MARROW (DANCE)

 

Concept and Direction by Daniel Reilly

Choreography by Daniel Reilly with Australian Dance Theatre’s Company Artists

Composition and Sound Design by James Howard (Jaadwa)

Australian Dance Theatre

The Playhouse, Canberra Theatre Centre to 1 August

 

Reviewed by Len Power 31 July 2025

 

“What if we all went home, to Country, unplugged from social media and took a break from the political news cycle for an extended period of time?” First Nations journalist, Stan Grant’s words were the inspiration for this bold new work by Daniel Reilly and the Australian Dance Theatre company.

Composer, James Howard, set the mood with a driving electronic soundscape, like the heartbeat of the nation, that you could feel as well as hear.

On a cavernous, dark setting, designed by Matthew Adey of House of Vnholy, the dancers swirled around the space, their individual lives caught up with the same pressures and emotions. With a return to Country, there was peace and time to heal, gather strength and contemplate the future. Moments of high emotion, deep discussions, feelings strongly expressed, and the influences of the past gave hope to moving forward with a renewed and shared optimism.

Australian Dance Theatre's company of dancers

Daniel Reilly’s vision for this work was superbly realized in this haunting and fascinating work. His six dancers - Joshua Doctor, Yilin Kong, Zachary Lopez, Karra Nam, Patrick O’Luanaigh and Zoe Wozniak – gave a clarity to the emotional aspects of Reilly’s choreography while dancing with precision, individually and in groupings.

Australian Dance Theatre's company of dancers

As well as the music, there was an excellent lighting design by Matthew Adey that added a strong atmosphere to the work. The clever and imaginative use of smoke effects by the dancers gave the work a supernatural feel at times.

Australian Dance Theatre is Australia’s oldest continuing contemporary dance company. Founded in Adelaide in 1965 by Elizabeth Cameron Dalman, it was established with the aspiration of “expanding the boundaries of dance”. It was good to see Dalman in the audience at this performance of “Marrow”.

Daniel Reilly and the Australian Dance Theatre have produced a thoughtful, haunting and memorable work with a strong and appealing message.

 

Photos by Morgan Sette

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.

SPIDER'S WEB (PLAY)

Written by Agatha Christie

Directed by Ylaria Rogers

Canberra REP production

Canberra REP Theatre, Acton to 9 August

 

Reviewed by Len Power 25 July 2025

 

Once again, you’re unlikely to guess the killer in this Agatha Christie murder mystery.  The Queen of Crime cleverly leads you through an intricate plot involving hidden doorways, true and false confessions, a butler and a gardener, the Ace of Hearts and invisible ink.

As well as her many famous novels and stories, Christie wrote a number of plays for the theatre. Spider’s Web, an original play, was written in 1953 at a peak in her play-writing period. Two other plays written by her, The Mousetrap and Witness For The Prosecution, were still running when this one opened in 1954 in London’s West End. It ran for 774 performances.

When Clarissa, the wife of a diplomat, finds a dead body in her drawing room, she needs to hide the body before her husband arrives home with an important politician. Enlisting the help of some guests, she soon finds herself caught up in an increasingly tangled web of deceit with the unexpected arrival of a detective, Inspector Lord. Even when she confesses how and why she hid the body, she finds that the police don’t believe her.

Christie’s play provides both suspense and humour as this early 1950s plot unfolds. Much of the humour comes from the eccentricities and reactions of the characters involved. As Clarissa, Siân Harrington is very amusing as the perfect hostess who descends into nervous panic as the plot tightens around her.

Siân Harrington (Clarissa) and Nathan McKenna (Henry)

There is good work, too, from Terry Johnson as the Alfred Hitchcock-like Sir Rowland, Adele Lewin as Mildred Peake, the garrulous gardener, David Bennett as the stuffy butler, Elgin, Manasa Kannan as the young daughter, Pippa, Leo Amadeus as Inspector Lord and the rest of the large cast.

Cast members of 'Spider's Web'

On the vast and cosily decorated drawing room set designed by Sarea Coates, director, Ylaria Rogers, moves the action along swiftly, bringing out the humour in the plot very well while ensuring the many characters are played with skill and depth.

Audiences enjoy trying to solve an intricate murder mystery and will have fun trying with this one!

 

Photos by Cathy Breen

 

This review was first published by Canberra CityNews digital edition on 26 July 2025.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.

 

  

JULIUS CAESAR (PLAY)

Written by William Shakespeare

Directed by Caitlin Baker

Presented by Chaika Theatre

ACT HUB Theatre, Kingston to 2 August

 

Reviewed by Len Power 23 July 2025

 

As Caesar poses for the Press and conspirators plot to kill him for the perceived good of the people, this contemporary staging of Shakespeare’s “Julius Caesar” has an unsettling relevance to the world of today. Individuals can be convinced by false information to take part in a hideous crime and the peoples’ attitudes can be changed by a single speech. The far-reaching effects of their actions plunge the ordered society of the play into civil war.

Chaika Theatre’s first Shakespeare production is impressive. The action takes place on a raised runway down the middle of the theatre with a large poster of Caesar towering over it and the audience seated on both sides of the action. Costumes and uniforms are contemporary, and the use of mobile phones, walkie-talkies and other modern-day devices brings the play clearly and logically into the 21^st Century.

Director, costume and set designer, Caitlin Baker, brings a remarkably clear vision to the play and ensures that the action flows smoothly throughout. The use of audio, designed by Paris Sharkie and Neville Pye, provides an effective sense of vast crowds witnessing these events. The fight choreography by Lachlan Ruffy is intense and effective.

Michael Sparks (Julius Caesar)

There are many fine performances in the show. Michael Sparks cleverly shows the many sides of Julius Caesar. He seems charming for the most part, but he is quick to anger and his interaction with the Press shows a man who revels far too much in publicity. Lachlan Ruffy is a standout as Brutus, a good man conflicted with doubts. His sensitive and thoughtful performance brings out all facets of this fascinating character. Colin Giles gives Mark Antony a strength and quiet determination and his “Friends, Romans, Countrymen” speech is strongly and persuasively given.

Lachlan Ruffy (Brutus) and Yanina Clifton (Cassius)

There is good work also by Yanina Clifton as Cassius, Karen Vickery as Casca and Amy Kowalczuk in multiple roles including the wives, Portia and Calpurnia. The rest of the cast give convincing performances.

Joshua James (Octavius) and Colin Giles (Mark Antony)

Too often we hear directors trying to convince us that their production of a classic play has relevance for today, but in this case, Caitlin Baker’s production gives Shakespeare’s play an almost startling contemporary relevance, showing the parallels with world problems that we are grappling with today. It’s also entertaining and satisfying theatre.

 

Photos by Jane Duong

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.