FRENCH BAROQUE CANTATAS (CONCERT)

Limestone Consort

St. Paul’s Anglican Church, Manuka, October 25

 

Reviewed by Len Power

 

There may have been a storm raging outside, but the calming program of secular works by Nicolas Bernier and André Campra proved to be the perfect way to spend a rainy afternoon.

Limestone Consort’s program consisted of four baroque era works with love as a dominant theme. Greta Claringbould, soprano, Maartje Sevenster, alto, and Andrew Fysh, bass, were accompanied by Aaron Reichelt, oboe, Lauren Davis, violin, Clara Teniswood, cello, Sean Ng, theorbo, and Ariana Odermatt, harpsichord. The three singers each introduced the works they were about to sing.

The first work, Coffee, showed an unexpectedly lighter side of composer, Nicolas Bernier (born 1664). His cantata extravagantly praised coffee as if it was a divine and seductive potion that even the Gods favoured. Greta Claringbould sang it delightfully with a nicely humorous edge.

Great Claringbould, Maartje Sevenster and Andrew Fysh

André Campra (born 1660) composed the amusing cantata, The Quarrel Between Cupid and Hymen. Almost a mini-opera, this argument between Cupid, God of Love, and Hymen, God of Marriage, was given a colourful and dramatic performance by alto, Maartje Sevenster.

Maartje Sevenster and the musicians

Andrew Fysh, bass, then presented Campra’s cantata, The Women, which detailed his exasperation with women and the wiles they employ to snare the opposite sex. Fysh gave it a fine, world-weary performance. His reflective singing of the passage, Ah, how wretched is a heart entangled in your chains, was particularly memorable.

The final work on the program was the Chorus of Mariners by Jean-Philippe Rameau (born 1683). Together, the three singers gave this invitation to dance and sing a sparkling performance.

The musical accompaniment throughout was excellent. It was a well-chosen and enjoyable program of cantatas with unexpected looks at love.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 26 October 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.

AROUND THE WORLD IN EIGHTY DAYS (PLAY)

 

Adapted by Mark Brown from the novel by Jules Verne

Directed by James Scott

Honest Puck production at the Perform Australia Theatre, Tuggeranong to October 31

 

Reviewed by Len Power 24 October 2026

 

Jules Verne’s, Around the World in Eighty Days, is a novel teeming with many colourful characters from around the world. In Mark Brown’s 2001 adaptation for the stage, a cast of only five play them all.

To win a bet, English aristocrat, Phileas Fogg, with his newly employed French valet, Jean Passepartout, attempts to prove that you can go around the world in eighty days in 1872. Mistaken for a bank robber, Fogg is followed by the wily Detective Fix who wants to arrest him at the first opportunity.

In this Honest Puck production, Brendan Kelly is Phileas Fogg, the still-upper-lip English gentleman who remains calm no matter what happens. His hapless French servant, Jean Passepartout, is played by Jack Morton. Both actors give skilful performances, deftly giving their characters a strong human touch that endears them to the audience.

Brendan Kelly (Phileas Fogg), Pema Yogini Yuphel (Aouda) and Jack Morton (Jean Passepartout)

James Scott is a delight as the plodding but determined Detective Fix. He also plays other characters encountered as the play progresses. Pema Yogini Yuphel is a charming Aouda, rescued from a ritual burning in India.

James Scott (Detective Fix) ad Jack Morton (Jean Passepartout)

Leo Amadeus busily plays most of the other characters. Each swift character sketch is well done with minimal costuming and a sly knowing wink to the audience. He must be exhausted by the end of the show.

The fact that the show is done on a miniscule budget works in its favour. Ange Fewtrell has provided the many bits of period costumes, hats and even wigs that add colour to the show. With a multitude of simple props and some deft shadow puppeteering by Deni Dominguez, this journey around the world is highly enjoyable theatre.

Director, James Scott, ensures that the show moves at a cracking pace and it’s often very funny. The cast are working hard but you sense they’re enjoying it all as much as the audience. They even have an elephant!

 

Photos by James Scott

This review was first published by Canberra CityNews digital edition on 25 October 2026.

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

 

PICNIC AT HANGING ROCK (PLAY)

Adapted by Tom Wright

From the book by Joan Lindsay

Directed by Caitlin Baker

Chaika Theatre Production

ACT Hub Theatre to 7 November

 

Reviewed by Len Power 23 October 2026

 

Since Joan Lindsay wrote her novel ‘Picnic At Hanging Rock’ in 1967 and the popular 1975 film was released, this story became a part of Australian folklore. Now it’s adapted as a play by Tom Wright.

On a sweltering Valentine’s Day in 1900, a group of schoolgirls have a picnic at mysterious Hanging Rock. Several girls and a teacher climb the rock, although forbidden to do so, and vanish without a trace.

This intriguing mystery is part ghost story as well as a study in repression, desire, twisted and faulty memories and an inability of a society to adapt to Australian conditions.

Tom Wright’s stage adaptation has five actors playing all of the roles in the story. As the cast rapidly move from character to character, we are quickly disorientated and drawn into the mystery that is told in possibly unreliable memories and fantasies.

Foreground: Jessi Gooding, Breanna Kelly.  Background: Karina Hudson, Thea Jade.

Caitlin Baker’s set evokes a schoolroom with the blackboard and its chalk writings as well as the dusty, dirty Australian bush underfoot. The clever sound, designed by Paris Scharkie, and the lighting, designed by Disa Swifte, add to the enveloping atmosphere.

Paris Scharkie, Thea Jade

The cast of five – Jessi Gooding, Karina Hudson, Thea Jade, Breanna Kelly and Paris Scharkie – capture the claustrophobic world of a group of boarding schoolgirls very well. With the style of the play, there’s little opportunity for deep character studies and this keeps us at a distance as the story unfolds. Only Karina Hudson has an opportunity to provide a strong character study when she appears as Miss Appleyard, the school’s harsh Principal.

Karina Hudson, Jessi Gooding, Breanna Kelly

The mystery of this story, and the conditions that enabled it to happen, are presented in a kaleidoscopic fashion so that it is difficult to know what is real or imagined. The result is a dream-like production full of unresolved mystery.

Played without a break for 70 minutes, the edginess of the story, the depiction of life in a private school in 1900 and the all-encompassing mystery of the disappearance are very well presented by director, Caitlin Baker, and her cast.

 

Photos by Jane Duong

 

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