and more on the timeless issues embedded in the frothy drawing-room comedy.

As he prepares to embark on an overseas tour, star actor Garry Essendine’s colourful life is in danger of spiralling out of control. Engulfed by an escalating identity crisis as his many and various relationships compete for his attention, Garry’s few remaining days at home are a chaotic whirlwind of love, sex, panic and soul-searching.

Rossini’s perfectly honed treasure survived a famously disastrous opening night (caused by factions and local politics more than any reaction to the work itself) to become what may be the world’s most popular comic opera. Its buoyant good humor and elegant melodies have delighted the diverse tastes of every generation for two centuries, and several of the opera’s most recognizable tunes have entered the world’s musical unconscious, most notably the introductory patter song of the swaggering Figaro, the titular barber of Seville.

The story of this incendiary and powerful opera is derived from a brief biblical account: A young princess of Judea dances for her stepfather Herod and chooses as her reward the head of the prophet John the Baptist. This subject captured the imaginations of generations of visual artists, but its full possibilities were perhaps best realized in Oscar Wilde’s 1891 tragedy (which was banned from performance in several countries). Strauss’s score combines the grandeur of Wagner’s epics with the focus and emotional punch of the short Italian verismo operas.