A SONNET FOR SONDHEIM (MUSICAL)

Music and lyrics by Stephen Sondheim

Directed by Lexi Sekuless

Presented by Lexi Sekuless & Belco Arts

Belco Arts Centre to 2 July

 

Reviewed by Len Power 29 June 2022

 

When Broadway composer, Stephen Sondheim, died in 2021, he left behind a body of work of some of the greatest musicals of the second part of the 20th Century including ‘Into The Woods’; ‘Company’, Follies’. ‘Sunday In The Park With George’ and ‘Sweeney Todd’.

Actors who could sing loved performing his work as the songs were often a complete story or play in themselves.  His work could also give them nigtmares as they discovered unexpected complexities under the surface.  ‘It never goes where you think it’s going’, was often heard.

In ‘A Sonnet For Sondheim’, five performers, including director, Lexi Sekuless, present an evening of Sondheim songs in a tribute to language and lyrics.  Interspersed with Sondheim songs is the poetry of Elizabeth Barrett Browning, Shakespeare and Emily Dickinson.

Commencing with ‘It’s Only A Play’ from Sondheim’s musical, ‘The Frogs’, the cast establish themselves as actors in rehearsal in street clothes, giving the show an air of informality.  As well as presenting the poetry between songs, cast members also let the audience in on a few of the personal trials and tribulations of being an actor.

From left: Carl Rafferty (piano), Katerina Smalley, Martin Everett, Tim Sekuless and Jay Cameron

The five talented performers, Jay Cameron, Katerina Smalley, Martin Everett, Tim Sekuless and Lexi Sekuless are all well-qualified to sing Sondheim’s songs and there are some fine, well-judged performances.  Carl Rafferty, the pianist, accompanied the cast skilfully and with personality.

However, the poetry readings and actor reminiscences impede the flow of the show and don’t relate well to the songs that follow the readings.  ‘I Remember’, from ‘Evening Primrose’ sung by Lexi Sekuless, works best of all because she maintains the mood created in her preceding dialogue throughout the song.

Lexi Sekuless

Too many of the songs have been given distracting movement.  Only ‘You Could Drive a Person Crazy’ from ‘Company’ has engaging choreography by Annette Sharp.  The songs from ‘Passion’ – ‘I Wish I Could Forget You’ and ‘Loving You’ - were especially effective without movement.

The whole cast gave a fine performance of ‘Sunday’ from ‘Sunday In The Park With George’ towards the end of the show but the laid-back group singing of ‘Send In the Clowns’ from ‘A Little Night Music’ that followed diminished the power of this song.

There were some opening night glitches with the lighting and the sound amplification was too high, often giving the voices an unfortunate harshness.

Nevertheless, the Sondheim songs are the attraction here and they were mostly well-performed by these good singers.

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.

 

ROSSINI: PETITE MESSE SOLENNELLE (CONCERT)

 

Canberra Choral Society & The National Capital Orchestra

Conductor: Louis Sharpe

Chorus Master: Dan Walker

Sarahlouise Owens, Soprano

Sonia Anfiloff, Alto

Ryan O’Donnell, Tenor

Hayden Barrington, Baritone

Llewellyn Hall 25 June 2022

 

Reviewed by Len Power

 

As the stage of Llewellyn Hall filled with dozens of musicians and singers, it became apparent to the expectant audience that this performance of Gioachino Rossini’s ‘Petite Messe Solennelle’ (Little Solemn Mass) was not going to be ‘little’.

Originally scored in 1863 for two pianos, harmonium and voices, the Canberra Choral Society and the National Capital Orchestra performed the fully orchestrated 1867 version of the work with orchestra, chorus and four solo singers.

Commencing with the ‘Kyrie’, the chorus gave a nicely controlled performance of this sombre first part of the work.  The dramatic start of the ‘Gloria’ which followed showed the full power of the chorus.  The sound was rich and colourful and the addition of the four soloists added a charming dimension.

‘Gratias agimus’ (We Give Thanks to Thee) was beautifully sung by Sonia Anfiloff (alto), Ryan O’Donnell (tenor) and Hayden Barrington (bass).  O’Donnell’s tenor aria ‘Domine Deus’ (O Lord God) that followed was also given a performance full of feeling.

The sublime blend of the voices of soprano, Sarahlouise Owens, and alto, Sonia Anfiloff, in “Qui tollis peccata mundi’ (Who takest away the sins of the world) was a major highlight of the ‘Gloria’ section of the work.  The conclusion of the ‘Gloria’ by the chorus, ‘Cum Sancto Spiritu’ (With The Holy Spirit), was powerful and exciting.

