THE DEEP BLUE SEA (PLAY)

 

Written by Terence Rattigan

Directed by Tony Knight

Chaika Theatre

At ACT HUB Theatre, Kingston to 27 June

 

Reviewed by Len Power 12 June 2026

 

When you’re caught between the Devil and the deep blue sea, finding the strength to keep on living may prove to be impossible.

In Terence Rattigan’s play, set in the post-war austerity of 1950s London, Hester Collyer is found barely alive after a suicide attempt in her cheap apartment. What prompted her action, and her continuing struggle with emotional isolation, is at the heart of this play about human relationships.

There are outstanding, highly believable performances by the whole cast of eight in this production.

Jenna Roberts gives a terrifying vulnerability to the central role of Hester Collyer. The pain this woman is feeling is profound. Her playing of this woman’s emotional crisis and her reactions to the other characters shines with clarity and honesty. She has achieved a very real, raw and courageous performance.

Sol Mason plays Hester’s lover, Freddie Page, a man who is unable to move on from the 1940s in his views on life, work and relationships. There is pain, an outdated sense of bravado and a lack of understanding portrayed in Mason’s nicely tuned performance.

As Miller, the ex-doctor with a possibly shady past, Karen Vickery gives a no-nonsense performance with a hint of warmth and vulnerability under the surface. Her multi-layered characterization is very well-played.

Michael Sparks plays Hester’s ex-husband, Sir William Collyer, as a man who clearly wants her back but lacks the understanding of her emotional needs. His performance is finely nuanced, and especially impressive in his non-verbal reactions.

There is fine work, too, from Kate Blackhurst as the brisk landlady, Mrs Elton, Blue Hyslop as Freddie’s war-time friend who hasn’t changed either and Meaghan Stewart and Jack Shanahan as the nosy but kind-hearted neighbours, Ann and Philip.

Tony Knight’s expert direction of this production has ensured that the interaction of these colourful characters stays very real throughout. Presented on a set with the audience on two sides, he has achieved a notable intimacy between cast and audience. Rattigan’s play, written in 1952, is literate and emotionally involving in this excellent production.

 

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

 

 

HARMONIC CURVES - RESONANCE (CONCERT)

Alice Giles, harp, Timothy Kain, guitar

Wesley Music Centre June 7

 

Reviewed by Len Power

 

Resonance was the focus of the latest Harmonic Curves concert. The harp and guitar proved to be the perfect match, showcasing a range of music from the 16^th century to the present day in the hands of two excellent players, Alice Giles (harp) and Timothy Kain (guitar).

Initially inspired by popular music and flamenco to start playing the guitar, Kain’s first classical guitar lessons were with Sadie Bishop at the Canberra School of Music.

After graduating, he studied in Spain and England, winning prizes in Europe for his playing. His performing and teaching activities have taken him all over the world, building an international reputation both as a soloist and chamber musician.

Giles has had a wide-ranging career and has appeared as guest artist at international chamber music festivals.

For the first half of the program, Alice Giles played two solo works composed between 1916 and 1918 by French harpist, Carlos Salzedo – Five Preludes for Harp Alone and Five Studies For Harp Alone. Giles explained that she would be using gestures developed by the composer as part of his Salzedo Method for the harp.

With subtitles such as Iridescence, Introspection, Whirlwind, Mirage and Communion, each part presented a different mood or colour and demonstrated the versatility of the harp as well as the skill of the player. The gestures added an extra stylistic layer to the music and Giles performed both all parts of the two works superbly.

Timothy Kain (guitar) and Alice Giles (harp)

Guitarist, Timothy Kain, joined Alice Giles to present the second half of the program. First, they played Three pieces by Irish composer, Turlough O’Carolan, born 1670, arranged for duo by G. Garcia. These melodic works were delightfully played, and both performers clearly enjoyed playing them.

The duo next played A View From The Eagle’s Nest by Canberra composer Marián Budoš. This Canberra premiere of a 2023 work created a grand atmosphere both melodic and introspective. It proved to be a highlight of the program and the composer, who was in the audience, signalled his appreciation of the duo’s performance.

The final work on the program was the Suite Magica from 2015 by Argentinian composer, Maximo Diego Pujol. This popular work in 4 parts was given a fine performance by Giles and Kain, bringing this excellent concert to a close.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 8 June 2026.

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

Len Power also presents the weekly Concert Hall program on Artsound FM, playing recordings of some of the best concerts from in and around Canberra. Concert Hall can be heard on Sundays at 8pm and is repeated on Wednesdays at 2pm.

 

DIAL M FOR MURDER (PLAY)

Chloe Smith (Margot Wendice)

Written by Frederick Knott

Directed by Jon Elphick

Tempo Theatre Inc production

Belconnen Community Theatre to June 6

 

Reviewed by Len Power 29 May 2026

 

Frederick Knott’s play, Dial M For Murder, is now best known from the 1954 Alfred Hitchcock movie of the same name, but it was a big success on both sides of the Atlantic before Hitchcock got his hands on it.

Elements of the plot keep it firmly in the period that it was written and, in their new production, Tempo Theatre at the Belconnen Community Theatre, have wisely honoured that. This play is not a Whodunnit, rather it is a Will-He-Get-Away-With-It?

All five cast members give fine performances. Chloe Smith, as the intended murder victim turned major suspect, Margot Wendice, gives a natural, increasingly emotional performance as the legal system slowly closes around her.

Sachin Nayak as the crime-fiction writer, Max Halliday, who is also in love with Margot, gives a well-balanced performance of an amusing character who, through his determination, eventually solves the mystery but does not realize he has.

Chris McGrane, as the investigating officer, Chief Inspector Hubbard, quickly shows that he is a force to be reckoned with. McGrane plays him with strength and skill. His character’s highly complex dialogue has tripped up many an actor in the past, but McGrane handles this aspect with great confidence.

Guyren Howe plays the contract killer, Captain Lesgate, with a nicely seedy sense of a man reduced to being a criminal.

Bradley Jones is the evil Tony Wendice who instigates the plot to murder his wife. As elements of his plot change, he adds an extra level of suspense to the play with his fine performance full of unrelenting confidence, charm and dangerous intelligence.

The director, Jon Elphick keeps this heavily plotted play moving at a fine pace and has given us an entertaining and compelling production of this clever and suspenseful play.

 

Photo supplied by the production

This review was first published by Canberra CityNews digital edition on 30 May 2026.

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