THE JUNGLE AND THE SEA (PLAY)

Written and directed by Shakthidharan and

Eamon Flack

A Belvoir St Theatre Production

Co-Produced with Kurinji and Lingalayam Dance Company

The Playhouse, Canberra Theatre Centre to 9 August

 

Reviewed by Len Power 7 August.

 

We’re so used to seeing images of war nightly on the TV news that we easily become de-sensitized. The Jungle and the Sea brings home the human impact and horror of war in a way that is impossible to ignore.

Focussing on one family’s epic journey to survive Sri Lanka’s decades-long civil war, a woman, Gowrie, takes a vow of defiance. She blindfolds herself and refuses to see the world again until her loved ones are reunited. As the war progresses, the family try to retain their dignity and safety amid the devastation around them.

This deeply human work is grand in scale and honours those people who endured unimaginable loss. Love and pride in family shines through despite horrific events that occur.

 The epic production plays out over three acts. A starkly simple setting makes effective use of a constantly turning revolve and the onstage musicians Hari Sivanesan and Aswin Selvanathan provide a constant and atmospheric underscore to the action with Carnatic music.

Anandavalli

Bharathanatyam dancer, Anandavalli, leads the ensemble cast of Prakash Belawadi, Emma Harvie, Nadie Kammallaweera, Shiv Palekar, Dushan Philips, Kalieaswari Srinivasan and Rajan Velu. Several play multiple roles and all give heart-felt and moving performances, making these people and their culture come vividly alive.

Cast members of The Jungle and the Sea

The directors and writers, Shakthidharan and Eamon Flack, have produced a highly imaginative and very busy production that is built out of real-life testimonies from the war. It clarifies the issues of this war while keeping the focus on the impact on the family.

Our attention is so cleverly invested in the events this family experiences that this long play seems much shorter than it is. The final scene is intensely moving and memorably demonstrates the power of love and family.

Photos by Brett Boardman

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

  

THE GIRL ON THE TRAIN (PLAY)

By Paula Hawkins & Dreamwork Film

Adapted by Rachel Wagstaff & Duncan Abel

Directed by Chris Baldock

Mockingbird Theatre Company

Belconnen Arts Theatre to 22 August

 

Reviewed by Len Power 5 August 2026

 

A psychological thriller on stage needs to keep you guessing right up to the end. It should be fun sorting through the information being offered to decide who is telling the truth and who isn’t so that you can, hopefully, guess who the murderer is.

This thriller adds disturbing elements of grief, motherhood, addiction and violence against women, leaving us with an uncomfortable feeling that not every situation is black and white. We find ourselves making quick judgements based on our reactions to the people before us and, when we do learn the whole story, we’re left with that uncomfortable feeling that we’re not good judges of character after all.

A commuter train, stopping at a signal every morning, gives a girl on the train the opportunity to observe a woman in her nearby home. When that woman mysteriously disappears, the girl on the train finds herself linked to a murder and, as a suspect herself, she struggles to either solve the mystery or deflect suspicion from herself.

Morgan HeathWilliams (Rachel - The girl on the train)

 

The cast of seven all give fine performances. As Rachel, the girl on the train at the centre of the action, Morgan HeathWilliams is outstanding with her intense, charismatic character study of an emotionally disturbed woman struggling to get through her life the best way she can. Her performance is believable throughout the play.

Susie Todd (Megan) and Timothy Cusack (Scott)

Robert Wearden, Timothy Cusack, Susie Todd, Ankjush Singh Khanchi, Paul Sweeney and Sabrina Fu all get their moments to shine with nicely judged performances. Susie Todd as the murdered woman, Megan Hipwell, is particularly fine in a deeply emotional flashback scene with her therapist and Paul Sweeney as the investigating policeman, D.I. Gaskill, gives an especially strong performance that is multi-layered when it could have been a cliché.

Director, Chris Baldock, has ensured that his cast achieve the right levels of emotion throughout the play and his unique, immersive set design, works brilliantly.

 

Photos by Chris Baldock

 

This review was first published by Canberra CityNews digital edition on 6 August 2026.

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

  

DIVINE BOHEMIANS (CONCERT)

 

Australian Haydn Ensemble

Gandel Hall, National Gallery of Australia July 30

 

Reviewed by Len Power

 

Bohemian composer, Josef Mysliveček, so out-Italianed the Italians that they dubbed him il divino boemo – the divine Bohemian.

This concert showcased music by the relatively unknown Bohemian composers Mysliveček, and Paul Wranitzky as well as works by Beethoven and Haydn. A composer of note, Wranitsky was also a respected conductor in Vienna and premiered Beethoven’s 1^st Symphony. Mysliveček was a close friend and mentor of the young Mozart.

The Beethoven and Haydn works were both commissioned by the Bohemian arts patron, Prince Lobkowitz.

The Australian Haydn Ensemble of Skye McIntosh, artistic director and violin, Matthew Greco, violin, Rafael Font, viola, and Daniel Yeadon, cello, commenced with Haydn’s String Quartet Op. 77 No. 1 in G. Written late in life, this work, full of Haydn’s wit and unpredictability, was given a charming performance.

Skye McIntosh, Matthew Greco, violin, Rafael Font, viola, and Daniel Yeadon, cello.

The second movement, Adagio, is deeply expressive and emotional and the hint of the Hungarian countryside in the finale was a nice surprise. The ensemble played it with a freshness and sparkle that was delightful. They clearly enjoyed playing it.

The second work presented was Wranitzky’s String Quartet Op. 49 in D minor. The dramatic first movement led to an unusual Largo, played with mutes to create a dreamlike, misty sound. So sensitively played, it was one of the highlights of this concert.

Artistic Director Skye McIntosh, violin

The second half of the concert commenced with just the second movement, Larghetto, of Mysliveček’s String Quartet Op. 3 No. 6. This short, slow movement with its wistful melodies left you wanting to hear more of this composer’s works.

Finally, the ensemble played Beethoven’s String Quartet Op.18 No. 3 in D. This early work showed Beethoven’s maturing talent with its lyrical first movement leading to a pounding climax. The Andante second movement with the second violin prominent was nicely reflective and the playful finale was exciting and an uplifting end to this very enjoyable concert.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 31 July 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.