THE BROADWAY MUSICALS YEARBOOK 1989

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 29 May and repeated at 11pm on Monday 30 May.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1989

Nostalgia was big on Broadway in 1989 with several shows in period settings such as ‘Grand Hotel’, ‘City Of Angels’ and ‘Meet Me In St. Louis’.  Broadway also looked back to the past with ‘Black And Blue’, a revue of music by black performers of the 20s and 30s, and ‘Jerome Robbins Broadway’, a salute to one of Broadway’s famous director/choreographers.

You’ll hear songs from these shows and others including ‘Mr Monotony’ (from ‘Jerome Robbins Broadway’), ‘I Want To Go To Hollywood’ (‘Grand Hotel’), ‘I’m Confessin’ That I Love You’ (‘Black And Blue’), ‘The Boy Next Door’ (‘Meet Me In St. Louis’) and ‘You Can Always Count On Me’ (‘City Of Angels’).

Performers include original Broadway cast members Debbie Gravitte, Jane Krakowski, Carrie Smith, Betty Garrett and Randy Graff.

 

TERRA FIRMA

 

QL2 Dance

Choreographers:

Melanie Lane,

Cadi McCarthy, and

Synergy Styles (Stephen and Lila Gow)

The Playhouse, Canberra Theatre Centre to 28 May.

 

Reviewed by Len Power 26 May 2022

 

The world is constantly changing and it’s hard to keep up with the demands it makes on us.  Work, relationships, environment, health - to name just a few - constantly surprise us and we all form our own unique views about it all.  QL2 Dance’s triple bill, ‘Terra Firma’, presents an exploration of the way we perceive this changing world from three perspectives.

The dancing ensemble is made up of 25 dancers aged 13 to 23.  The talent and skill of these dancers is breath-taking and in all three dances they have collaborated with their choreographers to produce the finished works.  The choreography in all three works is demanding but the dancers handle every challenge with discipline and accuracy while still allowing the love of dance to shine through in their performances.

The first work on the bill, ‘Metal Park’, was by Melanie Lane, a professional choreographer and performer based between Melbourne and Canberra.  Her work explored the relationship between body, objects and our built environment and how we have become a part of the material world we inhabit.

The work was notable for its overall visual beauty, the incisive changing patterns of the groups of dancers and the clever use of white poles to delineate spaces.  A middle section of lines of dancers moving with a common purpose was reminiscent of the down-trodden workers in Fritz Lang’s silent movie, ‘Metropolis’.  It was startlingly effective.

The second work, ‘Shifting Ground’, was by Cadi McCarthy, who has been actively engaged in dance as a professional dancer, choreographer, educator and director since 1996.  Her work looked at our emotional response to the changes that are happening in the world politically, environmentally and socially.

A moody work with a hint of threatening undercurrents, it was edgy and dark.  The use of lighting and music was especially effective in bringing out the meaning behind the work.  The sense of emotional loss at the conclusion of the work was achieved very well.

The final work, ‘Tides of Time’ was choreographed by Lilah Gow with Stephen Gow of Synergy Styles, who state that their focus is a holistic approach to movement and creating works.  Their use of film in this work, especially at the start was imaginative and highly effective.

The past, the present and the future and how we live and make decisions within this subconscious framework was the subject of their work.  There was a heightened sense of reality throughout this dreamlike, shadowy world which ultimately led to a sense of welcome optimism in spite of the difficulties we face.

Each of the works was given highly atmospheric lighting by Mark Dyson.  Composers, Adam Ventoura, Christopher Clark and Zackari Watt provided strongly dramatic music that reinforced the action onstage.

This was a fine evening of dance that displayed the superb talents of everyone involved.

 

Photos by Lorna Sim Photography

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/.

 

SCHUBERT UND SCHILLER

Koen Van Stade, tenor

Neal Peres Da Costa, fortepiano

Art Song Canberra

Wesley Music Centre, Forrest 22 May

 

Reviewed by Len Power

 

The evolution of musical instruments and singing techniques over the centuries is an interesting field for research.  It can be quite exciting to hear music played on early instruments and discover how vocal techniques have changed.

In their concert for Art Song Canberra, “Schubert and Schiller”, tenor Koen Van Stade and pianist, Neal Peres Da Costa, took the audience on a journey into the now unfamiliar world of 19^th century singing.

