HOTEL SORRENTO

 

Written by Hannie Rayson

Directed by Alexandra Pelvin

Canberra REP to May 14

 

Reviewed by Len Power 29 April 2022

 

Now considered an Australian classic, Hannie Rayson’s ‘Hotel Sorrento’ was first performed in Melbourne in 1990.  It is studied in schools and universities and was filmed in 1995.

The play focuses on three sisters who grew up in the quiet seaside resort of Sorrento, Victoria.  Hilary has stayed home to care for their elderly father and her son while Pippa has been living in New York and Meg has moved to London.  A new book written by Meg has been short-listed for the Booker Prize.  The autobiographical elements of the story create friction amongst the sisters when they are reunited in Sorrento, setting off wider issues of loyalty, rivalry, national identity and culture.

Rayson’s play presents a challenge for both director and production designer with its cinematic structure of numerous small scenes played in several locations.  In addition, the first half of the play takes its time slowly building on character and relationships.  A previous touring production was unable to solve these aspects satisfactorily.

This new Canberra REP production has overcome the play’s problems with a well-designed and functional set by Michael Sparks and fine in-depth direction of a highly capable cast by Alexandra Pelvin.

Victoria Tyrrell Dixon gives a beautiful performance as the sister, Hilary, a quietly capable woman whose family is her priority.  As Pippa, the sister recently returned from New York, Jess Waterhouse gives a sharply etched performance of a woman of strength and drive.  The third sister and author, Meg, is well-played by Rachel Howard, clearly showing the character’s doubts and frustrations in her relationship with her sisters and her British husband as well as unresolved issues from her past.  All three performers are subtly convincing as sisters.

The rest of the cast, Elaine Noon, Ryan Erlandsen, Saban Lloyd Berrell, Peter Holland and Nick Dyball all give truthful, in-depth performances of recognizable characters.

Michael Sparks’ set design makes excellent use of the wide and deep Canberra REP stage, solving the problem of the cinematic structure of the play’s multiple short scenes.  The separate acting areas are colourfully evocative of their locations and the excellent lighting and sound designs add considerably to the atmosphere.  The director has ensured the transitions between scenes are smooth and not distracting.

It was great to see a fine production of a play I had not thought highly of in the past.  I could now see why the play is considered an Australian classic.  This well-staged production succeeds in all aspects, resulting in an enjoyable and thought-provoking night in the theatre.

 

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

 

THE BROADWAY MUSICALS YEARBOOK 2006

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 1 May and repeated at 11pm on Monday 2 May.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 2006

In 2006, a number of popular movies became stage musicals.  They included ‘High Fidelity’, ‘The Wedding Singer’ and ‘Mary Poppins’.  The big exception was ‘The Drowsy Chaperone’, a modern satiric look at Broadway musicals of an earlier era.

You’ll hear songs from these shows and others including ‘It’s Your Wedding Day’ (from ‘The Wedding Singer’), ‘Show Off’ (‘The Drowsy Chaperone’), ‘Feed The Birds’ (‘Mary Poppins’), ‘Nine Percent Chance’ (‘High Fidelity’).

Performers include Sutton Foster, Bob Martin, Laura Michele Kelly, Christine Ebersole, Stephen Lynch and Lauren Pritchard.

 

Listen Now: https://artsound.fm/shows/the-broadway-musicals-yearbook/

 

 

PRISCILLA QUEEN OF THE DESERT: THE MUSICAL

 

Written by Stephen Elliott and Allan Scott

Directed by Jarrad West

Free Rain Theatre

The Q Theatre, Queanbeyan to 22 May

 

Reviewed by Len Power 28 April 2022

 

A surprise movie hit in 1994, ‘The Adventures Of Priscilla, Queen Of the Desert’ became a successful jukebox Australian and international stage musical in 2006.

Two drag queens and a trans woman travel from Sydney in a bus to Alice Springs where they are contracted to perform in a drag show at a resort.  Along the way, they encounter prejudice from various colourful Australian characters but also gain a deeper understanding of themselves and their place in the world.

Jarrod West gives a heart-felt performance as Bernadette, especially in the character’s serious moments.  Joe Dinn as drag queen Tick (or Mitzi), brings a lot of depth to his role and is a fine singer.  Garrett Kelly as the other drag queen, Adam (or Felicia), convinces as a bitchy, irresponsible but ultimately caring young man still learning about himself.

Joe Dinn (Tick/Mitzi), Jarrod West (Bernadette) and Garrett Kelly (Adam/Felicia)

The three Divas, Janie Lawson, Hannah Lance and Chelsea Haney are all great singers and have a lot of fun with their Greek chorus-type roles.

Pat Gallagher as Bob, the mechanic who helps the ‘girls’ when their bus breaks down and then forms a growing attachment to Bernadette, gives a perfectly judged laconic performance of great depth.  On opening night, young Zavier Martin was very believable as Tick’s son, Benji.  His duet with his father late in the show was one of the highlights.

