A CHRISTMAS CAROL (PLAY)

Written by Charles Dickens

Adapted by Nelle Lee

Directed by Michael Futcher

Shake & Stir Theatre Co.

Canberra Theatre to 24 December.

 

Reviewed by Len Power 21 December 2022

 

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

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

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

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

Eugene Gilfedder as Scrooge with members of the company

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

Josh McIntosh's set for 'A Christmas Carol'

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

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

 

Photos by David Fell

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

THE LOST KING (FILM)

Poster - Warner Bros.

Written by Steve Coogan and Jeff Pope

Directed by Stephen Frears

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

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

 

Reviewed by Len Power 7 December 2022

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

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

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

Sally Hawkins and Steve Coogan

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

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

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

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

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

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

 

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

ALLELUJAH! - THE LLEWELLYN CHOIR (CONCERT)

Conducted by Rowan Harvey-Martin

Holy Cross Anglican Church, Hackett 17 December

 

Reviewed by Len Power

 

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

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

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

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

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

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

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

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

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

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

 

Photo by Len Power

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

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

  

THE MAGIC OF MUSIC - EPISODE 13 (RADIO)

 

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

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

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

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

MERRY AND GAY - CANBERRA QWIRE (CONCERT)

Musical Direction by Lachlan Snow

Q Theatre Queanbeyan 11 December

 

Reviewed by LEN POWER

 

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

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

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

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

Conductor: Lachlan Snow

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

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

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

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

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

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

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

 

Photos by Peter Hislop

 

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

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

THE IMPORTANCE OF BEING EARNEST (PLAY)

 

Written by Oscar Wilde

Directed by Jarrad West

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

 

Reviewed by Len Power 9 September 2022

 

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

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

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

Louiza Blomfield and Dave Collins

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

Steph Roberts, Joel Horwood and Holly Ross

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

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

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

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

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

 

Photos by Janelle McMenamin

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

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

 

 

THE MAGIC OF MUSIC - EPISODE 12 (RADIO)

 

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

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

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

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

 

MESSIAH (CONCERT)

Canberra Choral Society Massed Choir and Orchestra

Music by George Frideric Handel

Conducted by Dr. Graeme Morton

Llewellyn Hall December 3

Reviewed by Len Power

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

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

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

Conductor, Dr. Graeme Morton

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

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

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

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

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

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

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

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

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

 

Photos by Peter Hislop

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

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

 

EMILIA (PLAY)

 

Written by Morgan Lloyd Malcolm

Directed By Petra Caliva

Essential Theatre production

The Playhouse, Canberra Theatre Centre to 4 December

 

Reviewed by Len Power 2 December 2022

 

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

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

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

Cessalee Stovall and Manali Datar

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

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

Lisa Mazar

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

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

 

Photos supplied by the company.

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

 

THE MAGIC OF MUSIC - EPISODE 11 (RADIO)

 

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

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

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

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

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