A CHRISTMAS CAROL (PLAY)

Written by Charles Dickens

Adapted by Nelle Lee

Directed by Michael Futcher

Shake & Stir Theatre Co.

Canberra Theatre to 24 December.

 

Reviewed by Len Power 21 December 2022

 

The perfect show for the Christmas season, ‘A Christmas Carol’ has it all – a good, classic story, fine acting and breath-taking, elaborate staging.

Ebenezer Scrooge, in his quest for wealth, has lost the spirit of Christmas, becoming an embittered, lonely recluse.  One evening, close to Christmas, the ghost of his deceased former partner, Jacob Marley, appears before him in chains and warns him he is likely to suffer the same fate when he dies.  One by one, the ghosts of Christmas Past, Christmas Present and Christmas Yet To Come make him see the error of his ways and rejoin the human race in celebrating Christmas.

Charles Dickens wrote the novella, ‘A Christmas Carol’, in 1843 after reading a parliamentary report on child labourers which particularly moved him.  He, himself, had been a child labourer and he drew on that experience as well as those of his disabled nephew, the desperate struggles of the poor people at the time and the renewed Victorian interest in Christmas.  The story has remained popular ever since and various movies and theatre productions have retold the story in their own way.

Shake & Stir Theatre Co.’s production uses all the technical wizardry of the modern theatre to tell this story.  The supernatural element of ghostly apparitions and story flashbacks make this a difficult story to present convincingly but the company succeeds marvellously.

Eugene Gilfedder as Scrooge with members of the company

There are eight actors and one musician in this production.  Eugene Gilfedder plays Scrooge very effectively and the rest of this expert company play multiple roles, breathing life into all of the elaborate Dickens’ characterizations.  Tabea Sitte is a violinist who provides the appealing musical accompaniment to the action.  The composer is Salliana Campbell.

Josh McIntosh's set for 'A Christmas Carol'

The amazing production is designed by Josh McIntosh.  Sooty, dark, tall buildings loom out of the London night and back projections complete the picture of Victorian England.  The presentation of the ghostly spectres is extremely well-done with an exciting mixture of old and new technology.  The lighting, designed by Jason Glenwright, and the sound, designed by Guy Webster and Chris Perren, are an important part of the production, adding great atmosphere generally and some real shivers when the ghosts appear.

A great family show, ‘A Christmas Carol’ is true to Dickens’ source novella and is magically and memorably told.

 

Photos by David Fell

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

THE LOST KING (FILM)

Poster - Warner Bros.

Written by Steve Coogan and Jeff Pope

Directed by Stephen Frears

Produced by Pathé, Baby Cow Productions, BBC Film and Ingenious Media

Screening at Palace Cinemas, Dendy Cinemas and Limelight Cinemas, Tuggeranong from December 26.

 

Reviewed by Len Power 7 December 2022

A good story often starts with an obsession.  In the case of ‘The Lost King’, that obsession happens to be a true one and it’s resulted in an absorbing and entertaining film.

Based on the 2013 book ‘The King's Grave: The Search for Richard III’ by Philippa Langley and Michael Jones, it is a dramatisation of the story of Langley, the woman who initiated the search to find King Richard III's remains under a car park in Leicester, England.  Her obsessiveness, involving research, intuition and dogged determination in the face of doubting and initially unhelpful academia is a remarkable story.

Sally Hawkins plays Philippa, a woman struggling with chronic fatigue syndrome and a doubting husband and family.  Her performance as this obsessive woman is excellent.  We are quickly won over and hope she will succeed against likely insurmountable odds.  Hawkins makes every step of her journey believable.

Sally Hawkins and Steve Coogan

Her husband is played by Steve Coogan, one of the writers of the screenplay.  He brings a quiet, warm and loving presence to the role, even though Langley must have been difficult to live with.  There are flashes of humour in their relationship along the way that lighten the tension at the right times.

An apparition of Richard III, played very well by Harry Lloyd, could have been hard to take, but Hawkins makes it believable that she ‘talked’ to Richard, who was very much a living presence to her after so much research.  We also accept her ‘feeling’ that an ‘R’ painted on a car park is the site of Richard’s grave.

Philippa Langley (Sally Hawkins) 'talks' to Richard III (Harry Lloyd)

The remaining cast of character actors play their roles convincingly.  Mark Addy is a standout as University of Leicester archaeologist Richard Buckley, a man not easily convinced but supportive of Langley’s search.

There has been some controversy since the film’s release that certain facts have been distorted about the extent of the University’s involvement.  Whether this is true or not, it’s still a very entertaining film.

Philippa Langley was awarded an MBE for her work in 2015.  Sally Hawkins deserves some kind of award for her memorable portrayal of Langley, too.

