MOVIE MAGIC - NATIONAL CAPITAL ORCHESTRA (CONCERT)

Louis Sharpe, Conductor and Artistic Director

Snow Concert Hall November 8

 

Reviewed by Len Power

 

Providing an opportunity for people to listen to movie music from favourite films live without the movie, the National Capital Orchestra showed that movie music can stand on its own and still wow an audience.

The program contained popular favourites amongst the musical items, but they were interspersed with other items from the classical repertoire that have also had a life at the movies.

Conducted by Louis Sharpe, the orchestra were clearly in a festive mood wearing an assortment of hats and headgear reminiscent of various movies. There were even a couple of dinosaur head skeletons grinning hungrily at the audience.

Sharpe gave particularly informative introductions to each work, many of them amusing and all showing his enthusiasm for the movies and their music. He really set the tone for a relaxed afternoon full of great music.

Louis Sharpe, conductor

Music from the movie, Chicken Run, composed by John Powell, was a good choice to open the show. This spoof of the music in films such as The Great Escape and The Dirty Dozen, sounded epic but still witty and cheerful. The orchestra gave it a strong and exciting performance.

Completely different, the next item was On the Nature of Daylight, an atmospheric, brooding classical work composed by Max Richter. It has been used extensively in both television shows and the movies, most recently in Hamnet.

National Capital Orchestra

There were a number of other musical works from popular films, such as 007 Through The Years, featuring music from the Bond films, Golden from the Kpop Demon Hunters movie and two works by composer, John Williams from the films E.T. and Jurassic Park.Hearing the music live and away from the films gave the audience a chance to discover things they had not noticed before. The brief piano solos in the works by Williams were a surprise. These works were played with all the drama and colour the music demanded, while your imagination filled in remembered moments of the films.

Those items were interspersed with other pieces of classical music that had found its way into films. Elgar’s Nimrod from the Enigma Variations was heard in The Matrix, Elizabeth and Dunkirk. Beethoven’s Symphony No. 7 – Allegretto has appeared to great effect in films such as The King’s Speech, Immortal Beloved and even 1974’s Zardoz.

There was also the majestic Adagio from the ballet, Spartacus, by Khachaturian, which conjured up images of sailing ships from television’s past with The Onedin Line. The orchestra met the challenge of playing music in different styles extremely well.

The concert concluded with music from Pirates of the Caribbean, composed by Klaus Badelt and arranged by Ted Ricketts. Orchestra members and the conductor donned pirate hats and gave it a rousing performance full of swash and buckle.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 9 November 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.

  

STRINGS IN SPRING III: FIRE & FOLKSONG (CONCERT)

 

Presented by David Pereira

Australian Centre for Christianity & Culture, Barton November 1

 

Reviewed by Len Power

 

A Hungarian inspired program of works for cello, piano and violin promised to be memorable, but with four top musicians to play them, the result was superb.

The program ranged from Franz Liszt, Johannes Brahms and David Popper from the 19^th Century, to Béla Bartók and Ernst von Dohnányi from the 20^th century. There was also a first performance of a new work by our 21^st century cellist, David Pereira.

There were spoken introductions to each work, but the amplification of the microphone used, or the acoustic of the performance space, or a combination of both, made them a serious challenge to hear clearly.

Pereira was joined by Edward Neeman, piano, for the first work, Ruralia Hungarica for cello and piano Op.32d, by von Dohnányi. Immediately, we were plunged into the fiery, passionate music so distinctive of Hungary. This highly romantic work engaged the emotions and was given an excellent performance.

Edward Neeman then played the solo piano work, Funérailles, by Franz Liszt. It was written as a tribute to three of Liszt’s friends who suffered in the failed Hungarian uprising against Habsburg rule in 1848. Neeman performed this highly emotional, intense and demanding work brilliantly and fully deserved the sustained applause from the audience at the conclusion.

Edward Neeman

David Pereira was joined by Eloise Ng, cello, and Edward Neeman, piano, for the first performance of his new work, Variations on a Hungarian Folksong. This lush, melodic and appealing work was particularly notable for the fine cello playing of Ng and Pereira.