Amongst other highlights, Dave Collins brings confidence and sass to club drag queen, Miss Understanding, Jessica Marshall is hysterically funny as the ping pong ball popping Filipino, Cynthia and Don Christopher delights as Jimmy, the worldly Aboriginal man pandering to tourists.  Steph Maclaine as the opera soloist sings a fine Sempre Libra.  The rest of the enthusiastic and energetic cast are clearly having a great time.

Musical director, Alexander Unikowski has done excellent work with the music. Michelle Heine’s choreography suits the skill levels of the performers and lighting and sound designs give the show the right ambience.

Costume designer, Fiona Leech has done an amazing job with dozens of quirky costumes, many of them seen only fleetingly.  The set design by R James Entertainment was problematic.  While the bus worked fine, the stairs and the bridge took up a lot of stage space and seemed under-utilized for such a large set piece.

The musical is, unfortunately, starting to show its age.  It’s close to 30 years since the movie was written and there is now a greater understanding and acceptance of members of the LGBTQ+ community.  Many attitudes displayed by characters in the musical now seem, thankfully, rather dated.

Nevertheless, director, Jarrad West and his cast and crew have given us a rollicking night of tuneful, colourful and wicked fun in the theatre.

 

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

 

SIX THE MUSICAL

 

Book, Music and Lyrics by Toby Marlow and Lucy Moss

Directed by Lucy Moss & Jamie Armitage

Australian Associate Director: Sharon Millerchip

Originally Produced by Kenny Wax, Wendy & Andy Barnes, and George Stiles

Produced in Australia by Louise Withers, Michael Coppel and Linda Bewick

Canberra Theatre, Canberra Theatre Centre to 15 May

 

Reviewed by Len Power 27 April 2022

 

It’s a good thing when a show that’s been given so much pre-season hype actually delivers what it promised.  Six, the musical, is a bright, sassy, colourful show with good singing, a powerful production design and attractive, skilful performers.

This is not a serious history lesson.  The stories of the six wives of England’s King Henry The Eighth are given a very modern, light-hearted treatment.  You can see the influence of Broadway’s ‘Hamilton’ and Baz Luhrman movies like ‘Moulin Rouge’ on the show.

In a rock concert format, the performers sing and talk directly to the audience with witty asides to each other.  You can’t always hear the lyrics clearly and there’s an awkward attempt at an empowerment message at the end, but it doesn’t matter.  It’s the overall effect that entertains here.

The six performers quickly endear themselves to the audience and look like they’re having the best time up there on stage.  That feeling spills over into the audience who were quickly rocking along rapturously with the cast.

Cast of 'Six'

The performers are a great playing ensemble and each of them are extraordinary singers.  They also have complex choreography to perform while singing and they never miss a beat of it.  They make it all look spontaneous and easy.

The colourful set design of Emma Bailey and the highly complex lighting design by Tim Deiling work together to create a sense of the period but in a modern, abstract way with all the elements you’d expect in a high-energy rock concert.

The musicians are onstage behind the cast and play the rock score very well.  There was nothing particularly distinctive about the music but it served the production well.  The high volume sound design by Paul Gatehouse adds another pleasing dimension and was well-balanced between the singers and musicians.

The costumes worn by the cast were delightfully witty and attractive.  With a nod to the 16^th century period of the story, the space-age clothes complemented the individual performers and their characters in a modern sense as well.

The whole producing team have done excellent work, delivering a show calculated to meet a modern audience’s expectations.  It’s great fun!

Photo by James D. Morgan

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

THE BROADWAY MUSICALS YEARBOOK 1943

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 24 April and repeated at 11pm on Monday 25 April.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1943

In 1943, Mary Martin became an established Broadway star with Kurt Weill’s ‘One Touch Of Venus’.  Oscar Hammerstein produced and wrote the lyrics for ‘Carmen Jones’, a modern black version of the opera ‘Carmen’ and Cole Porter had a big hit with ‘Something For The Boys’.  The biggest hit of the year was ‘Oklahoma!’ which influenced the direction of Broadway shows well into the future.

You’ll hear songs from these shows and others including ‘Speak Low’ (‘from ‘One Touch of Venus’), ‘Dat’s Love’ (‘Carmen Jones’), ‘The Leader Of A Big Time Band’ (‘Something For The Boys’) and ‘The Surrey with the Fringe On Top’ (‘Oklahoma!’).

Performers include Mary Martin, Celeste Holm, Alfred Drake, Muriel Smith, Kim Criswell, Andre de Shields and Vivienne Segal. 

Listen Now: https://artsound.fm/shows/the-broadway-musicals-yearbook/

 

 

ANASTASIA KRUPNIK

 

Ruby Pardy as Anastasia

Adapted by Meryl Friedman

Directed by James Scott

Honest Puck Theatre production

Perform Australia Theatre, Fyshwick to 23 April

 

Reviewed by Len Power 20 April 2022

 

“Anastasia Krupnik” was the first in a series of books by American writer, Lois Lowry.  She is known for writing about difficult subject matters and complex themes in works for young audiences.