Neal Peres Da Costa played a fortepiano, a replica grand piano from Franz Schubert’s time of the early 19^th century.  It has a smaller keyboard compared to a modern piano and produces a distinctively softer, but very clear sound.

Koen Van Stade

Koen Van Stade sang a number of Schubert songs from the period.  He began with three “Wanderer” songs set to texts by different poets.  They were superbly sung with great vocal control and feeling and it was immediately noticeable that he was using some unfamiliar vocal techniques.

Between songs he explained the techniques he was using and their historical significance.  It added another dimension to this fascinating concert.

Audience members showed great interest in the fortepiano, inspecting it up close during the interval.  Noting the audience interest, Neal Peres Da Costa gave a talk about the fortepiano and demonstrated its differences to the modern piano.

Neal Peres Da Costa

He then gave a sublime performance of Schubert’s “Impromptu No. 3”, a work familiar to audiences and a good choice to show the different sound made by the fortepiano.

The main vocal part of the concert was the singing of two songs by Schubert set to epic poems by Friedrich von Schiller – “Die Bürgschaft” (The Pledge) and “Der Taucher” (The Diver).  Both Van Stade and Da Costa gave thrilling performances of these highly dramatic and complex works.

Peter Chandler, speaking to the audience for Art Sound Canberra, quipped that the works were “a bit more exciting than your average lieder”.  He was right and the whole concert was also an unexpected and very pleasing immersion into 19^th century music and singing.

This review was first published in the Canberra CityNews digital edition of 23 May.

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

THE BROADWAY MUSICALS YEARBOOK 2014

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 22 May and repeated at 11pm on Monday 23 May.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 2014

 2014 saw the music of Carol King on Broadway in ‘Beautiful: the Carol King Musical’.  Idina Menzel starred in ‘If/Then’, a multiple choice musical and there were also musicals based on the movies ‘Rocky’, ‘Bullets Over Broadway’ and ‘The Bridges Of Madison County’.  There was also the big hit ‘Aladdin’ from Disney and ‘The Last Ship’ which had a musical score by Sting.

You’ll hear songs from these shows and others including ‘A Whole New World’ (from ‘Aladdin’), ‘Falling Into You’ (‘The Bridges Of Madison County’), ‘You’ve Got A Friend’ (‘Beautiful: The Carol King Musical’) and ‘Always Starting Over’ (‘If/Then’).

Performers include Kelli O’Hara, Adam Jacobs, Idina Menzel, Stephen Pasquale, Marin Mazzie, Andy Karl, Jessie Mueller and Sutton Foster. 

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

 

 

BECOMING BEATRIX

Chloe Lankshear, soprano

Francis Greep, piano

The Song Company

Wesley Music Centre, Forrest 14 May

 

Reviewed by Len Power

 

Beatrix Potter was the author of ‘The Tale of Peter Rabbit’ and 22 other stories which are still popular with children over a hundred years later.  She was also an artist, conservationist and researcher and left over 4000 acres of land to the National Trust in Britain.  Her life story is a fascinating one and her achievements as a woman at the start of the 20^th century were considerable.

Soprano, Chloe Lankshear, and pianist, Francis Greep, have fashioned Potter’s story into an entertainment of songs linked by recorded excerpts of “Beatrix Potter: Artist, Storyteller and Countrywoman: by Judy Taylor as read by Patricia Routledge.  The chosen songs commented on particular times in Potter’s life.

The songs were by a wide range of composers including Sally Whitwell, Claude Debussy, Robert Schumann, Ross Edwards, Aaron Copland and others.

Dressed in period costume, Lankshear presented the songs with a few well-chosen props to set the scene.  As the recorded excerpts about Potter’s life played between the songs, she stayed in character, creating an impressive period atmosphere for the whole concert.

Francis Greep and Chloe Lankshear

The program began with two songs by Sally Whitwell to poems by Christina Rossetti.  Both “Skylark” and “Linnet” set the scene for Beatrix Potter’s love of nature. Chloe Lankshear’s beautiful, clear singing of these joyous songs was delightful.

This happy mood continued with three more atmospheric songs of nature. “Les Papillons” (The butterflies) by Claude Debussy was followed by “Le Rossignol des Lilas” (The nightingale in the lilac) by Reynaldo Hahn and “Er ist’s” (Spring is here!) by Hugo Wolf.  All were sung with skill and warmth and conveyed a sense of Potter’s deep love of nature.  Francis Greep’s playing of “Er ist’s” was especially notable.