 

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

ALLELUJAH! - THE LLEWELLYN CHOIR (CONCERT)

Conducted by Rowan Harvey-Martin

Holy Cross Anglican Church, Hackett 17 December

 

Reviewed by Len Power

 

Subtitled ‘“Christmas with Benjamin Britten (and others)”, this “Allelujah!” concert featured two works by Britten - “A Ceremony Of Carols” and “The Company Of Heaven”. Other pieces included Corelli’s “ Concerto Grosso In G Minor, No. 8“, “Angel’s Carol” by John Rutter and “O Holy Night” by Adolphe Charles Adam.

The Choir entered at the start of the concert with lanterns singing “Procession”, the first part of “A Ceremony Of Carols”. This set the atmosphere of Christmas immediately and the choir was particularly effective singing the rousing “Welcome Yole!” as well as “In freezing winter night”, “Deo Gracias” and the finale, “Recession”.

There were also pleasing soprano solos by Charlotte Walker and Emily Ezaki-Swain.  The orchestra, conducted by Rowan Harvey-Smith, really excelled with the delicate “Interlude” in the middle of the work.

Next on the program was the Corelli “Concerto Grosso”.  In the intimate space of the church, this familiar work was given a beautiful performance of great clarity.

After a short break, Britten’s “The Company Of Heaven” was performed by the orchestra, choir and soloists.  Written originally for radio in 1937, this work depicts St. Michael and the angels, along with old Testament figures.  The musical numbers are interspersed with spoken text from various authors like Milton, Rossetti and Bunyan.  This challenging work with moments of great sensitivity as well as fury was given an accurate and confident performance by the choir.

Sonia Anfiloff (soprano) and Andrew Barrow (tenor) were featured during this work and both sang very well.  The clearly read text readings were given by Rohan Thatcher and Jennifer Pickard.

This dramatic work even woke the possums in the ceiling, to the amusement of everyone!

John Rutter’s “Angels Carol” was a nicely melodic contrast after the Britten and was very well sung by the choir.

The final work presented was Adam’s well-known “O Holy Night”.  With the resonant baritone of Rohan Thatcher and soprano, Sonia Anfiloff, rising above the choir, this proved to be a very moving performance.

This Llewellyn Choir concert was a triumph and produced a highly-charged feeling of Christmas.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 18 December.

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

  

THE MAGIC OF MUSIC - EPISODE 13 (RADIO)

 

I’m presenting the next in the series of ‘The Magic of Music’ on Artsound FM on Saturday at 4pm.

Artsound’s music guru, Bert Whelan, has a formidable knowledge of music, ranging from the classics to light orchestral to the American Songbook and Broadway, as well as film music and popular 20th century songs.  In this series, I’m playing a vast range of Bert’s personal favourites.  Many you’ll know but I’m sure there’ll be new discoveries for you as well.

In this program you’ll hear, amongst others, ‘Maria’ from the musical, ‘West Side Story’, ‘The Colditz March’ by Robert Farnon and ‘Runnymede Rhapsody’ by Reginald King.

Join me, Len Power, Saturdays on Artsound FM at 4pm for ‘The Magic of Music’.

MERRY AND GAY - CANBERRA QWIRE (CONCERT)

Musical Direction by Lachlan Snow

Q Theatre Queanbeyan 11 December

 

Reviewed by LEN POWER

 

A “Merry and Gay” Christmas was assured when the Canberra Qwire presented a rousing concert of some well-known and not so well-known songs and some Christmas carols with delightful, wickedly changed lyrics.

Beginning with ‘Ngunnawal Welcome Song’, the choir chose to sing as they entered and took their places on stage.  This created an immediate, warm atmosphere that was as effective as it was unexpected.

Our energetic master of ceremonies, Andy Bell, ensured the concert kept moving as well as involving the audience.  This created an informal, relaxed afternoon full of laughter as well as good music.

The large choir were dressed in black with little Christmas touches here and there.  The music director, Lachlan Snow appeared with sparkling epaulets on his costume.  The overall effect was very pleasing.

Conductor: Lachlan Snow

The three musicians - Jessica Stewart, piano, Daniel Frømyhr, cello, and Jen Hinton, drums - accompanied the choir through various styles of music very well.

The selection included music of artists we have lost this year.  There was a Sondheim medley, honouring the music of Broadway composer, Stephen Sondheim.  The fast-paced “Putting It Together” was especially well-done with the lyrics clearly heard.

A Seekers Celebration medley, remembering Judith Durham, contained several old favourites warmly sung.  “Xanadu”, a song identified with Olivia Newton John had an excellent arrangement and was particularly well-sung by the choir.  It was repeated as a rousing encore.