Adapted from the book by Meryl Friedman, the play is a window into the world of a normal ten year old girl struggling with confused feelings about her mother having a baby.  She lets off steam by making lists of things she loves and things she hates.  Those lists are constantly changing.  Her current hate list includes ‘babies’ and, when told by her parents that she can name the expected baby boy, tension is created with the audience wondering what name she will come up with.

Director, James Scott, has given the play a production that is notable for its attention to detail.  The nicely designed home setting of three rooms gives lots of clues about the family who live there.  Colours and props have been well-chosen.

The depth of characterizations of every member of the cast is impressive and the American accents are well-maintained.

Taylor Palinga, who replaced the actor listed in the program at the performance I attended, played both the school teacher and grandma with great believability, both physically and vocally.

Young Hester McDonald showed great understanding of her character as Anastasia’s best friend, Jennifer, making her very real.  As Anastasia’s mother, there was a good performance by Monica Engel playing a woman under stress late in her pregnancy but still able to show patience and love to her family.

James Scott gave a subtle and warm performance as Anastasia’s father.  His love for his daughter was keenly displayed.  He was also very funny in a totally different role early in the play as a nervous schoolboy reading a poem.

The star of the show is young Ruby Pardy as Anastasia.  She shows every facet of this ten year old girl with great skill.  The actress is showing a real talent here with her delightful and disciplined performance.

“Anastasia Krupnik” will resonate with children around the same age as the title character, making it a perfect school holiday attraction.  With the real life issues presented in the story, there’s plenty for adults to enjoy and think about, too.

 

This review was first published in the Canberra CityNews digital edition of 21 April.

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

 

FOUR WINDS FESTIVAL, BERMAGUI 2022 (EVENING)

 

Creative Director Lindy Hume

Windsong Pavilion, Barragga Bay near Bermagui, April 15–17

Reviewed by Len Power

 

Driving to Four Winds’ natural bushland site south of Bermagui at Barragga Bay at night is an immediate atmospheric experience as majestic spotlit ghost gums loom up as you reach Four Winds’ amazing festival site.

On the balmy evenings of the festival, three programs were presented in the Windsong Pavilion situated in the bush amongst the gum trees.  Bush creature sounds surround you in the dark as you relax with a drink outside before each concert. On the final evening, a full moon rising above the trees added to the wow factor.

On Friday evening, the dreaded spectre of Covid caused a late program change.  William Barton, Véronique Serret and Tamara-Anna Cislowska came to the rescue by presenting Barton’s atmospheric work “Heartland” under the title of “An Evening With…”

Playing the guitar as well as the didgeridoo and vocalising, William Barton commanded the stage with his skill and talent.  The hugely talented Véronique Serret played violin and vocalised as well.  Tamara-Anna Cislowska played the extraordinary piano accompaniment.

The result was a fabulous combination of instruments, electronic looping and voice, of ancient sounds and classical and modern western music building a totally unique experience filled with emotion and a sense of land, time and space.

In complete contrast, the following evening was owned by Mikelangelo and the Black Sea Gentlemen who performed their iconic 2005 album “Journey Through The Land Of Shadows”.

Mikelangelo and the Black Sea Gentlemen

Suave, but with a hint of delicious danger, vocalist Mikelangelo, led a raffish but seductive group of odd, other-worldly characters playing clarinet, violin, double bass and piano accordion.

They presented a highly-imaginative, jumbled, high-energy cabaret featuring gypsy music, klezmer, a suggestion of old European circus and hints of 1920s Berlin - or maybe it was all just a weird dream?  Whatever it was, it added up to a hugely enjoyable theatrical and musical entertainment.

On Sunday night, Pinchgut Opera presented “The Spiritual Opera”.  It was drawn from Monteverdi’s “Selva Morale e Spirituale”, an anthology from 1641of liturgical works composed during his career in Venice.

Originally planned to be presented in the amphitheatre, night-time images captured by a drone of the trees and bush around the area were projected onto the walls and ceiling of the Windsong Pavilion, creating a beautiful, moving cathedral-like atmosphere.

The haunting music was sung and played to perfection by the singers and the orchestra.  The audience gave them a much-deserved standing ovation at the end, bringing this year’s Four Winds Festival to a satisfying and memorable close.

 

Photos by Len Power

 

This review was first published in the Canberra CityNews digital edition of 18 April.

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

 

FOUR WINDS FESTIVAL, BERMAGUI 2022 (DAYTIME)

Djinama Yilaga Choir

 

Creative Director Lindy Hume

Cobargo Showground Pavilion, Cobargo April 15–17

Reviewed by LEN POWER

 

To attend Bermagui’s Four Winds Festival at Easter is to be immersed in a wide range of music and performance in beautiful countryside and a natural bush forest setting that is quite unique.

From its first concert in 1991, the reputation of the festival has grown annually, attracting a wide range of top music performers and appreciative audiences.  Creative Director for this year’s festival, Lindy Hume, stated that the theme of Common Ground invites us to celebrate through the sharing of art and music what connects us as humans, rather than what separates us.  The program certainly reflected that with its emphasis on nature, humanity and community.

