FACE TO FACE (PLAY)

 

Written by David Williamson

Directed by Céline Oudin

Mockingbird Theatre Company

Belconnen Arts Centre to 17 October

 

Reviewed by Len Power 7 October 2026

 

Whether you think restorative justice has a place alongside conventional justice or not, the process as it unfolds can bring to light hidden truths, motivations, personal judgements and shameful practices that may have a bearing on the reason the accused committed the crime.

In David Williamson’s stark play, a young man with a quick temper has been charged with rear-ending his boss’s Mercedes causing injury as well as damage after being sacked. The deed is not disputed by the accused, and in conventional justice his actions would likely see him gaoled.

Ten people, a room, some chairs, a conversation.

In Céline Oudin’s production we observe nine people who were all connected to this case. There are no other scenery or props, but there is a facilitator, Jack Manning. We are even aware of traffic passing in the street outside. Our concentration is, therefore, completely on the restorative justice meeting that takes place.

It was just a joke.

Immediately we are drawn into a picture of a toxic workplace where bored and bitter workers take out their frustrations on others with hurtful practical jokes. The accused with his quick temper and naivety quickly becomes a target. The facilitator, Jack Manning, unearths how all nine people played their part in a situation that exploded into violence.

Sachin Nyak (Jack Manning)

 

Sachin Nyak as Jack Manning and Joshua Nicholls as the accused, Glen Tregaskis, stand out with their prominence in the script, but everyone onstage gives a fine performance, too, creating believable and recognizable characters.

Joshua Nicholls (Glen Tregaskis)

The director, Céline Oudin, keeps the action moving at a well-measured pace. The ninety minutes running time without a break feels considerably shorter, a sure sign that we have been drawn successfully into the drama of the play.

At times, Williamson’s script felt contrived. It was hard to believe that some characters would be as forgiving as they were in so short a time and be hugging and handshaking. His discussion of the issues arising sounded more like a man on a soapbox than good drama. However, his observation of Australian characters and their strengths and weaknesses is as strong as ever.

 

Photos by Chris Baldock

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

 

DANZA & DEBUSSY (CONCERT)

Grevillea Quartet

Generator Gallery, Belconnen Arts Centre, September 23

 

Reviewed by Len Power

 

This concert was an evening of contrasts.

The first part of the program was dedicated to vibrant Spanish dances and was followed by a masterpiece of French Impressionism, the groundbreaking String Quartet in G minor by Claude Debussy.

Introduced by violinist, Shilong Ye, the concert commenced with three works from the Suite Española by Isaac Albéniz – Cádiz, Granada and Asturias. Spanish rhythms filled with drama and passion evoked the distinctive sound of strumming guitars and nighttime serenades. The quartet played the strong, sensual and emotional music with clarity, colour and great appeal.

Shilong Ye then drily suggested that if the audience felt the music made them want to dance, no judgements would be made. Many audience members were, understandably, seen to be at least swaying to the infectious dance music as the program continued.

 

Grevillea Quartet

The quartet next played Danzas Españolas, Op. 37: No. 2 ‘Oriental’ by Enrique Granados. This dance with its seductive rhythms and melodies had a haunting melancholic restraint and was beautifully played.

Three well-known works followed – Spanish Dance No. 1 from the opera, La Vida Breve, by Manuel de Falla, La Paloma by Sebastián Iradier and Danse Espanole (from Swan Lake, Op. 20) by Tchaikovsky. Hearing them played live gave them another pleasing dimension and all were given superb performances.

Shilong Ye

The final work on the program was Claude Debussy’s String Quartet in G minor, Op. 10. Shilong Ye informed the audience that this one would probably not be danceable, but he was prepared to be surprised.

Their playing of this extraordinary work, rich with shimmering textures, unexpected rhythms and unique harmonies, was masterly. The third movement, Andantino, was given a particularly sublime performance.

The concert finished with a perfect, sensual encore of Libertango by Astor Piazzolla.

The Grevillea Quartet was celebrating a milestone anniversary of eight years with this concert. Violinists, Vanessa Driver and Shilong Ye, violist Julia Horneman, and cellist Samuel Payne certainly provided a memorable and enjoyable celebration concert. It was delightful to see their surprise as unexpected presents were delivered to fellow ensemble members by Shilong Ye.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 24 September 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.

  

PRIDE AND PREJUDICE* (*sort of) (PLAY)

 

Written by Isobel McArthur

Directed by Simon Harvey

Based on the novel by Jane Austin

Canberra Theatre at the Canberra Theatre Centre to 27 September

 

Reviewed by Len Power 18 September 2026

 

If obvious humour is your thing, this might be the show for you. The classic Pride and Prejudice story by Jane Austen and the Regency period is sent up with TV sitcom humour, a tough modern-speaking all woman cast, a few recognizable recent songs and a liberal sprinkling of the F-word for cheap laughs. There might be a bit of a feminist political statement in there as well.

With the show covering nearly the entire original story, it certainly is a very long evening. Anyone who sees this without a knowledge of the plot would be hard-pressed to know what is going on amongst all the jokes and hijinks. At the opening night performance, the audience seemed to warm to the humour only in the second act. They probably realized by then that they should just concentrate on the jokes and forget trying to follow the story.

On the plus side, the five women performers give expert high energy performances and all sing very well. They play the male characters of the story as well and at times it’s hard to keep up with who they’re playing now. Not that it really matters. However, Kaori Maeda-Judge is a standout with her characterization of Lady Catherine De Bourgh.

This touring production has an impressive set with a huge staircase and towering bookcase. There is a clever lighting design by Jason Bovaird and some good theatrical tricks are staged very well. It all moves along at a fast pace. Where some moments seem laboured and obvious in their delivery, it’s a fault of the material and the direction, not the performer.

Recognizing things out of period is a major part of the humour in this show. There is the character struggling to open a tin of Pringles, a box of Kellogg’s Frosties lying on the sofa, cast members chasing each other with plastic spray bottles, the stack of drink cans on a table at the Merryton Ball and the wheelie bin name-stamped with Jane Aust-Bin (groan).

This play won the Olivier Award in London for Best Entertainment or Comedy Play. It makes you wonder about the competition that year.

 

Photos by Matthew Chen

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