“Let Love Rule” by Archie Roach was given a heart-felt performance and the first half of the program concluded with “The Walking Song”.  Lyrics, music and poem were by Andrea Watson.  This was movingly sung as the choir slowly left the stage.  The poem was recited with great sensitivity by choir member, Azerie Orsmond.

The start of the second half saw the choir enter while singing “Walk a mile in my shoes” by Rebecca Spalding.  “Give Me A Choral Medley” was sung energetically and a sense of fun.

Three very funny carols, “God Help You Merry Lesbians”, “We Three Queens (of Oxford Street)” and “Hark The Herald Transfolk” brought the concert to a rousing close.

This was a great afternoon of fun and good music by a group who sang very well.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 12 December.

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

THE IMPORTANCE OF BEING EARNEST (PLAY)

 

Written by Oscar Wilde

Directed by Jarrad West

ACT HUB production, ACT HUB Theatre, Kingston to 17 December

 

Reviewed by Len Power 9 September 2022

 

There’s something quite wicked and wonderful happening at the ACT HUB theatre in Kingston. Director, Jarrad West has taken Oscar Wilde’s classic play, “The Importance Of Being Earnest” and breathed new life into it with a more than capable cast willing to play the hell out of it and entertain audiences in a way they could never have suspected.

The play was Oscar Wilde’s fourth and most enduring play.  Written in 1895, it is a farce which satirises Victorian society, institutions and the morals and manners of the time.  Its witty dialogue and famous epigrams delight audiences even after more than 100 years.

The first thing you notice on arrival at the ACT HUB theatre is that the auditorium and foyer have been changed.  Suddenly it’s a completely atmospheric cabaret setting with tables and chairs and two bizarrely-dressed singers, The Downlows (Louiza Blomfield and Dave Collins), warbling rather modern songs very nicely.

Louiza Blomfield and Dave Collins

The play erupts rather than starts at one of the tables in the midst of the audience.  Steph Roberts appears to be playing Algernon Moncrieff, normally a male role, and Joel Horwood is Jack Worthing, a man-about-town or something.

Steph Roberts, Joel Horwood and Holly Ross

A parade of curious characters follows, played by well-known Canberra actors who almost defy recognition in their extraordinary costumes by Fiona Leach and gender choice by whoever.

Lainie Hart is a formidable Lady Bracknell in a top hat, Shae Kelly is Gwendoline Fairfax like she has never been played before, Holly Ross gives shades of meaning to Cecily Cardew we did not know were there, Victoria Dixon is a delightfully distorted Miss Prism and Janie Lawson is insanely funny in her unique take on Dr. Chasuble.

Many of the cast join the singers at the microphone, too.  The Downlows chime in with songs now and again and the surly and dangerous-looking waiter, Merrilane, (Blue Hyslop) somehow keeps it all running smoothly while looking like an escapee from ‘The Rocky Horror Show’.

It could have been a gamble that didn’t pay off, but the play’s words are respected and the cast are brilliant farceurs who deliver those lines with skill, keeping the layers of meaning intact.  Listen carefully for sly, modern additions.  The action moves around the room to various tables, so don’t get too comfortable as you might be asked to move.

Director, Jarrad West, has produced a remarkable entertainment with this classic play pulled apart and put back together again.  His cast have embraced his vision, giving the audience a furiously played evening of fun and laughter.  Oscar Wilde would have loved it!

 

Photos by Janelle McMenamin

 This review was first published by Canberra CityNews digital edition on 10 December.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

 

THE MAGIC OF MUSIC - EPISODE 12 (RADIO)

 

I’m presenting the next in the series of ‘The Magic of Music’ on Artsound FM on Saturday at 4pm.

Artsound’s music guru, Bert Whelan, has a formidable knowledge of music, ranging from the classics to light orchestral to the American Songbook and Broadway, as well as film music and popular 20th century songs.  In this series, I’m playing a vast range of Bert’s personal favourites.  Many you’ll know but I’m sure there’ll be new discoveries for you as well.

In this program you’ll hear, amongst others, George Gershwin’s ‘Strike Up The Band’, Julie London singing ‘Cry Me A River’ and, from the movies, ‘Swedish Rhapsody’ by Charles Wildman.

Join me, Len Power, Saturdays on Artsound FM at 4pm for ‘The Magic of Music’.

 

MESSIAH (CONCERT)

Canberra Choral Society Massed Choir and Orchestra

Music by George Frideric Handel

Conducted by Dr. Graeme Morton

Llewellyn Hall December 3

Reviewed by Len Power

Composed in 1741 By George Frideric Handel, “Messiah” was first performed in Dublin, Ireland in 1742.  It has gained in popularity since then, becoming one of the best-known and most frequently performed choral works in the world.

