ARE YOU LONESOME TONIGHT (MUSIC)

Concept by Patrick Nolan

Directed by Laura Hansford

Opera Queensland production

Q Theatre, Queanbeyan 15 April 2025

 

Reviewed by Len Power

 

Described as a unique celebration of country music and opera, featuring arias and songs by Puccini, Verdi, Slim Dusty, Troy Cassar-Daly and Dolly Parton, Are You Lonesome Tonight was a pleasant evening of song from both genres cleverly woven together.

The young cast of singers – Gabrielle Diaz, Marcus Corowa and Jonathan Hickey – moved from Opera to Country effortlessly. All three amiable individuals connected quickly with the audience in a down to earth manner and showed themselves to be very capable singers of both styles of music as well as being accomplished musicians.

Jonathan Hickey, Gabrielle Diaz and Marcus Corowa

On a colourful and attractive set, designed by Penny Challen, the cast gave a potted history of opera and country music, illustrated with various arias and songs along the way. There was some mild audience participation that added to the connection between cast and audience.

The show moved at a good pace with most of the arias being from very well-known operas like Carmen, La Traviata, The Marriage Of Figaro and La Boheme. The country music included songs by Hank Williams, Slim Dusty, Troy-Cassar-Daly and Dolly Parton, amongst others. The arrangements where arias moved deftly to country and back again were very well done.

The operatic arias were sung in their original languages, which might have been a barrier for audience members unfamiliar with the shows they came from, but they could not fail to be affected by the powerful melodies and emotions in the music. The country songs were well-chosen, also displaying emotions and melodies that make this a powerful genre for many.

It was the choice of a song from Kate Miller-Heidke’s opera, The Rabbits, that particularly showed that opera and country can come together very well. This was the highlight of the show.

The show finished with the song Are You Lonesome Tonight. It had been an enjoyable evening of song that should gain some converts to a genre of music until now unfamiliar to them.

 

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

HENRY 5 (PLAY)

Written by William Shakespeare

Directed by Marion Potts

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 20 April

 

Reviewed by Len Power 11 April 2025

 

Henry 5 may be Shakespeare’s well-known play with the rousing call to battle, ”Once more unto the breach, dear friends, once more”, but the grim reality of war is unflinchingly depicted in this production with its messy brutality and death. In its contemporary setting with laptops, microphones and surtitles digitally identifying characters by name and serial number, the dehumanization of war is clear. The use of today’s communication equipment is a reminder that current world conflicts and their biased reporting are probably shaping our own attitudes. Our minds become the weapons of the future.

The drama before and after Henry 5’s victorious Battle of Agincourt in 1415 plays out on a bare stage in which darkness looms over the characters. Everything is geared for war – the metallic uniformity of the set pieces and the costuming that hints at uniforms. There’s even a punching bag hanging aggressively on the set that becomes a symbol of dead soldiers being dragged over the battlefield.

Marion Potts’ production strips the play down to its essential story. Many characters and subplots are omitted as the narrative drives forward compellingly in one act. The battles are cleverly choreographed with movement (Nigel Poulton), lighting (Verity Hampson) and sound (Jethro Woodward) and the atmospheric set design (Anna Tregloan) includes the inspired use of real and very messy mud to depict the bloodiness of battle.

JK Kazzi is a fine, physical King Henry. There are echoes of his dissolute youth in his characterization but there is a steely resolve that drives him towards battle. His famous speeches “Once more unto the breach” and “We few, we happy few, we band of brothers” are delivered with a notable intensity and sensitivity.  There are fine, colourful and truthful performances from all members of this ensemble cast.

This is a memorable production from Bell Shakespeare. It’s atmospheric and disturbing and its message for today’s world is worryingly relevant.

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

 

  

OPERA'S BAD GIRL: ANNA BISHOP, THE WORLD'S FIRST DARINGLY DEFIANT DIVA (MUSICAL PLAY)

Written by Sarahlouise Owens

Sarahlouise Owens, soprano

Lucus Allerton, piano

Directed by Tony Turner and Cate Clelland

A Cantaviva presentation

Canberra REP Theatre to 5 April 2025

 

Reviewed by Len Power 4 April 2025

 

Opera diva, Anna Bishop, born in London in 1810, performed in many countries, including Australia, survived a shipwreck, various husbands and scandals. She made and lost fortunes and was considered one of the finest operatic sopranos of her day.

Recreating a recital in the style of the times, soprano Sarahlouise Owens’ takes us on a musical journey through the fascinating life and career of this 19^th century opera diva.

Surrounded by various items from her career and travels, Anna Bishop appears with her accompanist at the piano in a time warp to entertain us, not only singing arias and songs she made famous in her day but also relating stories from her long and colourful career.

Owens presents a rich program of songs associated with Bishop. Opening with Handel’s “Let the Bright Seraphim”, she sings other well-known arias by Balfe, Rossini and Donizetti, but also includes songs by her second husband, Nicolas-Charles Bochsa, and others. “Home Sweet Home” by her first husband, Henry Bishop, and the song she sang at her final concert in 1883 when she was 73 years old, is used to touching effect at the end of the show.

As well as being in fine voice with the many songs, Owens gives a portrait of considerable depth of a strong woman who lived life on her terms, despite the difficulties of doing so in those times.

Her accompanist is played by Lucus Allerton, who is not only a superb pianist, but also gives a sharp character sketch of a stiffly formal young performer of the time. There is a hilarious moment in the show where his over-enthusiastic accompanying is quickly squashed by the demanding diva.

As Bishop toured Australia more than once, it would have been interesting to hear of more incidents from those tours, if possible. Otherwise, the level of detail in the show about her life and travels is constantly interesting and the music is delightful.

The directors ensured that the show moves at the right pace with a good balance between songs and dialogue.

Anna Bishop may be a diva of the past, but this show brings her to life, giving her the opportunity to entertain once more.

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