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.

 

 

 

ROMANCE SUBLIME! - ART SONG CANBERRA (CONCERT)

Lorina Gore, soprano

Anthony Smith, piano

Wesley Music Centre, Forrest, March 29

 

Reviewed by Len Power

 

It’s a great experience to see an artist performing at the top of their game. It’s even more thrilling when she’s one of ours.

Soprano, Lorina Gore, completed her postgraduate voice studies at the Australian National University in Canberra and at the National Opera Studio in London. After winning numerous competitions nationally and internationally, she joined Opera Australia as a principal artist in 2008 and has since performed many roles for the company. She also enjoys a busy recording career as well.

Her accompanist on piano, Anthony Smith, is also a graduate of the ANU School of Music. He is a Canberra-based pianist, composer and musicologist. He has performed nationally as well as internationally and is currently repetiteur for three major Canberra choirs. This was his tenth appearance for Art Song Canberra.

The program commenced with 8 Gedichte aus Blätter (8 Poems From Last Leaves) by Richard Strauss. Set to the poems by Hermann von Gilm zu Rosenegg, Strauss composed the songs when he was only 21 years old. Three of the songs have become classics in the Lied repertoire. It was a great opportunity to hear all 8 songs performed together.

Anthony Smith (piano) and Lorina Gore (soprano)

Gore gave fine performances of each of the songs. From the hymn-like melody of the first song, Dedication, through the haunting and ethereal, The Night, Gore impressed with her emotional readings of the songs. Other highlights included The Dahlia with its enchanting vocal melody, Autumn Crocus, with its undertones of death, and the beautiful All Souls Day, the final song.

The second half of the program consisted of songs in various genres that have been part of Gore’s life and career, starting with songs discovered in her student days. She began with the wistful Stephen Foster’s No-one to Love and followed it with Kashmiri Song by Amy Woodforde-Finden. This beautiful song full of longing was given a superb performance.

The program continued chronologically and included songs by Liza Lehmann, Roger Quilter, Lerner and Loewe, Leonard Bernstein and Stephen Sondheim. The distinctive styles of these songs were all given excellent performances. So Pretty, a song for Peace by Bernstein was movingly sung as was Before I Gaze At You Again from the musical Camelot by Lerner and Loewe.

Anthony Smith (piano) and Lorina Gore (soprano)

Gore also impressed with her down-to-earth and disarming commentaries about the songs. Her story about obtaining an audition for ‘My Fair Lady’ in Sydney just so she could meet the director, Julie Andrews, was particularly amusing.

Her final song on the program, Sondheim’s Could I Leave You? was brilliantly sung and showed Gore’s skill as an actress. Throughout the program, Anthony Smith played the various music styles with consummate skill.

For an encore, Gore performed the Habanera from Bizet’s Carmen, inviting the audience to sing the repeated chorus response in the song. It was an exhilarating end to a memorable concert.

 

Photos by Len Power

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

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