There were numerous other memorable moments throughout the performance.  Hayden Barrington’s rich baritone gave ‘Quoniam tu solus sanctus’ (For Thou Only Art Holy) a pleasing authority and soprano, Sarahlouise Owens, sang ‘Crusifixus’ (He was crucified) with great control and depth of feeling.

The Offertorium section was played very well by organist, James Porteous, and ‘Sanctus’ (Holy, Holy, Holy) was the major highlight of the later part of the work with soloists, chorus and orchestra blending perfectly to produce a powerful and thrilling sound.

Conductor: Louis Sharpe

Louis Sharpe, did an excellent job conducting this huge number of singers and musicians.  The accuracy and beauty of the singing by the chorus was a credit to Chorus Master, Dan Walker.

This major undertaking proved to be a highly memorable concert by all involved.  They fully deserved the enthusiastic and prolonged applause by the audience at the conclusion.

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/.

 

 

THE BROADWAY MUSICALS YEARBOOK 1945 (RADIO)

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 26 June and repeated at 11pm on Monday 27 June.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1945

1945 saw the second of Rodgers and Hammerstein’s major musicals, ‘Carousel’.  There was also ‘Billion Dollar Baby’, set during the late 1920s Prohibition era, with music by Morton Gould and lyrics by Comden & Green.  Lerner & Loewe continued to show promise of great things to come with their musical, ‘The Day Before Spring’, and ‘Up In Central Park’, a musical about political corruption, was Sigmund Romberg’s final work for Broadway.

You’ll hear songs from all of these shows including ‘You’ll Never Walk Alone’ and ‘If I Loved You’ (from ‘Carousel’), ‘Close As Pages In A Book’ (‘Up In Central Park’), ‘My Love Is A Married Man’ (‘The Day Before Spring’) and ‘Bad Timing’ (‘Billion Dollar Baby’).

Performers include John Raitt, Jan Clayton, Nell Carter, Christine Johnson, Christianne Noll, Eddie Korbich, Karen Mason and Kerry Butler.

 

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

 

THE SOUND OF MUSIC - ENCORE SEASON (MUSICAL)

Book by Howard Lindsay and Russel Crouse

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Directed by Alison Newhouse & Anthony Swadling

Queanbeyan Players to 3 July

 

Reviewed by Len Power 24 June 2022

 

First presented in 2021 under Covid restricted conditions that limited audience numbers, ‘The Sound Of Music’ by Queanbeyan Players is back for an encore season.  More people will be able to see this previously acclaimed production including this reviewer who missed out on it last time.

Based on the 1949 memoir of Maria von Trapp, ‘The Story of the Trapp Family Singers’, the original Broadway production opened in 1959.  It tells the basically true story of Maria, a postulant from a nunnery who becomes a governess to seven children of a prominent Austrian family.  She marries the father and the family flees Austria at the start of World War II.  They became the internationally-known Trapp Family Singers.

A hit at the time, the musical’s reputation was further enhanced by the extraordinary popularity of the 1965 film of the show that starred Julie Andrews.

Queanbeyan Players’ lavish encore production has managed to retain virtually the entire cast from 2021.  Leading the company in the role of Maria, Lydia Milosavljevic, is superb, giving her own take on the character that really works.  She also sings the role beautifully as well.

The large cast of principals all perform their roles very well.  There is particularly fine work from Michael Jordan as Captain von Trapp, Terry Johnson as Max Detweiler, Kay Liddiard as Liesl, the eldest child, and Demi Smith, as Baroness Elsa Schraeder.  Louise Gaspari as the Mother Abbess stops the show with her fine singing of ‘Climb Ev'ry Mountain’ and the actresses playing the nuns all give their roles distinct characters, singing the opening and wedding sequences especially well.

All seven performers who play the children give winning and natural performances.  They are believable as brothers and sisters and have wisely avoided any precociousness.  Their songs are delightful.

Michael Jordan (Captain von Trapp) and Lydia Milosavljevic (Maria) with the children

The set design by Thompson Quan Wing was excellent.  The painted mountain background and the interior of the Captain’s lavish home were especially attractive features and it all moved easily during the scene changes.

Jacob Aquilina (lighting) and James McPherson (sound) of Eclipse Lighting and Sound did fine work adding atmosphere to the whole production.

Musical director, Jenna Hinton, and her orchestra gave a colourful and controlled performance of the score.  There was also excellent work by choreographer, Jodi Hammond, and costume designers, Janette Humphrey and Janetta McRae.

