HOT TO TROT(DANCE)

 

QL2 Dance

QL2 Theatre, Gorman Arts Centre to 27 November

 

Reviewed by Len Power 26 November 2022

 

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

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

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

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

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

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

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

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

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

 

Photo by Lorna Sim

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

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

 

 

THE TORRENTS (PLAY)

Written by Oriel Gray

Directed by Lexi Sekuless

Mill Theatre at Dairy Road to 3 December.

 

Reviewed by Len Power 24 November 2022

 

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

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

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

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

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

Lexi Sekuless as J.G. Milford

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

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

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

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

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

 

Photo by Tim Ngo

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

 

THE MAGIC OF MUSIC - EPISODE 10 (RADIO)

 

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

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

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

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

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

 

 

GOD OF CARNAGE (PLAY)

Written by Jasmina Reza

Translated by Christopher Hampton

Directed by Jordan Best

Echo Theatre production

Q Theatre, Queanbeyan to 26 November

 

Reviewed by Len Power 23 November 2022

 

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

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

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

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

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

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

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

 

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

 

PRIMAVERA! (PLAY)

Art Song Canberra

Sarah Mann, soprano

Ella Luhtasaari, piano

Wesley Music Centre, 20 November

 

Reviewed by Len Power.

 

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

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

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

Ella Luhtasaari and Sarah Mann

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

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

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

Sarah Mann

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

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

 

Photos by Peter Hislop

 

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

 

SENSE & SENSIBILITY (PLAY)

Written by Kate Hamill

From the novel by Jane Austen

Directed By Cate Clelland

Canberra REP production

Canberra REP Theatre, Acton to 3 December

 

Reviewed by Len Power 19 November 2022.

 

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

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

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

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

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

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

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

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

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

 

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

THE AGE OF THE PINEDEMIC: THE MUSICAL (MUSICAL)

Written and Directed by Tim and Natalie Bevitt

Mr Tim Enterprises

Tuggeranong Arts Centre to 19 November

 

Reviewed By Len Power 18 November 2022

 

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

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

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

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

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

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

 

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

 

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

 

THE MAGIC OF MUSIC - EPISODE 9 (RADIO)

 

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

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

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

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

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

 

 

ALL BAROQUE - MUSICA DA CAMERA (CONCERT)

 John Ma Musical Director

Holy Covenant Anglican Church, Cook, 12 November

 

Reviewed by Len Power

 

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

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

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

    John Ma leading the Musica Da Camera String Orchestra

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

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

John Ma plays the Viola D'Amore

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

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

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

 

Photos by Peter Hislop.

 

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

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

THE MAGIC OF MUSIC - EPISODE 8 (RADIO)

 

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

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

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

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

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

 

MOULIN ROUGE (FILM)

Directed by John Huston

Stars: Jose Ferrer, Zsa Zsa Gabor

British

1952

Seen on Blu-Ray disc

Fictional account of French artist Henri de Toulouse-Lautrec.

Meticulous filming and excellent script give a real flavour of turn of the century Paris and the artists' work.  Jose Ferrer is superb.  BFI Blu Ray restoration has been beautifully done.

MY POLICEMAN (FILM)

Directed by Michael Grandage

Stars: Harry Styles, Emma Corrin

British

2022

Seen on Amazon Prime

The arrival of Patrick into Marion and Tom's home triggers the exploration of seismic events from 40 years previously.

Quietly powerful film explores events that affect lives profoundly over the years.  Good performances.  Quite touching and real.  Recommended.

MIRACLE IN MILAN (FILM)

Directed by Vittorio De Sica

Stars: Emma Gramatica, Francesco Golisano

Italy

1951

Seen on Blu-Ray disc

An open-hearted, unrelentingly energetic orphan struggles to make the best of his life on the streets of Milan in this fantasy adventure.

Unusual film is very enjoyable.  Essentially a fairy tale, it takes swipes at the political world of poverty and homelessness in Italy at the time.  Great performances in a naturalistic setting.  Highly recommended.

SUNSHINE SUPER GIRL (PLAY)

Written and directed by Andrea James

A Performing Lines production

Q Theatre Queanbeyan to 5 November

 

Reviewed by Len Power 2 November 2022

 

Evonne Goolagong was one of the world’s top tennis players in the 1970s.  How this indigenous girl got there from humble beginnings and went on to fame in the sporting world at a time of widespread prejudice in Australia is the subject of “Sunshine Super Girl”, written and directed by Andrea James.

Beginning and ending with a girl enjoying the simple pleasures of fishing on a river, the story shows her as a child in a large family living in a NSW country town in a house which just happened to have a tennis court out the back.  The help given her by locals to progress her tennis is acknowledged and the opportunity for her to move to Sydney must have been a wrench for her family.

Her success in tennis competitions is marred by an unwanted sexual approach from her coach, prejudice and comments like “bush baby” in the Press.  It all made her just play harder, going on to win the women's singles tournament at Wimbledon and being named Australian of the Year in 1971.  Her non-political stance on issues like apartheid in South Africa angered activists.  She just got on with her tennis, despite these pressures.

 

The production design of this play by Romaine Harper is a tennis court that fills the stage and the lighting design by Karen Norris is particularly effective in providing atmosphere and sense of place.  The direction by Andrea James is assured throughout.

