HARMONIC CURVES - RESONANCE (CONCERT)

Alice Giles, harp, Timothy Kain, guitar

Wesley Music Centre June 7

 

Reviewed by Len Power

 

Resonance was the focus of the latest Harmonic Curves concert. The harp and guitar proved to be the perfect match, showcasing a range of music from the 16^th century to the present day in the hands of two excellent players, Alice Giles (harp) and Timothy Kain (guitar).

Initially inspired by popular music and flamenco to start playing the guitar, Kain’s first classical guitar lessons were with Sadie Bishop at the Canberra School of Music.

After graduating, he studied in Spain and England, winning prizes in Europe for his playing. His performing and teaching activities have taken him all over the world, building an international reputation both as a soloist and chamber musician.

Giles has had a wide-ranging career and has appeared as guest artist at international chamber music festivals.

For the first half of the program, Alice Giles played two solo works composed between 1916 and 1918 by French harpist, Carlos Salzedo – Five Preludes for Harp Alone and Five Studies For Harp Alone. Giles explained that she would be using gestures developed by the composer as part of his Salzedo Method for the harp.

With subtitles such as Iridescence, Introspection, Whirlwind, Mirage and Communion, each part presented a different mood or colour and demonstrated the versatility of the harp as well as the skill of the player. The gestures added an extra stylistic layer to the music and Giles performed both all parts of the two works superbly.

Timothy Kain (guitar) and Alice Giles (harp)

Guitarist, Timothy Kain, joined Alice Giles to present the second half of the program. First, they played Three pieces by Irish composer, Turlough O’Carolan, born 1670, arranged for duo by G. Garcia. These melodic works were delightfully played, and both performers clearly enjoyed playing them.

The duo next played A View From The Eagle’s Nest by Canberra composer Marián Budoš. This Canberra premiere of a 2023 work created a grand atmosphere both melodic and introspective. It proved to be a highlight of the program and the composer, who was in the audience, signalled his appreciation of the duo’s performance.

The final work on the program was the Suite Magica from 2015 by Argentinian composer, Maximo Diego Pujol. This popular work in 4 parts was given a fine performance by Giles and Kain, bringing this excellent concert to a close.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 8 June 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.

 

DIAL M FOR MURDER (PLAY)

Chloe Smith (Margot Wendice)

Written by Frederick Knott

Directed by Jon Elphick

Tempo Theatre Inc production

Belconnen Community Theatre to June 6

 

Reviewed by Len Power 29 May 2026

 

Frederick Knott’s play, Dial M For Murder, is now best known from the 1954 Alfred Hitchcock movie of the same name, but it was a big success on both sides of the Atlantic before Hitchcock got his hands on it.

Elements of the plot keep it firmly in the period that it was written and, in their new production, Tempo Theatre at the Belconnen Community Theatre, have wisely honoured that. This play is not a Whodunnit, rather it is a Will-He-Get-Away-With-It?

All five cast members give fine performances. Chloe Smith, as the intended murder victim turned major suspect, Margot Wendice, gives a natural, increasingly emotional performance as the legal system slowly closes around her.

Sachin Nayak as the crime-fiction writer, Max Halliday, who is also in love with Margot, gives a well-balanced performance of an amusing character who, through his determination, eventually solves the mystery but does not realize he has.

Chris McGrane, as the investigating officer, Chief Inspector Hubbard, quickly shows that he is a force to be reckoned with. McGrane plays him with strength and skill. His character’s highly complex dialogue has tripped up many an actor in the past, but McGrane handles this aspect with great confidence.

Guyren Howe plays the contract killer, Captain Lesgate, with a nicely seedy sense of a man reduced to being a criminal.

Bradley Jones is the evil Tony Wendice who instigates the plot to murder his wife. As elements of his plot change, he adds an extra level of suspense to the play with his fine performance full of unrelenting confidence, charm and dangerous intelligence.