The program continued with romantic songs underlining Potter’s engagement to Norman Warne and then turned darker to reflect the tragedy of Warne’s sudden death.  Two works by George Crumb, “Wind Elegy” and “Let it be forgotten” were sung with particular delicacy and great feeling.

The next work, “To A Child” from the poem by Judith Wright with music by Ross Edwards was also given a fine, reflective performance.

It was followed by the highlight of the program, “Warble for Lilac Time” from the poem by Walt Whitman with music by Elliott Carter.  This dramatic work was superbly sung, clearly showing Lankshear’s technical skills.  Francis Greep’s piano playing of this complex work was excellent.

This fine program of songs finished with an appropriately sensitive performance of “Nature, the gentlest mother” by Aaron Copland to the words of Emily Dickinson.

Photo by Eva Frey 

This review was first published in the Canberra CityNews digital edition of 15 May.

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

THE BROADWAY MUSICALS YEARBOOK 1930

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 15 May and repeated at 11pm on Monday 16 May.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1930

The shows of 1930 produced many song standards still popular with cabaret singers today.  There was the title song from ‘Strike Up The Band’ by the Gershwins as well as ‘I Got Rhythm’ and ‘Embraceable You’ from a second Gershwin show in that year, ‘Girl Crazy’.  Cole Porter’s show, ‘The New Yorkers’, produced the song, ‘Love For Sale’ and ‘Ten Cents A Dance’ by Rodgers And Hart was first heard in ‘Simple Simon’.

You’ll hear those songs from these shows as well as other well-known songs including ‘On The Sunny Side Of the Street’ (from ‘Lew Leslie’s International Revue’), ‘Memories Of You’ (‘Blackbirds Of 1930’), ‘Get Happy!’ (‘The Nine Fifteen Revue’) and ‘Body And Soul’ (‘Three’s A Crowd’).

Performers include Barbara Cook, Jason Graae, Ruth Etting, David Carroll, Libby Holman, Judy Garland, Michael Winther, Ethel Merman and Rosemary Clooney.

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

 

 

THREE TALL WOMEN

Written by Edward Albee

Directed by Sophie Benassi

Chaika Theatre production

ACT HUB Theatre, Kingston to 21 May

 

Reviewed by Len Power 11 May 2022

 

ACT HUB Theatre has made a big splash with their inaugural Chaika Theatre production of ‘Three Tall Women’, a play by one of America’s foremost playwrights, Edward Albee.

Most famous for his 1962 play, ‘Who’s Afraid Of Virginia Woolf?’, Albee continued to write plays but none equalled the critical success of that play until he wrote ‘Three Tall Women’ in 1991.  After a European premiere, the play opened off-Broadway in New York in 1994, receiving several major awards, including the Pulitzer Prize for Drama. It did not have a Broadway season until 2018.

Focusing on one woman, the play is a powerful look at life and ageing.  From the optimism, idealism and confidence of youth, through decisions, compromises, regrets and world-weary cynicism and anger, acceptance and a kind of peace is eventually reached.

Director, Sophie Benassi, has given the play a production that, despite its unusual structure, is dramatically clear and smoothly staged.  Her set and costume designs serve the play well and the lighting design by Stephen Still and sound design by Neville Pye add considerable atmosphere and colour.

This is a play that requires acting of a high calibre.  The three roles for women present considerable challenges for the actresses with its shifting moments in time and its own strange reality.

As Woman A, Karen Vickery dominates the first act with a strong but controlled performance of a bitter woman at the end of her long life who is struggling with health issues as well as anger at the world and those around her.  Woman B, the nurse, played by Lainie Hart and Woman C, a legal clerk, played by Natasha Vickery, give fine performances as well.

From left: Karen Vickery, Natasha Vickery, Lainie Hart

In the second act, as that same woman is presented as three parts of herself, young, middle-aged and older, all three actresses give extraordinary performances of great depth.  Natasha Vickery shows all facets of an idealistic and rather naïve young woman with no tolerance for the thought of ageing.  Lainie Hart deftly displays the anger and cynicism of a woman disappointed by much of her life so far.  Karen Vickery is the older, sophisticated woman displaying all the traits of her younger selves and able to laugh at aspects of her life while covering up elements of bitterness under the surface.

While the play itself is a fascinating and strong statement about ageing and how we live our lives, this production is a must see for the memorable performances of these fine local actresses.

