The art of the conman is persuading their victim to fool themselves, which is the premise that lies at the core of this Australian drama series. 

Sixes and Sevens is a surprise. A big one. Since leaving Siouxsie and the Banshees in September 1979, John McKay has largely been a mystery. On record, the only suggestion this influential guitarist had continued with music was the EP his post-Banshees band Zor Gabor issued in 1987. Otherwise – nothing.

Full marks to the Royal Opera for good planning: one first night knocking us all sideways with the darkest German operatic tragedy followed by another letting us off the hook with a short comedy by Wagner’s compatriot Telemann. The premiere of Pimpinone predates that of Die Walküre by nearly a century and a half and we mark its 300th anniversary this year. But is it too slight for resurrection?

In the Stygian darkness of a bare room, a table on a low platform with a light hanging overhead starts to emerge. Then a door briefly opens at the back of the space and the figure that has entered and sat down at the table also begins to emerge. When the stage lighting goes on, this tableau out of a Bacon painting sharpens and we can properly scrutinise the man. 

The success of Netflix’s Drive to Survive not only provoked a viewer-stampede towards the world’s most expensive sport, but also triggered a chain reaction of similar behind-the-scenes sports documentaries. Suddenly we had Break Point (tennis), Full Swing (golf) and Tour de France: Unchained (cycling, obviously), hotly pursued by series on rugby, soccer and American Indiecar racing.

A traditional Korean house has appeared at Tate Modern. And with its neat brickwork, beautifully carved roof beams and lattice work screens, this charming dwelling looks decidedly out of place, and somewhat ghostly. Go closer and you realise that, improbably, the full-sized building is made of paper. It’s the work of South Korean artist Do Ho Suh (main picture).

Wagner’s universe, in the second of his Ring operas which brings semi-humans on board to challenge the gods, matches exaltation and misery, terror and tragedy – and throws down a gauntlet to singers, orchestra and director capable of going to extremes with due discipline.

The makers of The Extraordinary Miss Flower are billing it as a “performance film”, a subspecies of the concert-movie and stablemate of the fictive biopic 20,000 Days on Earth, about Nick Cave, from the same film-makers. It’s one part arty documentary to two parts music video, both a daughter’s tribute to her mother and a singer’s elaborate way of promoting her latest album.

It's both brave and bracing to welcome new voices to the West End, but sometimes one wonders if such exposure necessarily works to the benefit of those involved. And so it is with My Master Builder, American writer Lila Raicek's Ibsen-adjacent play that nods throughout at the Norwegian scribe's scorching 1892 The Master Builder only to suggest that director Michael Grandage might have been better off staging that classic title instead: his Wild Duck, dating back to his Donmar tenancy, remains the stuff of legend. 

On the eve of recording an album at Real World Studios, guitarist Adrian Utley and the American trumpet player Eddie Henderson brought their “project” to the hallowed ground of Ronnie Scott’s in Soho, along with four other top-class British musicians.