The daytime events scheduled to be held at Four Winds beautiful bush setting amphitheatre south of Bermagui at Barragga Bay had to be moved to the Cobargo Showgrounds Pavilion, due to unprecedented recent rainfall making the amphitheatre too soggy to use.  The new venue, surrounded by picturesque rolling farmland, was happily embraced by the understanding audiences.

The weather was superb for all three days and Creative Director, Lindy Hume, dubbed the showgrounds pavilion, “The Cobargo Opera House” to everyone’s delight.  The bets were on that the name would stick!

“Songs From Yuin Country” was a perfect start for the festival – a joyous celebration of Common Ground by the Djinama Yilaga Choir and musicians from the nearby town of Candelo.  The music, dance and storytelling from Yuin Country in Dhurga language were full of warmth and a reaching out that was palpable.

Andrew O'Connor as Polyphemus, the giant, in 'Acis and Galatea'

Handel’s opera, “Acis and Galatea” with its pastoral setting involving the love of a shepherd and a nymph was the perfect choice for this country location.  Presented with a deft, light touch by Pinchgut Opera, it was a delight from start to finish with sublime singing by the principals and chorus and the playing by the Orchestra of the Antipodes.

By the end of the three day program, the mind was reeling from so many highlights.  There was the delightfully quirky string quartet by Australia’s Alice Chance, entitled “Sundried”, played with relish by the Acacia Quartet.  Four players on tuned Bongo drums presented Steve Reich’s mesmerising work, “Drumming’ and there was the unique gypsy showmanship of Mikelangelo and the Black Sea Gentlemen with “The Devil’s Wedding”.

Pianist, Tamara-Anna Cislowska, and Rainer Jozeps presented an extraordinary program of music to meditate to and “Chiaroscuro” was a cornucopia of mood music, both fearful and optimistic, with various artists.  Pēteris Vasks’ “Lonely Angel”, with solo violinist Véronique Serret, was especially memorable with its heart-felt delicacy and the audience responded wildly to the furious piano-playing by Tamara-Anna Cislowska of Górecki’s popular Piano Concerto, Op. 40.

The festival finale of the daytime program featured percussionist, Claire Edwardes, William Barton on didgeridoo, Véronique Serret on violin and soprano, Chloe Lankshear, with “Prayer and Blessing” by Tan Dun, created in response to Covid 19.

It was a highly satisfying and enjoyable daytime program but there were more delights to come in the evenings at Four Winds’ Windsong Pavilion at Barragga Bay.

Photos by Len Power

This review was first published in the Canberra CityNews digital edition of 18 April.

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

THE BROADWAY MUSICALS YEARBOOK 1994

 

THE BROADWAY MUSICALS YEARBOOK 1994

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 17 April and repeated at 11pm on Monday 18 April.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1994

Two musicals with staying power opened on Broadway in 1994 - Andrew Lloyd Webber’s ‘Sunset Blvd’ and Disney’s ‘Beauty And The Beast’.  Stephen Sondheim’s ‘Passion’ was an artistic success but lightning did not strike twice with ‘The Best Little Whorehouse Goes Public’, a sequel to the immensely popular 1978 show, ‘The Best Little Whorehouse In Texas’.

You’ll hear songs from these shows and others including ‘Be Our Guest’ (from ‘Beauty And The Beast’), ‘Happiness’ (‘Passion’), ‘With One Look’ (‘Sunset Blvd’) and ‘I’m Leavin’ Texas’ (‘The Best Little Whorehouse Goes Public’).

Performers include Patti Lupone, Donna Murphy, Dee Hoty, Gary Beach and Marin Mazzie.

 

Listen Now: https://artsound.fm/shows/the-broadway-musicals-yearbook/

 

THE BOYS

 

Written by Gordon Graham

Directed by Amy Kowalczuk

Presented by Alchemy Artistic

in association with

Shadow House PITS and Sophie Benassi

ACT HUB Theatre, Kingston to 16 April

 

Reviewed by Len Power 13 April 2022

 

First performed in 1994, Gordon Graham’s ‘The Boys’ is a searing dissection of one family and one particular case of gender violence but it’s clear from constant news headlines that this kind of violence is continuing in our society.  The play, unfortunately, feels like it was written yesterday, not 25 years ago.

Returning from prison to his mother’s house in Sydney’s Western Suburbs, Brett Sprague brings anger and suspicion with him.  The love-hate relationship with his two brothers and his ingrained negative attitude to females ultimately leads to an incident of appalling violence by him and his brothers towards a young woman.

Played in the round at ACT HUB, the director, Amy Kowalczuk, has given the play a visceral, confronting production that is almost overwhelming at times.  She has obtained strong performances from her cast whose vivid characterizations bring these recognizable people to life.