The director, Jon Elphick keeps this heavily plotted play moving at a fine pace and has given us an entertaining and compelling production of this clever and suspenseful play.

 

Photo supplied by the production

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

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

 

 

LES MISERABLES (MUSICAL)

 

Music by Claude-Michel Schönberg, lyrics by Alain Boublil and Jean-Marc Natel

Book by Boublil and Schönberg

Based on the novel by Victor Hugo

Directed by Dale Rheynolds

Musical Director: Brigid Cummins

Conductor: Jen Hinton

Movement director: Belinda Hassall

Queanbeyan Players production

The Q, Queanbeyan to 6 June

 

 

Reviewed by Len Power 22 May 2026

 

The world-wide phenomenon that is the musical ‘Les Miserables’ is back! Queanbeyan Players have mounted a production that shows why this epic sung-through musical is so popular and admired.

Victor Hugo’s story, written in 1862, is set in early 19^th Century in France. Jean Valjean, who spent 19 years in prison for stealing a loaf of bread, breaks his parole and disappears. He strives to seek redemption over the following decades by living a blameless life and helping others while being pursued by an obsessive police inspector, Javert, who asserts that Valjean’s re-capture is a necessary ‘justice’. The characters are swept up in a revolutionary period where a group of young idealists attempt to overthrow the Government at a street barricade in Paris.

This production has been very well-directed by Dale Rheynolds. Particular attention has been given to ensure that each of the many characters are real people with emotions and motivations that we can relate to.

Dave Smith (Jean Valjean)

Outstanding in the cast is Dave Smith in the huge role of Jean Valjean, the ex-convict. Smith plays him with a moving strength and emotion that is always valid and believable. He owns this role with his performance and fine singing. His performances of the songs, ‘What Have I Done?’, ‘Who Am I?’ and ‘Bring Home Home’ are expertly sung.

Max Gambale, as Javert, the police inspector, gives an equally fine performance. Gambale uses his commanding presence and strong vocal gifts to give a truly threatening performance. His performance of ‘Stars’ and his final song in the show are two of the many highlights in this production.

Sophie Hope-White (Cosette) and Alexander Unikowski (Marius)

There are so many excellent performances in this show, all with strong characterizations and fine singing. Particularly memorable are Alexander Unikowski as Marius with his song, ‘Empty Chairs and Empty Tables’ and ‘A Heart Fall of Love’, his duet with a luminous Sophie Hope-White as Cosette, Jess Waterhouse as Fantine with a heart-breaking ‘I Dreamed A Dream’, India Cornwell’s touching Eponine with ‘On My Own’ and her death scene with Marius, Greg Sollis and Tina Robinson as the evil and oily Thenardiers with ‘Master Of the House’ and William Allington as the revolutionary Enjolras leading the rousing ‘One Day More’.

William Allington (Enjolras)

There are also fine performances, full of character, by Matilda Hutchison as the young Cosette, Hanna O’Keeffe as the young Eponine, Harlan Blazeski as the young Gavroche and Ricky Best as the Urchin. These roles demand a lot from young performers but all four shone in their roles.  They will alternate with other young performers in subsequent performances of the show.

The large chorus sang magnificently and displayed individual characterizations that added considerable depth to the show. The scenes involving movement were well-designed by choreographer, Belinda Hassall.

The musical direction by Brigid Cummins has prepared the cast very well for the huge amount of singing in the show. Conductor, Jen Hinton, and her orchestra performed the epic score superbly.

 The cleverly devised set was designed by David Abbie, the well-balanced sound design was by Telia Jansen and the lighting design was especially imaginatively designed by Zac Harvey.

 Costume designer, Helen McIntyre, and her large team produced the huge number of period costumes that suited all members of the cast.

This is a huge production involving many people onstage and off. Bringing it all together is director, Dale Rheynolds, who has done an excellent job recreating this much-loved story. It’s a long show, but highly rewarding, and Queanbeyan Players can be justly proud of this one.

 

Photos by Ben Appleton - Photox

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