Eloise Ng (cello), Edward Neeman (piano), David Pereira (cello)

Eloise Ng, cello, then joined Edward Neeman, piano, for David Popper’s Hungarian Rhapsody for Cello & Piano Op. 68. This fiery, complex work, composed in 1893, and played so well by both performers, was a particularly fine showcase for Ng’s excellent cello playing.

Tor Frømhyr (violin), Edward Neeman (piano), David Pereira (cello)

Pereira, Neeman and guest artist, violinist Tor Frømhyr, next played Brahms’ Andante con moto, Trio No. 2 in C major, Op. 87. Melodic and distinctly Hungarian, the three performers gave it a stirring and exciting performance.

Edward Neeman then performed a piano solo of Liszt’s Paganini Étude No. 1 in G minor S141.The light and shade in his playing added so much emotion to this beautiful work.

The final work of the concert was Béla Bartók’s 1^st Rhapsody for Cello & Piano. It was played by Neeman and Pereira. Their incisive performance of Bartók’s complex and distinctive work was a rousing end to this excellent concert.

 

Photos by Dalice Trost

This review was first published by Canberra CityNews digital edition on 2 November 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.

 

GYPSY: A MUSICAL FABLE (MUSICAL)

Book by Arthur Laurents

Music by Jule Styne

Lyrics by Stephen Sondheim

Directed by Jude Colquhoun

Queanbeyan Players production

The Q, Queanbeyan to 8 November

 

Reviewed by Len Power 30 October 2026

 

Considered one of the best musicals of all time, Gypsy opened on Broadway in 1959 and has had numerous revivals ever since.

A fiercely determined stage mother struggles to make stars of her children in vaudeville in the 1930s at a time when vaudeville was giving way to talking pictures. In real life, one daughter, June, had a long career on stage and in movies as June Havoc. The other daughter, Louise, became a star in burlesque as the stripper, Gypsy Rose Lee. The musical was suggested by her 1957 published memoirs.

The focus of the show is squarely on the mother, Rose, providing one of the dream roles in musicals. To quote from the prologue of Gypsy’s memoir, “Mama had been many things, but she had never been nice. She was, in her words, a jungle mother”.

In this production, Emma White as Rose was too much the warm mother when she needed to be a formidable presence getting her way with family as well as others. Only in an argument about a whether to accept a stage contract, did the real Rose come through. A more than capable singer, White performed her songs well, but her final cathartic song, Rose’s Turn, would have been more enlightening about her character if she had been hard as nails throughout the show.

Emma White as Rose

A highlight of the show was the staging of the vaudeville numbers by Baby June and her Newsboys and the growing Dainty June and Her Farmboys. Young Matilda Hutchinson was a standout with her performance of Baby June and Paris Ellis was also delightful as the older Dainty June.  Belinda Hassall’s choreography for these songs captured the essence of vaudeville.

Matilda Hutchinson as Baby June

Emily Pogson as Louise and, later, Gypsy, was particularly effective with her singing of Little Lamb and in her transition to Gypsy, the stripper. Her performance showed a deep understanding of her role.

Emily Pogson as Gypsy Rose Lee

There were also good performances by Steven Galinec as Herbie, Ash Syme as Tulsa, Alissa Pearson as the harried Miss Cratchet and Aleisha Croxford in her very funny characterisation of the stripper, Tessie Tura.

Croxford, Pearson and Sarah Hull brought the house down with their courageous and hilarious performances as the strippers in You Gotta Get A Gimmick.

The large orchestra, conducted by Brigid Cummins had a bit of a wobbly start with the Overture but played well thereafter. The decision to have the orchestra seen through much of the show behind the performers was often distracting.

The sound design by Telia Jansen was well-balanced and Zac Harvey provided some impressive lighting effects. Suzan Cooper designed the many colourful and dazzling costumes.

While more attention needed to be given by the director to the pace and energy of the show, it was a rare and entertaining opportunity to see this famous musical.

 

Photos by Janelle McMenamin

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