Alex Hoskison (Brett) and Cole Hilder (Glenn)

Alex Hoskison plays Brett Sprague as a forceful, intimidating and prowling animal constantly ready to use violence to dominate and get his way.  It’s a skilful and very believable performance.

Liz St Clair Long as Sandra Sprague, the mother of the boys, beautifully captures the spirit of a woman unable to see her ‘boys’ as the problem adults they’ve become.  There’s great subtlety in her work, building a memorable character of a deluded and pathetic woman seriously out of her depth.

Meaghan Stewart (Michelle), Liz St Clair Long (Sandra) and Indy Scarletti (Jackie)

Cole Hilder, as Glenn, the brother who tries but is not strong enough to escape his family ties, and Blue Hyslop as Stevie, a younger brother showing signs of the same rage as his brother Brett, also give fine performances as two seriously damaged men.

Meaghan Stewart gives her character of Brett’s girlfriend, Michelle, a strength riddled with doubts.  She has produced a very recognizable character. There is also fine work from Caitlin Baker as Nola and Indy Scarletti as Jackie, the other two girlfriends.

The physicality of the production is impressive.  Movement director, Michelle Norris, has done good work here, adding strong realism where necessary.

This is a fine production of a play about a difficult subject.  If it seems too confronting, then it has done its job.  Gender violence in this country has to stop.

 

Photos by Mark Actually (Mark Kowalczuk)

 

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/.

 

MELODIES IN AUTUMN

 

Maruki Community Orchestra

Conducted by John Gould

Violin Soloist: Georgina Chan

Albert Hall 10 April

 

Reviewed by Len Power

 

“Melodies In Autumn”, a selection of works from the romantic period by Weber, Tchaikovsky, Saint-Saёns and Brahms, was a perfect way to spend the afternoon as the autumn sun streamed in through the windows of the Albert Hall.

Taking on an ambitious program of classical works does not faze the Maruki Community Orchestra, under the baton of conductor, John Gould.  Their hard work in rehearsal paid off and you could see how much they were enjoying it, too.

The program commenced with Carl Maria von Weber’s “Oberon” Overture, composed for the opera of the same name in 1825.  The orchestra played it with plenty of colour and with a good depth in the sound.  There was especially fine playing by the strings.

Tchaikovsky’s “Romeo and Juliet” (Fantasy Overture) has beautiful melodies but also undercurrents of tension that give it a darker tone.  The orchestra captured that tension very well and the playing of the love theme by the flutes was effective.

The next item was Camille Saint-Saёns’ Violin Concerto No. 3 in B Minor, Opus 61.  Noted Canberra violin soloist, Georgina Chan, gave a fine performance of this work with the orchestra.  She played with confidence and sensitivity.

The conductor, John Gould, had been her first violin teacher and his pride in conducting her in this work was clearly evident.  The orchestra gave her fine support, playing very well throughout.

The final work presented was Brahms’ Symphony No. 2 in D Major, Opus 73.  Of the four movements, the highlights were the second movement that was played with just the right level of emotion and also the final movement, which was given a spirited performance.

The Maruki Community Orchestra is devoted to all musicians in the Canberra region - regardless of age, experience and skill level - who have strong interests in playing classical musical instruments in an orchestra environment and who wish to develop their skills and express their musicality.

The conductor, John Gould, advised us that the orchestra was still in need of additional performers.  On the strength of today’s performance, it would be a good training ground for anyone wishing to develop their music skills.

 

This review was first published in the Canberra CityNews digital edition of 11 April.

 

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

 

PERSONS OF INTEREST

 

Christina Wilson, mezzo-soprano

Alan Hicks, piano

Art Song Canberra

Wesley Music Centre 3 April

 

Reviewed by Len Power

 

In Art Song Canberra’s latest concert, “Persons of Interest”, mezzo-soprano Christina Wilson and pianist Alan Hicks took us on a journey back through time.  Many art songs have been written about figures real and imaginary, from myth and legend and from history and literature and the concert focussed on a number of these.

Characters such as Orpheus, King David, Desdemona, Mignon and many others have been inspirational to composers over the centuries including Franz Schubert, Joseph Haydn, Edward Elgar, Arthur Sullivan, Ralph Vaughan Williams, Richard Rodney Bennett and others.

“Orpheus With His Lute” by Arthur Sullivan, set to the text by William Shakespeare from his play, “Henry The Eighth”, was the first item in the program.  Christina Wilson sang it with great sensitivity, the warmth of her rich mezzo-soprano voice and her clear diction took the audience deep into the sweeping imagery of the song.

Christina Wilson

As the concert progressed, Wilson sang other musical settings of the same Orpheus text by composers such as Ralph Vaughan Williams and Ivor Gurney.  It was fascinating to compare the approach to this text by these very different composers.

There were sets of songs by Franz Schubert including three Mignon songs, “A Garland For Marjory Fleming” by Richard Rodney Bennett to a text written by an eight year old girl, “The Shepherd” by Nigel Butterley to words by William Blake, songs for texts by William Shakespeare and others.