 

Photo by Jane Duong

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

 

"FOUR-PART HARMONY"

 

Selby& Friends

Kathryn Selby, piano

Andrew Haveron, violin

Tobias Breider, viola

Miles Mullin-Chivers, cello

Llewellyn Hall 10 May

 

Reviewed by Len Power

 

For their latest tour, Selby & Friends performed works by Paul Stanhope, Gabriel Fauré and Antonin Dvořák.  She was joined on this tour by three artists, Andrew Haveron (violin), Tobias Breider (viola) and Miles Mullin-Chivers (cello).

The concert commenced with Australian, Paul Stanhope’s “My Song Is Love Unknown”.  Composed in 2000, this beautiful work, based on the 17th Century hymn by Samuel Crossman, was the perfect choice to open the concert.  The quartet gave it a fine performance, bringing out its reflective lyrical qualities as well as its underlying tensions.

The second item was Gabriel Fauré’s Piano Quartet No. 1 in C minor, Op. 15.  The work, in four movements was composed in 1879.  This was played superbly, especially the liveliness and intricacy of the second movement and the hint of sadness in the slow third movement.

After interval, the quartet played Antonin Dvořák’s Piano Quartet No. 2 in E flat major, Op. 87.  Composed in 1889, this melodic work was also given an excellent performance.  Cellist, Miles Mullin-Chivers, played with especially notable sensitivity in the second movement and the lively final movement was almost breathlessly exciting.  You could sense how much the quartet were enjoying playing it.

Another of the delights of a Selby & Friends concert is the introduction to the works by the artists.  Kathryn Selby, Andrew Haveron and Miles Mullin-Chivers gave very interesting, learned and polished information about the works we were about to hear.  It established an immediate rapport between performers and audience, making us feel an intimate part of the whole experience.

Pianist, Kathryn Selby is the Artistic Director of the nationally touring Selby & Friends which is now in its 16^th season.  She has won prizes in numerous national and international competitions and performed with many renowned Australian and international chamber ensembles and orchestras.

Violinist, Andrew Haveron, is Concertmaster of the Sydney Symphony Orchestra and has performed extensively overseas and nationally.  He was also first violinist with the Brodsky Quartet.

Violist, Tobias Breider, teaches at the Sydney Conservatorium and is a member of Ensemble Q in Brisbane.  Originally from Germany, he has played in Europe and the USA and Qatar.

Cellist, Miles Mullin-Chivers, has performed at the Canberra International Music Festival, the Four Winds Festival and has toured for Musica Viva.  He was a Sydney Symphony Orchestra Fellow for 2020 and 2021.

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

 

 

CANBERRA INTERNATIONAL MUSIC FESTIVAL 21 - "BLUE POLES"

James O. Fairfax theatre

Australian National Gallery 8 May

 

Reviewed by Len Power

 

When the Australian National Gallery bought American artist Jackson Pollock’s painting, “Blue Poles” in 1973 for $1.3 million Australian dollars, it caused a major furore in this country.

To many observers, it looked like paint had just been dripped and chucked around on a canvas mindlessly and its purchase was definitely not considered to be a prudent use of our tax dollars.  Today the painting remains one of the most treasured and priceless artworks in Australia.

The concert, “Blue Poles”, honoured the artist and the painting with three music works.  It began with a short 2019 video directed by Alison Chernick to refresh our memory about the painting, its purchase and its notoriety.

Because native American art caught Jackson Pollack’s early attention and remained an inspiration in his work, it was an inspired idea that the music part of the concert should commence and end with Matthew Doyle playing didgeridoo.  His expert playing created an Australian indigenous link and set the scene for the rest of the concert.

The Alma Moodie String Quartet of Kristian Winther (violin), Anna Da Silva Chen (Violin), Alexina Hawkins (viola) and Thomas Marlin (cello) then took the stage for three works – one inspired by Pollock’s painting, one that attracted its own controversy and one that is reminiscent of the painting and its period.

The first item, “Andante for Strings”, by American Ruth Crawford-Seeger was composed in 1931 and is arguably her best known work.  The piece’s long melodic line that moves from instrument to instrument gives it a distinctive rise and fall that builds to a dramatic crescendo.  It has been described as ‘a very slow drip’.  The quartet gave it a fine performance.

The second item, John Cage’s work, “4’33””, is no stranger to controversy.  It is written for any instrument or combination of instruments.  It has three movements totalling 4’33” and the score instructs performers not to play their instruments for the entire duration.  As polarising as Pollock’s “Blue Poles”, this was the perfect concert for it.  Whether it’s a joke or a serious work of art is up to the listener to decide.