In three parts, the first part concerns itself with the prediction by the Old Testament prophets of the Messiah’s coming and the virgin birth.  The second part covers the annunciation, Christ’s passion, his death, resurrection and ascension, the first spreading of the Gospel through the world and culminates in God’s glory with the famous “Hallelujah” chorus.  In the third part, there is the promise of redemption, a prediction of the Day Of Judgement, the final victory over sin and death and the acclamation of Christ.

The Canberra Choral Society Massed Choir and Orchestra plus four soloists under the baton of conductor, Dr. Graeme Morton produced a memorable evening of fine music.

Conductor, Dr. Graeme Morton

The orchestra began with “Sinfony”, played with assurance and skill, and this fine level of performance continued throughout the concert.  Their sensitive playing of the pastoral “Pifa” was particularly notable.

The four soloists, Susannah Lawergren, soprano, Stephanie Dillon, contralto, Andrew Goodwin, tenor and Andrew Fysh, bass, sang with accuracy and warmth.

From left: Susannah Lawergren, Stephanie Dillon, Andrew Goodwin and Andrew Fysh

Susannah Lawergren’s solos in “The Annunciation of the shepherds” and “Christ’s healing and redemption” were memorably sung, especially “Rejoice greatly, O daughter of Zion”.

Stephanie Dilllon, contralto, also sang very well.  Her solo, “He was despised and rejected” and her duet in the third part with tenor, Andrew Goodwin, “O Death where is thy sting”, were particularly memorable.

Andrew Goodwin gave “Ev’ry valley shall be exalted” a fine performance early in the evening.  His beautiful tenor voice and fine diction brought out all the shades of meaning in the words.  “Thy rebuke hath broken His heart” in the second part was sung with great sensitivity.

Andrew Fysh, bass, with his first solo, “Thus saith the Lord of hosts”, proved to be in fine voice and his breath control was excellent in “Why do the nations so furiously rage together?”  “The trumpet shall sound”, with great trumpet work by Brendan Tasker, was also especially well sung.

The large chorus sang the demanding music with skill and confidence throughout.  Highlights were “For unto us a child is born”, “All we, like sheep, have gone astray”, “Since by man came death”, as well as an astounding performance of “Hallelujah”.

This was a great evening of sublime music with everyone at the top of their game.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 4 December.

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

 

EMILIA (PLAY)

 

Written by Morgan Lloyd Malcolm

Directed By Petra Caliva

Essential Theatre production

The Playhouse, Canberra Theatre Centre to 4 December

 

Reviewed by Len Power 2 December 2022

 

Inspired by 17th century poet and revolutionist Emilia Bassano, the supposed ‘Dark Lady’ of Shakespeare’s sonnets, ‘Emilia’ features a team entirely made up of women and non-binary creatives from diverse cultural backgrounds.

A reimagining, that unapologetically champions all women, has three different women playing Emilia at particular stages of her life – Manali Datar as the younger, Cessalee Stovall, the middle-aged Emilia, and Lisa Maza as the older Emilia.  All three give strong, compelling performances.

There is quite a large cast for a touring production.  The few male characters, also played by women, are caricatures to laugh at.  William Shakespeare is played by Heidi Arena as a weak, ineffectual man who probably got at least some of his ideas from Emilia without acknowledging them.

Cessalee Stovall and Manali Datar

Staged with minimal scenery – a set of stairs and lots of curtains - the production, designed by Emily Collett, looks good and there are colourful period costumes designed by Zoё Rouse.

There are some well-written scenes in the play about Emilia’s life that are interesting and involving and the company performs them very well, but the play takes every opportunity to beat us over the head with political messages about how wronged women were over the centuries and insisting we still have a long way to go.  The frequent lectures delivered direct to the audience get pretty tiresome.

Lisa Mazar

The final speech to the audience by the older Emilia is fiery and over the top.  There’s such hatred in the words that it left me cold.

According to their publicity, ‘Essential Theatre is a female-led, values-driven company headed by experienced theatre-makers Amanda LaBonté and Sophie Lampel. The two are passionately committed to championing women and presenting Shakespeare through a female lens’.

 

Photos supplied by the company.

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

 

THE MAGIC OF MUSIC - EPISODE 11 (RADIO)

 

I’m presenting the next in the series of ‘The Magic of Music’ on Artsound FM on Saturday at 4pm.

Artsound’s music guru, Bert Whelan, has a formidable knowledge of music, ranging from the classics to light orchestral to the American Songbook and Broadway, as well as film music and popular 20th century songs.  In this series, I’m playing a vast range of Bert’s personal favourites.  Many you’ll know but I’m sure there’ll be new discoveries for you as well.