The directors, Alison Newhouse and Anthony Swadling, have produced a very strong and entertaining production that works in all aspects.  This popular show should be seen by everyone who loves musical theatre.

Photo supplied by the company 

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/.

APCAR'S HOLLAND - CANBERRA SINFONIA (CONCERT)

 

Ronan Apcar, piano

Rowan Phemister, harp

Conducted by Leonard Weiss

Canberra Sinfonia, Wesley Uniting Church, Forrest 19 June

 

Reviewed by Len Power

 

It’s not often that you have a concert showcasing two world premieres and one Australian premiere.  In addition, one of Australia’s most exciting young pianists, Ronan Apcar, was performing and there was even Rowan Phemister on harp as well.  All conducted by Leonard Weiss, this Canberra Sinfonia program at the Wesley Uniting Church, entitled ‘Apcar’s Holland’, proved to be one of their most exciting so far.

The concert began with the Australian premiere of “The Light That Breaks Through”, a 2020 composition by Chinese-American composer, Bobby Ge.  In three movements played continuously, this meditation on nature starts with a three note motif sounding like an improvisation that suddenly expands in unexpected directions.

Leonard Weiss conducting the Canberra Sinfonia with Ronan Apcar on piano

It was exciting, frenzied, unpredictable, full of atmosphere and very enjoyable.  The playing by Ronan Apcar and the orchestra of this challenging work was excellent and you could see how much Apcar was enjoying playing it.

Ronan Apcar

The second work, “June Again”, a suite of music from Australian composer, Christopher Gordon’s score for the 2020 movie of the same name, was a world premiere.  A movie about a woman’s adventure with family during a temporary reprieve from her dementia, the music is melodic, thoughtful and sunny.  There are undercurrents of tension in the music but also a sense of joy as well.

It was beautifully played by Ronan Apcar and the orchestra with harpist, Rowan Phemister, adding an extra enjoyable dimension with his masterful harp playing.

Rowan Phemister

The final and major work presented was another world premiere.  Australia’s Dulcie Holland composed a number of concert works and wrote music for Government films.  She was well-known for her work with the Australian Music Examination Board as well as writing theory books and technical exercises.

Her “Concertino for Piano & Strings” was composed in 1983, but there is no record of it ever being performed.  She died in 2000.

It was fitting that Ronan Apcar should be the first to perform the work as he is a champion of Holland’s music, having produced a popular recording of her works, “Dulcie Holland Crescent”, in 2021.

The work is in four movements.  It’s a complex work that is nevertheless very accessible.  It has a richness and subtlety with moments of high emotion.  The opening to the second movement with just piano and cello is especially memorable.  Melodic and reflective passages give way to a highly dramatic and grand final movement.  The work is a showcase for a pianist and Ronan Apcar’s performance was superb with great accompaniment from the orchestra.

Photos by Peter Hislop 

This review was first published in the Canberra CityNews digital edition of 20 June.

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

TWENTY MINUTES WITH THE DEVIL (PLAY)

 

Written by Luis Gómez Romero and Desmond Manderson

Directed by Caroline Stacey

The Street Theatre production

The Street Theatre to 25 June

 

Reviewed by Len Power 18 June 2022

 

Described in the publicity as ‘part thriller, part black comedy, part magic realism’, the play ‘Twenty Minutes With The Devil’ takes us on a journey with three people stuck in a seedy motel room together while awaiting either death or salvation.

Arrested on a lonely desert road by two highway police officers, El Ticho is a latin businessman and drug lord who plays cat and mouse mental games with his captors while handcuffed and chained to the motel bed.

Angela is a by-the-book police officer who uses bravado to cover self-doubts about her policing career.  Her partner, Romulo, is a police officer struggling to do a job he no longer believes in.  Both are ripe to cave in to the corruption they are witnessing around them.

The motel setting is reminiscent of the recapture of real-life Mexican drug lord, El Chapo, in 2016.

Director, Caroline Stacey, and her Street Theatre team have given this world premiere a striking production.  P.J. Williams is very believable as the drug lord, El Ticho.  In spite of his sordid appearance, he brings a dangerous charm to the role that is very seductive.

Joanna Richards (Angela), Raoul Craemer (Romulo) and P.J. Williams (El Ticho)

Raoul Craemer plays the role of the police officer, Romulo, as if teetering on the edge of a nervous breakdown.  While his character is not likeable, Craemer impressively wins our sympathy for him.  Joanna Richards, as the officious in-charge police officer, builds the stages of self-doubt in her character very realistically.