Alan Hicks and Christina Wilson

It’s very difficult to come up with highlights at a Christina Wilson concert as she sings everything with such skill and beauty.  In addition, she has the dramatic ability to create the characters she is singing, adding an extra dimension to the songs.  She and Alan Hicks work so well together, the results are simply sublime.

There was, though, one song that really stood out from the others because it was sung unaccompanied by Wilson.  It was “The Singer”, composed by Michael Head to a text by Bronnie Taylor.  This haunting song was a magnificent showcase for the purity of Wilson’s voice and the skill of her vocal technique.

Once again, Christina Wilson and Alan Hicks produced a concert of great quality that was highly entertaining.  The near capacity audience’s appreciation of their work was evident by the enthusiastic applause at the end of the show.

 

Photos by Peter Hislop

 

This review was first published in the Canberra CityNews digital edition of 4 April.

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

 

MAGIC AND THE MASTERS

 

Canberra Youth Orchestra

& James McCusker Orchestra

Albert Hall 2 April.

Reviewed by Len Power

 

It might have been a dreary wet afternoon in Canberra but it certainly did not dampen the spirits of the Canberra Youth Orchestra and the James McCusker Orchestra who gave a spirited concert in the Albert Hall to a capacity audience.

The James McCusker Orchestra, conducted by Liam Meany, presented a program of three works by Verdi, Handel and Beethoven.

James McCusker Orchestra Conductor: Liam Meany

The orchestra played the haunting opening of the Prelude from Verdi’s “La Traviata” well, giving the right amount of feeling to this well-known work.  They followed this with two movements, Allegro and Hornpipe, from Handel’s “Water Music”.  Their playing of these pieces was nicely atmospheric.

James McCusker Orchestra

Their final offering, the fourth movement of Beethoven’s “Symphony No. 5”, is a challenging work for any orchestra and the performers gave it a robust and colourful performance.  The brass section of the orchestra struggled at times but overall these young musicians can feel proud of their achievement.

The Canberra Youth Orchestra followed with a program of four works including two by contemporary Australian composers.

Canberra Youth Orchestra Conductor: Louis Sharpe

Conducted by Louis Sharpe, the orchestra commenced with the “Unfinished Symphony No. 8” by Franz Schubert.  Both movements were played well but there were some wobbly moments from the brass section.

The second work, “Ancient Forests Once Stood Here”, by Australian composer, Sarah Hopkins, was nicely played.  This highly atmospheric work has an unexpected and electrifying opening with its creation of forest sounds and the orchestra performed the work with a pleasing epic quality.

Canberra Youth Orchestra

It was followed by another Australian work, “Rock Hopping” by Maria Grenfell.  This reflective work was given a sensitive performance by the orchestra bringing out the beauty of the melodies in their playing.

The final item was Mozart’s Overture to the opera, “The Magic Flute”.  The orchestra captured the tension and colours in the music quite well.

Under the banner of Music For Canberra, The Canberra Youth Orchestra (CYO) is the premier youth symphony orchestra in the ACT and wider region.  The James McCusker Orchestra (JMO) is Music For Canberra’s second or training orchestra in the performance pathway, sitting just prior to the Canberra Youth Orchestra.  It enables young players to gain exposure to the fundamentals of orchestral ensemble playing, as they develop their musical skills.  JMO musicians typically progress to the CYO as they develop musically.

 

Photos by Peter Hislop

 

This review was first published in the Canberra CityNews digital edition of 3 April.

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

THE BROADWAY MUSICALS YEARBOOK 1959

 

THE BROADWAY MUSICALS YEARBOOK 1959

 “The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 10 April and repeated at 11pm on Monday 11 April.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1959

In 1959, ‘The Sound Of Music’ and ‘Fiorello’ tied for Best Musical in the Tony Awards.  It was also the year of the legendary, ‘Gypsy’ with Ethel Merman.  Carol Burnett made her Broadway debut in ‘Once Upon A Mattress’ and Gwen Verdon wowed audiences with her dancing in ‘Redhead’.

You’ll hear songs from these shows and others including ‘Everything’s Coming Up Roses’ (from ‘Gypsy’), ‘The Sound Of Music’ (‘The Sound of Music’), ‘The Swamps of Home’ (‘Once Upon A Mattress’), ‘Uncle Sam Rag’ (‘Redhead’) and ‘The Name’s La Guardia’ (‘Fiorello!’).

Performers include Carol Burnett, Howard Keel, Mary Martin, Tom Bosley, Ethel Merman, Farley Granger and Gwen Verdon.

 

Listen Now: https://artsound.fm/shows/the-broadway-musicals-yearbook/

 

HAMLET

 

Written by William Shakespeare

Directed by Peter Evans

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 16 April.

 

Reviewed by Len Power 8 April 2022

 

It’s no wonder that Shakespeare’s ‘Hamlet’ resonates with audiences.  For a start, it’s a good action-packed thriller with a great ending.  No matter how it’s produced and acted, there’s always something interesting and debatable about it.