In this program you’ll hear, amongst others, ‘As Time Goes By’ from the film, ‘Casablanca’, 'Milonga The Angel' by Astor Piazzolla and ‘We’re Looking For A Piano’ from the British musical, ‘Salad Days’.

Join me, Len Power, Saturdays on Artsound FM at 4pm for ‘The Magic of Music’ or listen here now:

https://www.mixcloud.com/artsoundfm/playlists/the-magic-of-music/

 

 

HOT TO TROT(DANCE)

 

QL2 Dance

QL2 Theatre, Gorman Arts Centre to 27 November

 

Reviewed by Len Power 26 November 2022

 

The annual “Hot To Trot” performance gives QL2 dancers the opportunity to step into the role of choreographer, mentored by staff and supported by the dancers as collaborators and performers.

This year eight dances and one dance film were presented by choreographers aged 15 to 19.  All were of a consistently high standard, imaginative and danced very well by the enthusiastic performers.

The standout dance was “F.A.S.T.” by Akira Byrne.  This piece explored the warning signs and progression of stroke.  Taken from the experience of a family member who suffered a stroke, Akira Byrne produced a work of searing quality.  Its intention was clear throughout, the angular and fluid movements were executed very well by the dancers and the music, “Tree’s Sacrifice”, by Ezio Bosso was a good choice.  Lighting was cleverly used to enhance the atmosphere.

There was fine use of lighting in the finale, particularly, in Emily Smith’s “Cover It Up”, a work finding compromise amidst conflicting perspectives.  It was dramatic and danced with assurance throughout.

The use of masks in “Vulnerability Of The Individual” by Natalie Hardy was especially effective in conveying the message that humans do not need to conform to society’s beliefs and stereotypes to reach their full potential.  The dancers displayed very effective body control in this appealing work.

In “Simplistic Pleasures” by Arshiya Abhisree, about breaking free from routine and allowing yourself to embody a sense of pleasure and happiness, there was a particularly effective use of light with the fine dancing.  The facial expressions of the dancers and the movement conveyed the intention of the dance very well.

“Not Goodbye” by Mia Canton was a personal work symbolising the connection between her and her twin sister.  The music, from the film “Driving Miss Daisy” by Hans Zimmer, produced a feeling of nostalgia that was matched by the sensitive dancing of two young performers.  There was also a good use of light and the energetic, unison dancing of the older performers was also well done.

The dance film “Waiting” by Magnus Meagher was heavily influenced by the surreal, geometric urban paintings of Jeffrey Smart.  Using his dancers in the suburban landscape in and around one of Canberra’s iconic bus shelters, filmmaker and choreographer, Meagher, produced a highly effective film, blending reality, daydreams and imagination.

The remaining works were no less effective, achieving their goals with intentions very clear, good use of light and dancers well able to support and enhance their visions.

 

Photo by Lorna Sim

This review was first published by Canberra CityNews digital edition on 27 November.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

 

THE TORRENTS (PLAY)

Written by Oriel Gray

Directed by Lexi Sekuless

Mill Theatre at Dairy Road to 3 December.

 

Reviewed by Len Power 24 November 2022

 

Oriel Gray’s play ‘The Torrents’ has the distinction of being joint winner of the best play award for 1955 by the Playwrights' Advisory Board along with‘ The Summer of The Seventeenth Doll’, the famous Australian play, which is still performed regularly.  ‘The Torrents’, meanwhile, has not achieved the same ongoing popularity, possibly because its plot could take place anywhere in the world while ‘The Doll’ is so specifically Australian.

The play is set in a newspaper office of the fictional country town of Koolgalla during a gold rush era in the second half of the 19^th century.  A young woman is employed there in spite of it being a male-dominated office.  Such an office is considered to ‘be no place for a woman’, at least by the men working there.  This progressive woman shows them she is more than capable of making a success of her job in spite of the men’s attitudes.

This production, the first at the new Mill Theatre, is directed by Lexi Sekuless, who also takes the young woman’s role.

Sekuless, as director, gives the play a novel twist.  The many male characters are played by women and non-binary performers. This gives the play another dimension as the men display the prevailing attitudes against women that predominated at the time.

Sekuless is charismatic in the lead role of the young woman, J.G. Milford.  The rest of the cast do as well as they can, but it was difficult to suspend belief and accept them as male characters.  ‘Trying to be male’ has its limitations and there’s not a lot of real depth visible in the characterisations.  Some actors play more than one role, making it confusing as well.

Lexi Sekuless as J.G. Milford

Much of the political content of the play is given too much of a knowing, modern day stress.  It would have been more effective if these moments were allowed to speak for themselves without the heavy underlining.