Designed by Imogen Keen, the highly detailed tacky and run-down motel room from hell becomes a fourth character in the play.  At times the walls even come alive as if the whole world is involved and holding its breath while watching.

Joanna Richards (Angela) and P.J. Williams (El Ticho)

The lighting design by Antony Hateley is highly detailed and effective as is the sound design by James Tighe.  These technical wizards add so much to the overall atmosphere of this production.

While it’s an impressive production, the writers have not completely reconciled the mix of thriller, comedy and message.

The inner monologues by the characters interrupt the flow of the play and, while the intention seems to be to remind us that the drug problem is international and goes way beyond this motel room, the poetic language given to these characters who, in the story scenes have no poetry in them, is often awkward and pretentious.

In addition, a supposed shooting and its aftermath seems to be suggestive of similar set ups in ‘Halloween’-type horror movies.  If this was meant to be comedy, it does not work.

Overall, ‘Twenty Minutes With The Devil’ is a strong play with a disturbing message that has been given a handsome production by the Street Theatre.  With its deficiencies overcome, it has the potential to become a play worthy of wide attention.

Photos by Creswick Collective

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

 

 

THE BROADWAY MUSICALS YEARBOOK 1991 (RADIO)

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 19 June and repeated at 11pm on Monday 20 June.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1991

1991 saw only four new musicals on Broadway.  There was ‘Miss Saigon’, with its Vietnam War theme, the re-creation of the opulent early 20^th century follies shows in ‘The Will Rogers Follies’ and the dark emotions of the Victorian era’s ‘The Secret Garden’.  Dashiell Hammett’s wise-cracking ‘The Thin Man’ detective stories also became a musical with ‘Nick & Nora’.  Three of these shows were hits and one was a disastrous flop.

You’ll hear songs from all of these shows including ‘The American Dream’ (‘Miss Saigon’), ‘Lily’s Eyes’ (‘The Secret Garden’), ‘Will-A-Mania’ (‘The Will Rogers Follies’) and ‘Everybody Wants To Do A Musical’ (‘Nick & Nora’).

Performers include Jonathan Pryce, Lea Salonga, Phillip Quast, Meredith Braun, Christine Baranaski, Keith Carradine, Dee Hoty, Barry Bostwick and Joanna Gleeson.

 

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

 

THE BROADWAY MUSICALS YEARBOOK 1966 (RADIO)

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 12 June and repeated at 11pm on Monday 13 June.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1966

Broadway had three now legendary musicals open in 1966 – ‘Sweet Charity’ with Gwen Verdon, ‘Cabaret’ with Joel Grey and ‘Mame’ with Angela Lansbury.  There was also ‘The Apple Tree’, ‘It’s A Bird, It’s A Plane, It’s Superman!’, ‘I Do! I Do!’ and Duke Ellington’s only Broadway musical, ‘Pousse-Café’.

You’ll hear songs from these shows and others including ‘Big Spender’ (‘Sweet Charity’), ‘My Cup Runneth Over’ (‘I Do! I Do!’), ‘What Makes Me Love Him’ (‘The Apple Tree’), ‘Wilkommen’ (‘Cabaret’) and ‘If He Walked Into My Life Today’ (‘Mame’).

Performers include Gwen Verdon, Norman Wisdom, Angela Lansbury, Barbara Harris, Joel Grey, Linda Lavin, Michael Feinstein, Robert Preston and Mary Martin. 

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

 

ARSENIC AND OLD LACE (PLAY)

 

Written by Joseph Kesselring

Directed by Ian Hart

Canberra REP, Acton to 25 June

 

Reviewed by Len Power 10 June 2022

 

When the curtains opened on Canberra REP’s new production of “Arsenic and Old Lace”, the audience applauded the fabulous multi-level set by Andrew Kay.  Unfortunately, that was the high point of the evening.

Joseph Kesselring’s play was a huge hit on Broadway in 1941 and had a successful run in London’s West End and internationally as well.  The play has had numerous revivals over the years as well as being filmed.  An escapist entertainment designed for its time, modern audiences used to fast-paced TV comedy would likely find its playing style, mid-20^th century humour and topical references puzzling.

Aware of this, the director of REP’s production, Ian Hart, has changed the locale of the play to modern day Queanbeyan, updating the script and adding modern technology while retaining the basic story line.  The characters display a modern sensibility, too, and the outdated references from the original script have been replaced with others more familiar to audiences of today.

Many of the new ideas in the script are clever and the director definitely had the right vision to make this work for today’s audience.  However, while this may have looked good on paper, it has not translated well to the stage.