The third work was a world premiere by Brian Howard entitled, “Blue Poles, String Quartet No. 5”.  Howard has strived to capture the essence of the painting in sounds.

The work is abstract, dramatic, intense and unpredictable, just like Pollock’s painting.  There is a sense of randomness and controlled chaos and it creates an enjoyable springboard for your imagination.  You could imagine Pollock working feverishly on his painting through this music.  It was played superbly by the quartet.

This was an excellent concert that gave an added insight into a well-known and often misunderstood painting by an artist who continues to grow in stature.

 

This review was first published in the Canberra CityNews digital edition of 9 May.

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

 

 

CANBERRA INTERNATIONAL MUSIC FESTIVAL 19 - "CHORAL OPPOSITES"

 

Fitters Workshop, May 7

 

Reviewed by Len Power

 

Fine local voices assembled for a choral concert of tradition-inspired Nordic works with unique contemporary Australian compositions about the land and its peoples They provided a welcome sense of warmth and coming together for the wintry Canberra evening.

Ancient folk rituals and centuries of Lutheran hymns were the inspiration for many of the contemporary Nordic works from countries such as Sweden, Estonia, Latvia, Iceland and Norway.

Australia was represented by the works of Ross Edwards, Gordon Hamilton, Brenda Gifford and Sarah Hopkins.  There was also a new work that linked both north and south by Ella Macens, representing genuine Latvian traditions in Australia.

Three local choirs – Oriana Chorale, Kompactus Youth Choir and Luminescence Chamber Singers - performed separately and together.  There was also Matthew Doyle on didgeridoo and Sally Walker on flute.  On occasion, recorded sounds and percussive instruments added to the atmosphere of the works in the well-planned and performed program.

The Oriana Chorale, directed by Dan Walker, started the concert with a work by Sweden’s Karin Rehnqvist called “In Heaven’s Hall”.  Conducted by Roland Peelman from the centre of the auditorium, sopranos strategically placed around the hall gave voice to Rehnqvist’s signature motif of “Kulning”, a vocal technique depicting the ancient call of Nordic herding girls driving their flocks.  It was a startling and atmosphere-establishing beginning.

The other highlight by the Oriana Chorale in this massive program of works was the Australian composition by Ross Edwards called “Waabin” with its text of Whadjuk Noongar words.  This joyous work was sung superbly by the women in the choir accompanied by Sally Walker on flute.

The highlights of the works presented by Kompactus Youth Choir, directed by Olivia Swift, included the exquisite and delicate “Stars” by Latvia’s Eriks Ešenvalds, with his trademark sound of tuned wine glasses, and Gordon Hamilton’s “Antarctica”.  This challenging work was accompanied by recorded directional sounds, creating an extraordinary sense of the landscape and its atmosphere.

Luminescence Chamber Singers, directed by AJ America, showcased a sublime “Hear Us In Heaven” by Iceland’s Anna Þorvaldsdóttir and premiered a new work with a fine sense of tradition, “Yangga – Sing” by Yuin artist, Brenda Gifford.  Their singing of works by Eva Lestander of Sweden and Tone Krohn of Norway also showed what fine artists they are.

Matthew Doyle gave outstanding didgeridoo performances and, from the centre of the auditorium,  Sally Walker on flute played a delightful “Ulpirra” by Ross Edwards, finishing with an infectious shout of joy.

All the choirs combined for the new work by Latvian-Australian Ella Macens, “While Winter Is Here”.  The music contained lovely melodies and the text was particularly evocative.  One of the final works presented was “Past Life Melodies”, with its sense of nostalgia and longing, by Australia’s Sarah Hopkins.

This concert was remarkable for the number, range and challenge of the works presented and the fine singing by everyone involved.  It was an evening to remember.

Photo by Peter Hislop

This review was first published in the Canberra CityNews digital edition of 8 May.

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

 

THE MISSION

 

Written by Tom Molyneux

Directed by Daniel Lammin

The Space Company

Tuggeranong Arts Centre to 5 May

 

Reviewed by Len Power 5 May 2022

 

In his one man show, actor and writer, Tom Molyneux, relates the story of his great, great uncle, Allan McDonald, one of the first Aboriginal soldiers from Victoria to enlist for war.