The play itself is advertised as ‘an Australian screwball comedy’ which it clearly is not.  It doesn’t have the zaniness of the films classed as screwball comedies like ‘Bringing Up Baby’, ‘The Lady Eve’ and ‘The Awful Truth’.  It plays as a mildly amusing comedy-drama.

The play is of its time but it is interesting to consider that its message of women being just as capable in a traditional male workplace was probably quite revolutionary in 1955.  It certainly still has relevance for today.

Victoria ‘Fi’ Hopkins’ costume designs are particularly fine and very much in period.  The overall production design with its well-chosen furniture and props looks quite authentic.

Lexi Sekuless is to be congratulated for reviving this play in a challenging and courageous production.  The best theatre takes risks and is more memorable as a result.  Future productions by this new company will be watched with interest.

 

Photo by Tim Ngo

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

 

THE MAGIC OF MUSIC - EPISODE 10 (RADIO)

 

I’m presenting the next in the series of ‘The Magic of Music’ on Artsound FM on Saturday at 4pm.

Artsound’s music guru, Bert Whelan, has a formidable knowledge of music, ranging from the classics to light orchestral to the American Songbook and Broadway, as well as film music and popular 20th century songs.  In this series, I’m playing a vast range of Bert’s personal favourites.  Many you’ll know but I’m sure there’ll be new discoveries for you as well.

In this program you’ll hear, amongst others, ‘Music Of The Night’ from ‘The Phantom Of The Opera’, ‘Gabriel’s Oboe’ from the film, ‘The Mission’ and ‘The Eighth Army March’ by Eric Coates.

Join me, Len Power, Saturdays on Artsound FM at 4pm for ‘The Magic of Music’ or listen here now:

https://www.mixcloud.com/artsoundfm/playlists/the-magic-of-music/

 

 

GOD OF CARNAGE (PLAY)

Written by Jasmina Reza

Translated by Christopher Hampton

Directed by Jordan Best

Echo Theatre production

Q Theatre, Queanbeyan to 26 November

 

Reviewed by Len Power 23 November 2022

 

Originally a French play first published in 2008, ‘God Of Carnage’ has gone on to great acclaim internationally.  It was filmed as ‘Carnage’ by Roman Polanski in 2011.

Two couples meet to discuss an incident where their sons have been involved in a fight, leaving one of them with two teeth damaged.  The evening starts well over coffee and clafoutis as the couples try to discuss the incident involving their children in a civilised manner.  It quickly degenerates into a series of irrational and, at times, childish arguments.

The play shows that the veneer of civilization is just as wobbly as a clafoutis.  It does not take much to show the savagery, frustrated desires and prejudices underneath in all of us.  We know people like this or maybe we are seeing ourselves in a mirror?  It’s very funny to watch these people but it’s also an unsettling experience.  The writer, Yasmina Reza, has captured a truth about humanity that we like to think does not exist.

Jordan Best’s new production is set in Canberra, which works perfectly fine.  On a strikingly stylish living room set by Jens Nördstrum, chaos erupts quickly. 

The four cast members give excellent performances.  Jim Adamik is repellently wonderful as a businessman who is only at this meeting to please his wife.  Self-centred, aggressive and always on his mobile phone, he delights in baiting the others and sitting back to sadistically enjoy the results.

Lainie Hart gives great depth to the character of a wife and mother who is unhappy in her marriage and struggling to contain the frustrations building up inside her.  Carolyn Eccles quickly shows in a sharp and physical performance that she is not as reasonable as she first seems.  Josh Wiseman deftly captures a smugness and passive resistance that infuriates the others.

The actors’ sense of timing in this fast-paced play is superb.  Jordan Best’s assured direction blends breathlessly fast comedy with the sadness underneath.  Yes, we’re laughing, but it hurts.

 

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

PRIMAVERA! (PLAY)

Art Song Canberra

Sarah Mann, soprano

Ella Luhtasaari, piano

Wesley Music Centre, 20 November

 

Reviewed by Len Power.

 

Unexpectedly, the soprano, Sarah Mann, was first heard but not seen as she entered from the back of the Wesley Music Centre singing an Amy Beach song.  Her hauntingly beautiful voice was fresh, sunny and warm, like the perfect spring day.

The songs of “Primavera!”, in Art Song Canberra’s latest concert, were all chosen to evoke the wonders of spring.  Works by Joseph Canteloube, Maurice Ravel, Richard Strauss, Claude Debussy, Roger Quilter, Enrique Granados and Amy Beach made up the program.

