CONSTELLATIONS (PLAY)

 

Written by Nick Payne

Directed by Kelly Somes

Free-Rain Theatre production

ACT Hub Theatre, Kingston to 25 April

 

Reviewed by Len Power 17 April 2026

 

On the surface, “Constellations” sounds like a simple romantic drama – a couple’s chance meeting, emotional involvement, a breakup and then reunion and marriage. But life is not as simple as that. Mix in theoretical physics and the chance to consider the number of choices we could make as we interact with others, and you have the structure for a fascinating and compelling play.

Written in 2012, Nick Payne’s play explores life through maths and science. Do we have free-will or are we just “particles governed by a series of very particular laws being knocked…around all over the place.”? Audiences should be allowed to discover the unique structure of this play for themselves.

The author, Nick Payne, has a finely tuned ear for natural dialogue and human interaction. We can easily identify with his characters and their stories.

Director, Kelly Somes, keeps the focus firmly on dialogue and character with a bare stage and three chairs. The audience is seated on all four sides of the action, giving an intense intimacy to this production.

Lucy Goleby (Marianne)

 Lucy Goleby plays Marianne, a theoretical physicist. James O’Connell plays beekeeper, Roland. Both give carefully nuanced performances of great depth and sensitivity. They meet the challenge of the multi-layered script with skill, making each moment highly believable. Their playing of the final sequence is touching and memorable.

James O'Connell (Roland)

Both performers and the director have personal connections to Canberra. The choice of “Constellations” for their return here is an excellent showcase for the trio and a gift for local audiences.

 

Photos by Janelle McMenamin.

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 Peter Evans

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 18 April

 

Reviewed by Len Power 11 April 2026

 

When you think over what you have just seen in Bell Shakespeare’s production of “Julius Caesar”, an uneasiness settles over you. There is the brutal murder of Caesar, of course, but then one of the killers, Brutus, convinces us in a speech that Caesar’s assassination was necessary. Mark Antony’s speech that follows quickly and easily moves us to the opposite view. We realize that we have been manipulated by both speakers with just the power of words.

Shakespeare is a master of rhetoric. From the start of the play characters are continually swayed by words that influence, appeal to the emotions and motivate. Peter Evans’ production stresses the effect of the power of words, showing us how easily we can be manipulated. The strong message of the play is easily applied to modern day life and world politics.

The play covers three years from Caesar’s triumphant return to Rome after a war with the sons of Pompey, to his assassination and then the defeat of the killers at the Battle of Philippi.

Brigid Zengeni (Brutus) and Leon Ford (Cassius)

Fine character studies are provided by every member of the cast. Septimus Caton is a strong but charming and charismatic Julius Caesar. Brutus is played by Brigid Zengeni with a warmth and humanity that clearly shows the conflict within the character. Her performance is highly convincing.

Mark Leonard Winter (Mark Antony)

As Mark Antony, Mark Leonard Winter gives a superb performance of his “Friends, Romans, Countryman” speech. That we view his character so differently before and after that moment shows the skill and thought that has gone into his performance.

Septimus Caton (Julius Caesar) and the assassins

There is fine work also by Leon Ford as Cassius who convinces as one of the conspirators, Peter Carroll in a subtle and clever portrayal of Casca and Jules Billington as a warm and caring Portia.

The excellent lighting design by Amelia Lever-Davidson is complex and adds considerable atmosphere to the simple but cleverly designed set by the director, Peter Evans. Simone Romaniuk’s costumes are nicely modern with a suggestion of the original period of the play.

This Bell Shakespeare production succeeds with its clarity of the text, the fine performances of the cast and the convincing vision of the director.

 

Photos by Brett Boardman

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

 

 

& JULIET (MUSICAL)

Book by David West Read

Music and Lyrics by Max Martin and friends

Directors, Choreographers and Set Designers: Charlotte Morphett, James Tolhurst-Close

Musical Director: Callum Tolhurst-Close

A Free-Rain Theatre Company production

The Q Theatre, Queanbeyan to 26 April

 

Reviewed by Len Power 2 April 2026

 

What if Shakespeare’s wife, Anne Hathaway, talked her husband into changing his play ‘Romeo & Juliet’ so that Juliet did not die at the end? With its mid-2000s sensibility and characters and with changes continuing to be made by the couple as the play progresses, ‘& Juliet’ is a show that exists mainly for enjoyment. Some modern political or social issues arise along the way, but it really is just crazy and tuneful fun.

All eight of the principal cast give committed performances. They sing the many songs in the show with charm, skill and confidence. The characters they play are not written with a lot of depth, but it really doesn’t matter. The rest of the cast, totalling 23, sing very well and dance the energetic choreography with precision.

Chloe Stevenson (Juliet) and the company

At the centre of the story, Chloe Stevenson as Juliet gives a touching performance of a young woman wanting to make her own choices. Jackson Gibbs and Vanessa Valois give highly amusing performances as the bickering couple, Shakespeare and Anne Hathaway. Katie Lis scores with a humorous performance as Angelique, Juliet’s nurse, and Joshua Kirk and Tate Sissian are very effective as the sexually troubled May and Francois. David Santolin is a strong presence as May’s father, Lance, and Mackinley Brown impresses as an arrogant, yet charming Romeo.

Jackson Gibbs (Shakespeare) and Vanessa Valois (Anne Hathaway)

The lighting for this show is complex and spectacular. Jacob Aquilina has done a superb job with the design. Telia Jansen’s sound design ensures that Max Martin’s songs have the right production sound and the balance between cast members and the band works very well.

Chloe Stevenson (Juliet) and Mackinley Brown (Romeo)

Fiona Leach’s clever costumes suggest the Shakespearian period while managing to be modern at the same time. Musical director, Callum Tolhurst-Close, has obtained a fine sound in the singing and the band is hot!

This is a show designed to appeal especially to a younger audience. The directors, Charlotte Morphett and James Tolhurst-Close, have provided a colourful, enjoyable  show with fine singing and dancing. It’s quite an achievement.

 

Photos by Janelle McMenamin

 

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