Growing up on a mission at Lake Condah, Allan McDonald fought at Gallipoli and was one of the Lighthorsemen at Beersheba.  Returning to Australia, this man, who should have been celebrated as a hero, could not even get a drink in a bar and was denied a soldier’s settlement because he was black.  Australia’s Constitution at the time denied him access to federally funded services.

Tom Molyneux tells his story with a disarming warmth and simplicity, capturing the audience’s attention right from the start with a short history of First Nation people leading up to the birth of Allan McDonald at the Lake Condah Mission.

Taking on the character of McDonald, Molyneux gives a fine performance of a young man wanting to help his country like everyone else.  That McDonald survived both the Gallipoli and Beersheba campaigns is miraculous and the story of his treatment by Australia on his return is shocking.

McDonald lived long enough to see the constitutional changes of the 1967 Referendum relating to Indigenous People.  It must have been a bitter pill to swallow to finally be counted as a ‘real’ person in his country fifty years after his war service.

The final scene where Molyneux discovers his great, great uncle’s grave and silently pays him respect is intensely moving.  At last this man has been given a voice through Molyneux’s play and will be remembered.

The play has been directed with style and sensitivity by Daniel Lammin.  Well-designed lighting, music and sound effects enhance the story-telling.

This is a highly moving theatre experience beautifully written and performed by Tom Molyneux.

 

This review was first published in the Canberra CityNews digital edition of 6 May.

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

 

THE BROADWAY MUSICALS YEARBOOK 1974

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 8 May and repeated at 11pm on Monday 9 May.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1974

In 1974, ‘The Magic Show’ with music by Stephen Schwartz, later of ’Wicked’ fame, started a long run.  Jerry Herman’s silent movie era musical, ‘Mack & Mabel’, opened and Carol Channing starred in ‘Lorelei’, a revised version of ‘Gentlemen Prefer Blondes’.  The Andrews Sisters also appeared on Broadway in a nostalgic musical, ‘Over Here’.

You’ll hear songs from these shows and others including ‘I Won’t Send Roses’ (from ‘Mack & Mabel’), ‘Where Did The Good Times Go’ (‘Over Here’), ‘Looking Back’ (‘Lorelei’) and ‘Sweet Sweet Sweet’ (‘The Magic Show’).

Performers include Carol Channing, Angela Lansbury, Bernadette Peters, Robert Preston, Anita Morris and Patty Andrews.

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

 

OPERATION MINCEMEAT

 

Screenplay by Michelle Ashford

Directed by John Madden

Produced by Seesaw Films

Released by Transmission Films

Opening in cinemas May 12

 

Reviewed by Len Power at a Palace Cinemas preview 4 May 2022

 

‘Operation Mincemeat’ was a successful World War II deception in 1943 by Britain to make Germany believe that an invasion of Greece was imminent when the real invasion was planned for Sicily.

A body, dressed as a British Royal Marine officer with papers detailing an invasion of Greece with a Sicily invasion as a fake, was floated off the coast of Spain.  The papers were intercepted by German officials who fell for the ruse completely.  Sicily was liberated more quickly than anticipated and losses were lower than predicted.

John Madden’s film of the planning and execution of this deception is full of fascinating detail.  The personal stories of the main participants as they go about their highly secretive work are equally absorbing.

Matthew MacFadyan and Colin Firth

The cast is a ‘Who’s Who’ of current British performers playing the real-life participants in the operation.  Colin Firth plays Naval Intelligence Officer, Ewen Montagu, who teams up with MI5 agent, Charles Cholmondeley, played by Matthew MacFadyan, to develop the plan.  Other recognizable actors in the cast are Penelope Wilton, Kelly MacDonald, Simon Russell Beale and Alex Jennings.  This ensemble of expert actors gives the film a gritty realism.  The shadowy cinematography of Sebastian Blenkov provides the film with a realistic impression of a downbeat wartime Britain.

Kelly MacDonald and Matthew MacFadyan

This could have been a typical action-packed war movie, but the film concentrates on the step by step solution of problems faced by the planning team to ensure the Germans would take the bait.  When certain things don’t quite go to plan, the tension becomes almost unbearable.  With one member of the team being watched by another for potential spy activities, the film moves into John le Carre territory, giving it even greater depth.

This is an intelligent and very enjoyable film of an extraordinary real life event in World War II.

‘Operation Mincemeat’ will be released in cinemas nationally on May 12.  You can view the trailer at https://www.transmissionfilms.com.au/films/operation-mincemeat.

 

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