ON COURSE - QL2 DANCE

 

Choreography by Cassidy Thomson,

Christopher Wade, Leyla Boz,

Liam Berg, Magnus Meagher

Mia Canton, Rory Warne

and Ruby Ballantyne

Artistic Director: Ruth Osborne

QL2 Theatre, Gorman Arts Centre, Braddon to 17 December

 

 

“On Course” is the annual welcoming back of QL2 alumni and friends from full-time study at universities around Australia to choreograph, collaborate and perform new short works.

This year, seven works were on offer. Four live performances were developed, rehearsed and polished over the past two weeks and there were 3 films from alumni in Melbourne who were unable to present a live performance.

The program commenced with the three films. “We Live This Very Ephemeral Life” by choreographer and performer, Cassidy Thomson, focussed on fleeting moments that can stay with you for the rest of your life. “Warped Reality”, danced and choreographed by Mia Canton and Leyla Boz, looked at the physical manipulation of reality. “Run Point” by choreographer, Magnus Meagher, was an exploration of overcoming obstacles and working together as a team.

Mia Canton and Leyla Boz in the film "Warped Reality"

While all three films had merit, “Warped Reality” was particularly successful in its sharp film editing, use of location, choice of music and appealing choreography.

The live performances commenced with Christopher Wade’s “The Space Between” which explored how the world is perceived by an introverted person. Five dancers, including Wade, performed his vision and it was notable for the clear depiction of his theme. Finely detailed group movements, a sense of threat and a feeling of optimism in a perceptive final speech, made this an effective and enjoyable work.

“Diary Of A Teenage 23 Year Old”, choreographed and danced by Ruby Ballantyne, was a very personal work that displayed the mind of an over thinker with too many thoughts and voices for her to keep up with. Her energetic dancing with a nicely displayed nervous energy, clearly showed the state of mind of this person. It was danced with skill and humour, also showing Ballantyne’s strong and charismatic acting ability.

Ruby Ballantyne

Liam Berg’s “Therapy” followed and explored the realms of therapeutic actions that bring joy to the performer. Danced by Christopher Wade and Berg himself, this was a clever and enjoyable work with clearly defined therapeutic themes, fine dancing by Wade and Berg and a humorous ending that worked well.

Christopher Wade and Liam Berg

The final work was “Held In Flesh” by Rory Warne. His work focussed on the body as an archive – a living tapestry of intertwined lineages. Six dancers performed this demanding abstract work with skill. There were especially fine groupings and fluid movements in his choreography that clearly conveyed his theme to the audience.

This year’s “On Course” was an effective and enjoyable showcase for these QL2 alumni. They were nicely assisted by the skilled dancing of their works by senior members of the QL2 dancers.

Photos by O&J Wikner Photography 

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

 

CHRISTMAS CLASSICS (CONCERT)

Luminescence Chamber Singers and guests

Luminescence Children’s Choir

Samuel Giddy, organ

Valdas Cameron, percussion

Directed by Roland Peelman

Wesley Uniting Church, Forrest 15 December

 

Reviewed by Len Power

 

It was a time-travelling evening of Christmas music from Medieval carols to classic Yuletide songs and traditional Nativity hymns.

Directed by Roland Peelman, the combined forces of Luminescence Chamber Singers and guest artists, the Luminescence Children’s Choir, organist, Samuel Giddy and Valdas Cameron on percussion made this a memorable evening of familiar and not so well-known Christmas music.

The concert commenced dramatically with the Chamber Singers as they entered singing down the aisle of the church, led by Roland Peelman and Valdas Cameron on drums, while Samuel Giddy provided deep resonant tones on the organ. In the gallery above and behind the audience, the Children’s Choir added their voices, producing a sound that galvanised the audience immediately.

Luminescence Children's Choir

They had begun with a 14^th century anonymous Spanish song, “Stella Splendens”. It was followed by another song from the same era “Qui creavit celum – Song Of the Nuns Of Chester”, a quietly haunting work beautifully sung, and “Eya Jhesus Hodie” with a 15^th century text and music composed in the musical idioms of the 14^th century by David Yardley in 2020. Another rousing 14^th century song followed, the Bavarian “Verbum Patris humanatur”. It was given a fine performance by the choirs.

The large program of songs included a 16^th century work by William Byrd, “Lulla Lullaby”, an arrangement by Ruth McCall of two melodies for “Away In A Manger”, “In The Bleak Midwinter” by Harold Darke from 1911 and “Gabriella’s Song” by Stefan Nilsson from 2004, amongst others.

Roland Peelman and the Luminescence Chamber Singers and guests

Samuel Giddy’s organ performance of “Swiss Carol” by Louis-Claude Daquin from the 18^th century was one of the highlights of the concert.

Other highlights included “The Song Of the Birds”, a traditional Catalan song arranged by Roland Peelman, which was hauntingly sung, and the uplifting “Gabriella’s Song” was sung with great feeling by soprano, Rachel Mink.

Rachel Mink

The concert concluded with the classic carols, “Hark! The Herald Angels Sing”, “O Come, All Ye Faithful” and “Silent Night”. The audience was invited to sing with the choirs and the result was an intense feeling of community as the huge sound filled the church, bringing this often spectacular and enjoyable evening of Christmas music to a close.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 16 December 2023.

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/.

  

BLOWN AWAY! (CONCERT)

David Pereira, cello

Edward Neeman, piano

Amanda Tao, flute

Anna Chung, clarinet

Australian Centre for Christianity & Culture, Barton, 10 December.

