AT THE GRAVE OF BEETHOVEN (CONCERT)

Phoenix Collective Quartet

Wesley Music Centre, Forrest, November 28

 

Reviewed by Len Power

 

A Beethoven concert is always welcome, but in the program presented by the Phoenix Collective quartet, works by the much later composers, Leoš Janáček and Karen Tanaka, were included. Both had ingenious links with the two Beethoven works to be played.

The Phoenix Collective quartet consisted of Dan Russell, violin, Pip Thompson, violin, Ella Brinch, viola and Andrew Wilson, cello.

The concert began with an arrangement by the quartet’s cello player, Andrew Wilson, of the first movement of Beethoven’s Sonata no 9 in A major op 47 Kreutzer. One of Beethoven’s most famous chamber works, written for piano and violin, this arrangement had three players covering the piano part and one player with the violin part. The slow beginning was contrasted with more intense passages that gave this complex work a feeling of underlying emotional tension. It was given a fine performance by the quartet.

It was followed by Janáček’s String Quartet no 1 The Kreutzer Sonata from 1923. This work was written in response to Tolstoy’s 1899 novella, The Kreuzer Sonata, which was itself inspired by Beethoven’s Sonata No. 9. In four movements, Janáček’s music was distinctly edgy throughout, producing a sense of the jealousy, doubt and rage of the novella and with sly musical references to Beethoven’s work. The quartet brought out all the emotional disorder in this work with their strong, colourful performance.

From left: Dan Russell, Pip Thompson, Ella Brinch, Andrew Wilson

Karen Tanaka’s two movement 1999 work, At the Grave of Beethoven, was next on the program. It explored the themes of the first and second movements of Beethoven’s String Quartet op 18 no 3 and was a peaceful, reflective work with elements of turmoil underneath. The connection to Beethoven’s work was there in the music but the work had its own distinctive and satisfying style. It was given a sensitive performance by the quartet.

The program concluded with Beethoven’s String Quartet in D major op 18, no 3 from 1798. It was actually the first string concerto that Beethoven wrote. It is traditional in form and structure, but Beethoven’s unique style is clearly apparent. It was melodic with sudden dramatic changes creating tension and depth and the quartet’s appealing performance of it was very enjoyable.

All four works were well-played and the links between the works resulted in a concert with an extra dimension of interest.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 29 November 2025.

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

TWIGGY: THE STORY OF AN ICON (FILM)

Directed by Sadie Frost

Transmission Films

In cinemas from December 4

 

Previewed by Len Power 26 November 2025

 

Ever since she burst onto the fashion scene in London in 1966, Twiggy has shown that she was not just a model who would fade away after a few years of fame. The new documentary, ‘Twiggy: The Story Of An Icon’, looks at the woman and her long and varied career. It’s a surprising and fascinating story.

Born Lesley Hornby in Neasden, London, the 16 year old schoolgirl suddenly found herself to be the most famous model of the 1960s. Her distinctive look, accent and slight figure caused a media frenzy at the time. It would have been understandable if fame and fortune had changed her for the worst, but decades later she displays the same natural and appealing personality that we remember from those early days.

The film is an exploration of her upbringing, career and relationships. The story of how her modelling began is surprising enough, but the unexpected direction in which her career moved afterwards is equalling fascinating.

In 1970, she surprised everyone with her singing and dancing skills in the Ken Russell musical film, ‘The Boyfriend’. She released several record albums of songs and relates a chilling tale in the film about record producer, Phil Spector.  She also burst onto Broadway in 1983 with the hit Gershwin musical, ‘My One And Only’ with Tommy Tune.

Television work followed, including a duet with Bing Crosby filmed shortly before he died. She became well-known to modern audiences with her appearances in ‘Absolutely Fabulous’.

Various media personalities such as Dustin Hoffman, Joanna Lumley, Paul McCartney, Lulu, Tommy Tune, Brooke Shields and others reminisce about her in the film. They’re not just a bunch of famous people called in to enhance the film. They all have worthwhile stories to tell about their interactions with Twiggy. Joanna Lumley gives a particularly interesting picture of life as a fashion model in the 1960s.

Twiggy’s life hasn’t been all rosy. There were failed marriages, but she also had a daughter, who appears in the film. She is now happily married to actor and director, Leigh Lawson. In 2019, she was appointed Dame Commander of the Order of the British Empire (DBE) for services to fashion, to the arts and to charity.

The film is directed by Sadie Frost, who previously made a feature film on fashion designer, Mary Quant. ‘Twiggy: The Story Of An Icon’ is a pleasant trip down memory lane with a fascinating woman, who might have been in the right place at the right time, but went on to show that she had so much more going for her.

LOW PAY? DON'T PAY! (PLAY)

Written by Dario Fo

Translated by Joseph Farrell

Directed by Cate Clelland

Canberra Rep Production

Canberra Rep Theatre, Acton to 6 December

 

Reviewed by Len Power 21 November 2025

 

It’s a night of total lunacy as the cast of “Low Pay? Don’t Pay!” tackle Dario Fo’s 1974 Italian farcical comedy about a consumer backlash to ever-increasing prices. While it’s all madness on the surface, Fo was unrelenting and unapologetic in his criticism of political and social issues. His style might be crazy, noisy and non-realistic, but the influences of commedia dell’arte, farce and medieval traveling theatre are clearly apparent in his work.

Fo’s work was ferociously attacked at the time, but he was eventually the recipient of the 1997 Nobel Prize for Literature. His plays have been translated into many languages and performed internationally. The title of the original English translation of his play in 1975 by Lino Pertile, “Can’t Pay? Won’t Pay!” has passed into the English language.

Fo encouraged producers and directors of his plays to change the setting to suit their circumstances, so, although the original setting for the play was Milan, Italy, the director of this production, Cate Clelland, has set it in Canberra, which works fine.

From the opening noisy demonstration in front of a supermarket, the action is broadly played by two couples, Joe and Toni, Maggie and Lou and an eight-member ensemble. There is also The Actor, a rather mysterious character.

The whole cast are clearly having fun playing the high-speed, farcical elements of the plot. If it seems a bit uneven at times, it really doesn’t matter. It’s the ideas and messages being presented that matter most in this play. Antonia Kitzel, though, gave a clever performance as the various characters of The Actor.

This production provides an opportunity to experience the work of one of the most influential playwrights of his time. It’s knockabout fun with strong messages underneath. I wonder what Fo would be saying about grocery prices now?

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