The performances by many of the cast seemed forced and desperate.  Trying too hard to be funny had just the opposite effect and it all quickly became tiresome.  There was too much hysterical shouting for no good reason and some cast members could barely be heard.

The pacing seemed uncertain and lacking in control.  Overall, the show felt like it needed more rehearsal to find its right level.  Hopefully this aspect will improve as the season progresses.

Alice Ferguson, as one of the elderly murderous sisters, wisely gave her role a reality and depth in contrast to the craziness around her.  It made hers the standout performance in the show.

It was unfortunate that one cast member had fallen ill and had to be replaced on opening night by the director, Ian Hart.  Performing in a fast-paced show with script in hand would be nightmarish but his Freddy Kruger-type character reference was fun, nevertheless.

“Arsenic and Old Lace” is a famous quirky play of its time.  It may perhaps be past its use by date.

 

This review was first published in the Canberra CityNews digital edition of 11 June 2022.

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

 

EMERALD CITY

 

Written by David Williamson

Directed by Anne Somes

Free-Rain Theatre Company

ACT Hub Theatre, Kingston to 25 June.

 

Reviewed by Len Power 9 June 2022

 

David Williamson’s ‘Emerald City’ is one of his most popular plays.  First produced in 1987, it continues to have a life in frequent revivals.  Although the play is now over 30 years old, Free-Rain Theatre Company’s new production at the ACT Hub Theatre shows why it still resonates with audiences.

The play takes a satirical look at a successful playwright and his book editor wife who have recently moved to Sydney from Melbourne.  Desperate to continue his success in a markedly different working environment as well as being aware that the times are changing, the playwright, Colin, struggles to maintain control of his work without compromising his writing.  Most other people around him seem more interested in making money than good art.  At the same time, the ongoing success of his wife in the publishing business and her criticism of his current decision-making put a strain on their marriage.

Williamson and his family did make that move to Sydney in the 1980s but the play is not strictly autobiographical.  Nevertheless, it’s fun trying to guess who some of the characters the playwright interacts with are modelled on.

Isaac Reilly (Colin) and Victoria Tyrell Dixon (Kate)

As the married couple, Colin and Kate, Isaac Reilly and Victoria Tyrell Dixon give fine, sophisticated performances.  Both have excellent comic timing, ensuring that no laugh lines are lost.  Helen McFarlane expertly gives the agent, Elaine, a formidable edge while masking the character’s self-doubt underneath.

Daniel Greiss has the difficult task of playing the character of Mike, the reptilian writer and womaniser with no redeeming features.  Williamson’s writing here lays on the clichés too strongly, making the character cartoon-like.  Greiss does his best with this impossible role.

Isaac Reilly (Colin) and Hannah Lance (Helen)

There are also good characterisations by Hannah Lance as Helen, the attractive young woman that Colin is attracted to, and Patrick Collins as the financier, Malcolm.

Director, Anne Somes, has given us a sparkling period production of the play.  It zips along at a good pace on a stylish and attractive set with notable attention to detail by Cate Clelland.  The many eye-catching costumes by designer, Fiona Leach, are exactly what you would expect each of the characters to wear in that time period.

This is an opportunity to revisit the 1980s, an era of corporate greed and style that is easy to disparage.  It’s also great to be able to see one of David Williamson’s most acclaimed plays.

Photos by Cathy Breen 

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

 

 

THE BROADWAY MUSICALS YEARBOOK 1921

 

“The Broadway Musicals Yearbook” will be heard on Artsound FM 92.7 at 5pm on Sunday 5 June and repeated at 11pm on Monday 6 June.  The show is produced and narrated by Len Power, Canberra theatre critic, music critic and radio presenter.

This week – the musicals of 1921

1921 saw the first of Irving Berlin’s Music Box Revues.  Al Jolson was a big hit in ‘Bombo’ and one of the first major black cast musicals, ‘Shuffle Along’, was also a hit.  Fanny Brice starred in ‘Ziegfeld Follies of 1921’ and another big hit was the operetta, ‘Blossom Time’.

You’ll hear songs from these shows and others including ‘Toot Toot Tootsie’ (‘Bombo’), ‘I’m Just Wild About Harry’ (‘Shuffle Along’), ‘My Man’ (Ziegfeld Follies’) ‘Song Of Love’ (‘Blossom Time’) and ‘Everybody Step’ (‘Music Box Revue’).

Performers include Al Jolson, Fanny Brice, Ella Fitzgerald, Gregory Hines, Barbara Cook and Blossom Dearie.

 

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