A product built to shuffle characters and events and generate narrative possibilities in real time, dancers using it brought a new version of the classic tragedy to life. The one-off production, R J RMX, was filmed for the Opera House's streaming platform. The "remix" was interactive: audience members were sent to a website where they could restructure the play with the touch of a button, while on stage narrators and dancers ran through numerous renditions of the story. The works of Shakespeare, surely more than those of any other writer, have been subject to interminable reworkings, as if we are at once infinitely fascinated and infinitely dissatisfied with the source material. So how does technology alter this process?

If ever there was an event specifically designed to send the regular Sydney Opera House clientele into a near-fatal frenzy of monocle popping, it was this one: a video game festival hosted at Australia's most famous cultural icon. But whatever misgivings one may have about Minecraft at the Opera House, when I arrive the mood is buoyant. More still stand in line to meet the "celebrities of Minecraft" – a concept that would be impossible to even begin to explain to someone 10 years ago. Others are marshalled into groups, waiting side stage in the concert hall to take part in Australia's first Minecraft tournament. The parents take in the scene with an air of contented bafflement. Their confusion is understandable: on the surface, Minecraft as a popular game, let alone an international phenomenon, is hard to explain.