Ella Ferriss as Evonne Goolagong

The tennis is depicted in dance choreographed by Katina Olsen and Vicki Van Hout, giving it a dreamlike quality in keeping with Goolagong’s memories while fishing.  The cast of six perform it very well.

As Evonne Goolagong, Ella Ferris gives a charming performance as this woman who was never too far from her roots.  The rest of the cast play multiple roles in her story and are quite effective.

With a distinctively Australian sensibility and humour, this is a straightforward and entertaining telling of Goolagong’s story.  It is a celebration of spirit and passion over adversity, and a tribute to a woman whose sporting prowess continues to inspire a nation.  With its striking production and lighting design, it’s also good theatre.

 

Photos by Paz Tassone.

 

This review was first published by Canberra CityNews digital edition on 3 November.

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

POW REQUIEM (CONCERT)

Canberra Symphony Orchestra, choirs and soloists

A Flowers Of Peace production

Directed by Christopher Latham

Llewellyn Hall 29 October

 

Reviewed by Len Power

 

An extraordinary event in its scope and size, the message of the “POW Requiem” is that only through forgiveness can we find peace.  Remembering those families whose lives have been deeply affected, there is hope the harm that was done by World War 2 can be repaired.

This epic concert showed all perspectives, through the power of music and imagery, creating a deeper understanding of the stories of Prisoners of War from WWII, particularly those held captive in Asia.

Directed by Christopher Latham, Artist in Residence of the Australian War Memorial and director of the Flowers of Peace project, it was a massive undertaking.

Latham brought together not only the Canberra Symphony Orchestra but also several choirs of adults and children, soloists including Susannah Lawergren, soprano, Andrew Goodwin, tenor, Neil Pigot actor, musicians on Japanese instruments and others too numerous to mention.

The full company of 'POW Requiem'

Specially commissioned musical works were by several of Australia’s contemporary composers including Andrew Schultz, Elena Kats-Chernin, Graeme Koehne and Jonathan Mills. The entire stage was filled to capacity and was an impressive sight.

The concert began with the first movement of Erwin Schulhoff’s Symphony No. 8 and signalled the start of the war.  It was particularly poignant to know that Schulhoff is considered the most important Jewish composer killed in the Holocaust.  The music’s ominous, driving sound was accompanied on large screens which gave images, information and statistics of early campaigns.  The number of POWs was already steadily climbing.

Christopher Latham, conductor

The first act of the concert’s music focussed mainly on musical works by prisoners and POWs on all sides in Europe and Australia.  The experiences of Italian, German and Japanese POWS in Australia were shown including the Cowra Breakout, the detail of which was particularly moving, the Dunera Boys, wartime escapes, a women’s POW choir and the little known detail of the POW “universities”.  Music by Britten, Bischofswerder, Chopin, Debussy, Messaien and others was heard while the statistics of this war continued to climb.

The second act focussed on POWs in Asia including the fall of Singapore, The Thai Burma Railway, The Rōmusha – Asian Civilian Labourers, the entertainers of the POW camps and mateship.  The role of priests and medical personnel, starvation and the thought of going home were movingly detailed.

The statistics continued to climb and it was sobering to remember that these were not just numbers – they were all real people.

It all led to a powerful finale with Paul Mealor’s “The Tears Of Forgiveness” and Ross Edwards’ “Celestium”.

With a heightened awareness of the sacrifices made by the men and women on all sides of the war, the healing power of music and the sense of forgiveness, this concert achieved its goal and its message will never be forgotten.

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 30 October.

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

 

THE MIND BENDERS (FILM)

Directed by Basil Dearden

Stars: Dirk Bogarde, Mary Ure

UK

1963

Seen on GEM

Deals with one of the most frightening experiences that man could suffer through - complete isolation. A scientist takes part in a life-altering experiment.

Impressive film on an unusual subject is played with conviction by a strong cast.  Worth seeing.

SHAME (FILM)

Directed by Ingmar Bergman

Stars: Liv Ullmann, Max Von Sydow

Sweden

1968

Seen on Blu-Ray

In the midst of a civil war, former violinists Jan and Eva Rosenberg, who have a tempestuous marriage, run a farm on a rural island. In spite of their best efforts to escape their homeland, the war impinges on every aspect of their lives.

Harrowing and bleak, the film is an unforgettable experience.  The lead actors are compelling and the sesne of helplessness in time of war is profound. 

MR DENNING DRIVES NORTH (FILM)

Directed by Anthony Kimmins

Stars: John Mills, Phyllis Calvert

UK 1951

Seen on GEM

A British aircraft engineer accidentally kills his daughter's nasty foreign boyfriend, then tries to cover up his deed.

Dated murder yarn stretches credibility as it becomes more and more complex. Entertaining enough for this kind of thing, but not one of John Mills' best. Quite a good ending though.

THE MAGIC OF MUSIC - EPISODE 7 (RADIO)

 

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

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

In this program you’ll hear, amongst others, ‘S’Wonderful’ by George Gershwin, ‘Stella By Starlight’ by Victor Young and Richard Addinsell’s ‘March of The United Nations’.

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

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