Sarah Mann is an accomplished performer, teacher and administrator.  She has performed over twenty-six principal soprano roles in opera, operetta and oratorio, as well as performances with state and national arts organizations.  She is fondly remembered by Canberrans in the role of Cosette in the early 90s first production of Canberra Philharmonic’s “Les Miserables”.

Ella Luhtasaari and Sarah Mann

Ella Luhtasaari is a collaborative pianist and teacher based in Canberra.  She completed bachelor degrees in music and psychology at the ANU and completed post-graduate studies in Austria and the UK.  She is a vocal and language coach at the ANU School Of Music.

Three “Songs Of The Auvergne” by Canteloube were a perfect next choice with their sense of the countryside in spring.  The second song, “Spring Water” was a teasingly beautiful highlight and was delightfully sung by Mann.  The accompaniment for all three songs by Luhtasaari was excellent.

Other highlights included a sublime marriage of voice and piano with “Morgan” by Richard Strauss and, in the second half of the program, ‘”Elegia Eterna” (Eternal Lament) by Granados was dramatic with high sustained notes that took your breath away.  It seemed incredibly difficult but Mann sang it with apparent ease.

Sarah Mann

The other Granados work on the program, “Gracia Mia” (My Graceful One) was jubilantly sung and the joyful Roger Quilter’s “Love’s Philosophy” from a poem by Shelley was so memorable and obtained such a positive reaction from the audience.  It was welcomed again as an encore.

This was a memorable concert by Sarah Mann who clearly loves what she does and had the good fortune to have such a superb accompanist as Ella Luhtasaari.

 

Photos by Peter Hislop

 

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

SENSE & SENSIBILITY (PLAY)

Written by Kate Hamill

From the novel by Jane Austen

Directed By Cate Clelland

Canberra REP production

Canberra REP Theatre, Acton to 3 December

 

Reviewed by Len Power 19 November 2022.

 

Jane Austen’s first novel, published in 1811, becomes the basis of a 2014 play adaptation by New Yorker, Kate Hamill.  Following the fortunes of the Dashwood sisters shortly after their father’s death leaves them in a precarious financial situation, the play is a comedy of manners as the sisters find their way through romance to happiness as the gossips look on, ready to criticize their every move.

Apart from the sisters, Elinor and Marianne, the large cast play the ever-present gossips when they are not playing the many minor characters.

The sisters themselves are very different personalities, the sense and sensibility of the title.  Marianne, played by Annabelle Segler, is excitable and impulsive, while Elinor, played by Karina Hudson, is the more sensible and logical of the pair.

The play is cinematic with a large number of small scenes.  The action moves back and forth between various houses, both lived in and visited.  In director, Cate Clelland’s production, the action becomes claustrophobic with the sister’s constantly aware that they have little privacy and that everyone is watching and waiting for them to slip up.  Reputation in this society is everything.

Karina Hudson gives a fine performance as the sensible Elinor.  Annabelle Segler has the difficult role of the excitable sister, Marianne and handles it mostly very well.  Some more light and shade in her portrayal would have made her less irritating.

Ros Engledow captures the sense of period very well as Mrs. Bennett, whose house is visited by the sisters.  John Whinfield as Edward Ferrars and Sean Reeve as Colonel Brandon, the intended love interests, are not very interesting characters but the actors do the best they can with them.  The rest of the large cast give uneven performances.

The frequent changes of locale and the moving of furniture to set each scene quickly became tiresome even though it was choreographed very well.  It was just happening too often.  The cast playing the gossips, placed in the background of every scene, while dramatically valid, were often distracting.

Overall, the play works in its depiction of the society and the manners of the time.  There are amusing moments and it’s costumed very well by Anna Senior and her team.

If you’re a Jane Austen fan, you’ll have a good time with this.

 

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

THE AGE OF THE PINEDEMIC: THE MUSICAL (MUSICAL)

Written and Directed by Tim and Natalie Bevitt

Mr Tim Enterprises

Tuggeranong Arts Centre to 19 November

 

Reviewed By Len Power 18 November 2022

 

“The Age Of The Pinedemic” is set in a futuristic newly formed society after the mayhem caused by the pineapple virus.  In a bid to save their crumbling society, a few children make a secret deal with an online troll and a new society is born.  An investigation reveals a horrifying truth and a final confrontation with the troll must take place. But first they must all band together as a team to make their way through the challenges of the troll’s lair.

This musical, part of the Tuggeranong Arts Centre’s Children’s Musical Program, has been devised by the 7-13 age children themselves with help from co-creators Tim and Natalie Bevitt and a range of guest tutors in acting, voice and movement.  It is a delight from start to finish.

It features 8 original songs, with lyrics by the cast and music written and recorded by in the Bevitt’s home studio. They are catchy tunes, particularly the Golden Child Jingle, Swing Song and Working As A Team.