Questions always arise about the characters, their thoughts and the actions they take.  Hamlet’s soliloquies speak directly to us, unlocking our own memories of life’s experiences and the good and bad decisions we have made, especially with regard to family.

In relation to theatre, different approaches by directors and actors reveal new mysteries in the text, often taking our thoughts in a different direction than before.  The through story of the play may be the same, but our experience of it can change every time we see it.

Peter Evans’ production is set in the snowy winter of Denmark in the 1960s.  Anna Tregloan’s set design has a major influence over the action that unfolds.  On the surface it looks beautiful but there’s an icy gloom in the snow-covered trees, the grey skies of the background and the cold simplicity of the Scandinavian furniture.  Hamlet’s signs of depression over his father’s death and mother’s re-marriage are not surprising in that atmosphere.

Hamlet is played by a woman in this production.  Harriet Gordon-Anderson portrays a young male Hamlet with complete believability.  While there is a flinty masculinity on the surface in Hamlet’s physical demeanour, she plays him with a finely considered sensitivity, clearly showing the turmoil of his thoughts under the surface.  Through the superbly delivered soliloquies, she displays the very real danger in the depression that is steering the character towards tragedy.  It’s unsettling and we wish the other characters could see what we know already.

There is excellent work by the other actors in the cast.  Lucy Bell is an especially fine Gertrude, Hamlet’s mother.  She’s like a butterfly in a cage, striving to escape and get back to normal.  Ray Chong Nee cleverly gives Claudius, Hamlet’s new step-father, an abrasiveness under a friendly, easy-going personality.  Whether or not it’s true, it’s easy to believe that Hamlet may be right about his step-father’s involvement in the death of his father.

Rose Riley is touching in a very natural performance as Ophelia, a charming young woman tipped over into madness.  Robert Menzies as Polonius, Jack Crumlin as Laertes and Jacob Warner as Horatio all give finely nuanced performances.  James Evans shines with sharply etched portrayals in three roles as the Ghost, the Player King and Gravedigger.  Jeremi Campese, Eleni Cassimatis and Jane Mahady are also very strong in multiple roles.

This production of ‘Hamlet’ just works on all levels and it’s not to be missed.

 

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/.

 

 

 

MOZART CONCERTO GALA - CANBERRA SINFONIA (MUSIC REVIEW)

 

Lucy Macourt, Violin

Alison Mountain, Flute

Rowan Phemister, Harp

Wesley Uniting Church, Forrest  2 April

 

Reviewed by Len Power

 

For their first concert for 2022, Canberra Sinfonia presented two of Wolfgang Mozart’s lesser played concerti, the Violin Concerto No. 4 in D major, K. 218 and the Concerto for Flute, Harp, and Orchestra in C major, K. 299.  Both pieces were unconducted and led by their respective soloists.

The Violin Concerto No. 4 was composed in 1775.  In three movements, the Allegro first movement has a distinctive military-sounding opening that continues into a sparkling piece of great beauty.  The second movement is memorably melodic and the rousing third movement is charming.

Led by violinist, Lucy Macourt, the ensemble gave this work a really fine performance.  Macourt played with great sensitivity, especially in the second movement, highlighting the melodies very well.  The ensemble gave the final movement a performance full of energy and feeling that was very enjoyable.

Lucy Macourt

The second work, composed in Paris by Mozart in three movements in 1778, the Concerto for Flute, Harp, and Orchestra, was Mozart’s only piece for the harp.  The ensemble was led by Alison Mountain on flute and Rowan Phemister on the harp.

Alison Mountain (flute), Rowan Phemister (harp) and the ensemble

The performance of this very appealing work was a pure joy to listen to from start to finish.  Both Mountain and Phemister gave top class performances, bringing out the depth and colour of the music superbly.  The joy of playing this work was readily apparent in both artists and the rest of the ensemble and that feeling was transferred to the audience.  You felt you were witnessing something truly special.

This Mozart Concerto Gala was aptly named.  It was an especially fine concert of sublime music and performances by all involved.

Photos by Peter Hislop 

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

MOTHER & SON (THEATRE REVIEW)

Written by Geoffrey Atherden

Directed by Aarne Neeme

Jally Entertainment

The Q Theatre Queanbeyan to 3 April

 

Reviewed by Len Power 29 March 2022

 

Mother and Son, the fondly remembered Australian television sitcom was compelling viewing for many Australians (myself included) for 10 years until the series ended in 1994.

The show, written by Geoffrey Atherden, daringly addressed the problems of ageing and caring for somebody with increasing memory loss while playing essentially as a comedy.  It was a gamble for its time but it worked.

This stage version of the TV show was also written by Atherden and was first performed in 2014.  All of the original main characters appear in the play and the script is an original, not a rehash of best moments from the TV series.

In the play, long-suffering son, Arthur, is still living with his formidable ageing and forgetful mother.  Love has bloomed for Arthur with Anita, a girl he is hoping to marry.  The path to the altar proves to be a very windy one as his mother and his selfish dentist brother, Robert, make it difficult for Arthur to realize his dreams.