The children-devised lyrics are clever and provide an insight into the issues that children of today have found challenging in the recent past.  Many of the voices amongst the group are surprisingly mature for their age and they already know how to put a song over.

Every performer displays confidence and enthusiasm, never for a moment dropping out of character.  Voice projection by these children is particularly impressive.  There were no microphones and they could all be clearly heard.

The sets and costumes were wacky and colourful and both showed what a bit of imagination could do without spending lots of money.

 

The audience was made up of doting parents and relatives, as expected, but anyone else will enjoy this.  It is a rare opportunity for children’s voices of this age group to be heard.  These children delight and amaze with their skill and imagination.

 

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

 

THE MAGIC OF MUSIC - EPISODE 9 (RADIO)

 

I’m presenting the next in the series of ‘The Magic of Music’ on Artsound FM on Saturday at 4pm.

Artsound’s music guru, Bert Whelan, has a formidable knowledge of music, ranging from the classics to light orchestral to the American Songbook and Broadway, as well as film music and popular 20th century songs.  In this series, I’m playing a vast range of Bert’s personal favourites.  Many you’ll know but I’m sure there’ll be new discoveries for you as well.

In this program you’ll hear, amongst others, ‘Autumn In New York’ by Vernon Duke, ‘Beneath The Southern Cross’ by Richard Rodgers and ‘As If We Never Said Goodbye’ from Andrew Lloyd Webber’s ‘Sunset Blvd’.

Join me, Len Power, Saturdays on Artsound FM at 4pm for ‘The Magic of Music’ or listen here now:

https://www.mixcloud.com/artsoundfm/playlists/the-magic-of-music/

 

 

ALL BAROQUE - MUSICA DA CAMERA (CONCERT)

 John Ma Musical Director

Holy Covenant Anglican Church, Cook, 12 November

 

Reviewed by Len Power

 

When you get a musical director and violinist as much fun as John Ma, a concert can’t fail to be enjoyable.  He has his own refreshing take on the music to be played and describes it in amusing and accessible terms.  Watching him playing his instrument and leading the orchestra is to see a man who obviously loves what he does and wants to communicate that to his audience.

 The concert consisted of lesser known works by Heinrich Bach, Georg Philipp Telemann, Antonio Vivaldi and Georg Muffat, composers of the 17^th and 18^th centuries.

Heinrich Bach was J.S. Bach’s great-uncle.  His Sonata II in F with its punchy opening set the tone for the concert.  The orchestra gave it a great performance, full of energy and colour.

    John Ma leading the Musica Da Camera String Orchestra

The next work, Telemann’s Overture: Suite La Bizarre, was another busy work with 8 movements.  It was a good showcase for the skill of the orchestra who played it with great depth and feeling.  The Sarabande movement was particularly enjoyable with its sombre, melodic theme.

Vivaldi’s Concerto in D-major for Viola D’amore was prefaced with John Ma’s interesting and informative discussion about this instrument he was about to play.  Larger than a violin, it had seven strings and the same number of sympathetic strings strung through the bridge, giving it a special resonance.  It had a unique sound.

John Ma plays the Viola D'Amore

The busy first and third movements of the concerto were played with gusto and the second Largo movement was most memorable with the viola d’amore’s haunting sound rising so appealingly above the orchestra.

The final work, two movements of George Muffat’s Armonica Tributo Sonata da Camera No.5, were played very well by Ma and the orchestra.  The jaunty passages in the second Passacaglia Grave movement were unexpected and refreshing.

The concert was played without an interval break and this worked well, ensuring that the mood created by these works was not lost.  This was an afternoon of great music from the period, well-chosen and played.

 

Photos by Peter Hislop.

 

This review was first published by Canberra CityNews digital edition on 13 November.

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

THE MAGIC OF MUSIC - EPISODE 8 (RADIO)

 

I’m presenting the next in the series of ‘The Magic of Music’ on Artsound FM on Saturday at 4pm.

Artsound’s music guru, Bert Whelan, has a formidable knowledge of music, ranging from the classics to light orchestral to the American Songbook and Broadway, as well as film music and popular 20th century songs.  In this series, I’m playing a vast range of Bert’s personal favourites.  Many you’ll know but I’m sure there’ll be new discoveries for you as well.

In this program you’ll hear, amongst others, ‘The Invitation Waltz’ by Richard Addinsell, Gershwin’s ‘Rhapsody In Blue’ and ‘If Ever I Would Leave You’ from the musical, ‘Camelot’.

Join me, Len Power, Saturdays on Artsound FM at 4pm for ‘The Magic of Music’ or listen here now:

https://www.mixcloud.com/artsoundfm/playlists/the-magic-of-music/