Julie McGregor (Maggie) and Christopher Truswell (Arthur)

The play itself is well-written but this production failed to ignite.  Julie McGregor seemed to be too young to play Maggie, the mother, and it was hard to warm to her interpretation of the character.  Maggie was more irritation than anything else.  None of the other actors gave engaging performances and comic timing was poor with laughs often lost.

The show overall lacked pace and energy.  At two hours plus interval it seemed much too long.  The voice-overs during scene changes were generally funnier than the onstage action and the set change involving a moving panel was clunky and noisier than it should have been.

There was no printed program either.  Prior to the start of the show a voice over advised that we could download it from a web address (if we could remember it).  Wow, thanks!

For a professional touring show, this really was not good enough.  It was noticeable that some audience members did not return after interval.  It was very tempting to follow their example.

 

This review was first published in the Canberra CityNews digital edition of 29 March.

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

THE TRIUMPH OF IMAGINATION - MUSICA DA CAMERA (MUSIC REVIEW)

Directed by Christopher Latham

Australian Centre for Christianity and Culture, Barton Sunday 26 March.

 

Reviewed by Len Power

 

In an ambitious program, Canberra orchestra, Musica Da Camera, director and violinist Christopher Latham, pianists Edward and Stephanie Neeman and saxophonist, Jamie Grech, provided a thought-provoking and moving concert of music written by and for World War Two prisoners of war.

Prisoner of war experiences were, of course, varied and the music chosen reflected that.  Erwin Schulhoff wrote his “Symphony No. 8” while interred in a concentration camp where he subsequently died.  Olivier Messaien’s “Quartet For The End Of Time” was written while he was a prisoner of the Nazis and Jewish internee, Boaz Bischofswerder, composed his “Phantasia Judaica” while being shipped to Australia on the ship, HMT Dunera.

“The Fall Of Singapore”, a new work by Australian composer, Cyrus Meurant, who was in the audience, was premiered and music by contemporary composers Paul Carr, Graeme Koehne and Ludovico Einaudi illustrated the various experiences of POWs during this war.  There was also music by Australian composer, FS Kelly, who lost his life in the Battle Of The Somme in 1916.

Christopher Latham and Musica Da Camera

The music was accompanied by well-chosen and informative projections that detailed the horrors of the conflict.  Especially shocking were the statistics of POWs killed in sinkings while being transported in Japanese prison ships.  Cesar Franck’s “A Tale Of Two Ships” from 1868 was used to great effect to underline these terrible incidents.

Particularly notable was the electrifying piano playing of the first movement of Erwin Schulhoff’s “Symphony No. 8” by Edward and Stephanie Neeman, which opened the concert.

Cyrus Meurant’s new work, “The Fall Of Singapore” was beautifully played by Jaime Greche on soprano saxophone and the Musica Da Camera orchestra.  They achieved an overwhelming sense of individual suffering in their playing of this sublime work that was very touching.

With Christopher Latham leading the orchestra on violin, Bischofswerder’s “Phantasia Judaica” was an especial highlight of the concert.  Its rich and emotional melodies were played superbly.  The sense of loss evoked in the skilful playing was intensely moving.

Christopher Latham provided the special arrangements for many of these works, creating a unified sense of the horror of POW experiences in the war as well as the triumph of the human spirit in adversity.

The final items, two movements of Messaien’s “Quartet For The End Of Time” and Einaudi’s “I Giorni” expressed the need for love and forgiveness and were an emotionally satisfying end to this memorable performance.

The concert was also a tantalising preview of the upcoming “Prisoners Of War Requiem” to be heard in October this year.

 

This review was first published in the Canberra CityNews digital edition of 27 March.

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

 

THE BROADWAY MUSICALS YEARBOOK 1981 (RADIO PROGRAM PROMO)

 

THE BROADWAY MUSICALS YEARBOOK 1981

 “The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 3 April and repeated at 11pm on Monday 4 April.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

 This week – the musicals of 1981

 1981’s ‘Sophisticated Ladies’, a Duke Ellington musical revue, was a big success, as was Michael Bennett’s ‘Dreamgirls’, about the rise of a black all-girl singing group.  Stephen Sondheim had a big flop with ‘Merrily We Roll Along’ and Lauren Bacall was the toast of Broadway in ‘Woman Of The Year’.

You’ll hear songs from these shows and others including ‘And I Am Telling You I’m Not Going’ (from ‘Dreamgirls’), ‘The Grass is Always Greener’ (‘Woman Of The Year’), ‘Hit Me With A Hot Note And Watch Me Bounce’ (‘Sophisticated Ladies’) and ‘Not A Day Goes By’ (‘Merrily We Roll Along’).

Performers include Lauren Bacall, Jennifer Holiday, Lonny Price, Chita Rivera, Donald O’Connor, Jim Walton, Gregory Hines, Ann Morrison and Marilyn Cooper.

 

Listen Now: https://artsound.fm/shows/the-broadway-musicals-yearbook/