 

Reviewed by Len Power

 

An end of year concert, “Blown Away!” was the 5^th “70 Not Out!” program of David Pereira’s 70^th birthday year celebrations.

His guest performers were the pianist, Edward Neeman, Pereira’s regular collaborator, and two young professionals, Amanda Tao on flute and Anna Chung on clarinet. Each of the four performers have a formidable list of credentials from the music world, so it was no surprise that the concert included a wide range of challenging works by several composers from the 19^th century to the present day.

The first half of the program commenced with “Trio for flute, cello and piano” by the Czech composer, Bohuslav Martinů. The first movement was bright and rich, giving way to a reflective second movement and finishing dramatically. The trio gave it an exciting and colourful performance.

The second work was “Trio for clarinet, cello and piano Op. 114” by Johannes Brahms. This more familiar work was romantic, reflective and dramatic in places. The trio played it superbly.

Edward Neeman, piano and David Pereira, cello

The second half of the program commenced with a new work by David Pereira – “Sounds for Sylvia, for clarinet and cello”.  The three parts were described in the program as “Free Spirit – Mother – Playful” and the music certainly evoked images that were joyful, edgy, warm and, with the tune of “Three Blind Mice” suddenly appearing in the third part, the description of “Playful” was certainly apt.

Astor Piazzolla’s well-known work, “Oblivion”, followed and was given a beautifully passionate and romantic performance. Swedish contemporary composer, Svante Henryson, was represented with “Off Piste for clarinet and cello”, a quirky, cheerful, often sly work that the performers clearly enjoyed playing.

The final work played was Ukraine-born Nikolai Kapustin’s “Trio for flute, cello and piano”, a modern, jazz-inflected work that was melodic, haunting and, with its rousing finale, was the perfect end to a delightful concert that truly was a celebration in itself.

Photo by Peter Hislop 

This review was first published by Canberra CityNews digital edition on 11 December 2023.

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

 

 

O MAGNUM MYSTERIUM (CONCERT)

Oriana Chorale

Directed by Dan Walker

Wesley Uniting Church, Forrest 1 December

 

Reviewed by Len Power

Oriana Chorale’s final concert of 2023 delivered masterworks from two of the 20^th century’s greatest composers, Francis Poulenc and Frank Martin, as well as works by the 16^th century Italian composer Madalena Casulana and Sydneysider Brooke Shelley.

 Beginning with “Nativity”, a setting of a poem by James McAuley, Brooke Shelley’s work opened quietly and built to an emotional sense of wonder at the beauty of small natural things in this world. The choir sang it with great accuracy and sensitivity, achieving an appealing depth of feeling.

After this exquisite opening, Frank Martin’s “Mass for Double Choir” followed. This work, composed between 1922 and 1926, did not receive a premiere until 1963 in Hamburg, Germany. It is now considered one of the great choral works and it was given a fine presentation by the choir. The highlights of their performance included the dramatic and complex combined Sanctus and Benedictus and the very movingly sung Agnus Dei.

Oriana Chorale

The 16^th century composer, Madalena Casulana’s “O Notte O Cielo O Mar” (oh night, oh sky, oh sea) comes from her second book of madrigals. This work is notable for its emotional restraint and the choir gave it a sense of great beauty and reflection.

Dan Walker, director

The final work of the program, Francis Poulenc’s “Quatre motets pour le temps de Noёl”, paints four colourful scenes from the nativity story. The first part takes us immediately into the wonder and mystery of the nativity, leads into the witness by the shepherds, the sighting of the star and, ultimately, celebrates the birth of Christ.

There was strength in the choir’s singing of the profound opening and their delivery of the description of the wise men sighting the star was hauntingly beautiful. The singing of the finale was dramatic and joyful, making this a perfect end to a concert that left us in no doubt that the Christmas season has begun.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 2 December 2023.

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

  

KING LEAR (PLAY)

Written by William Shakespeare

Directed by Joel Horwood

An Echo Theatre Production

Q Theatre, Queanbeyan to 3 December

 

Reviewed by Len Power 30 November 2023

Shakespeare’s tragedy, “King Lear”, based on a legend, is a story of power, ambition and death in a regal family that begins with Lear, aware of approaching old age, planning to divide the kingdom between her three daughters.

The formidable role of King Lear has been a demanding challenge for many fine actors over the years.  These days gender changes for roles have become more acceptable, giving women the opportunity to play roles traditionally denied to them.  It’s one thing to take on the challenge of the role of the ageing ruler who suffers family betrayal and descends into madness, but it takes a very skilful actor to make a success of it.

From the moment she appears onstage, Canberra’s Karen Vickery as Lear plays a queen with a commanding and convincing strength. The warmth of affection towards her family at the start of the play makes her someone we can identify with and her subsequent descent into madness is more moving because of it.  Vickery’s journey in the role is regal, passionate and frightening in her rage and madness but is ultimately touching.  It’s a memorable performance that must be judged a success.

Karen Vickery and Petronella van Tienen

Director, Joel Horwood, has assembled a fine company of actors who all bring confidence and skill to their roles.

Lear’s three daughters, played by Lainie Hart as Goneril, Natasha Vickery as Regan and Petronella van Tienen as Cordelia, give strong performances as three distinct personalities whose motivations are clear to us, if not to Lear.

Karen Vickery, Lainie Hart and company

Gloucester is given a sensitive portrayal by Michael Sparks, a man who strives for good but suffers hideously in the process. As his illegitimate son, Edmund, Lewis McDonald achieves a multi-faceted character who is charming but evil and motivated by bitterness. Josh Wiseman as Gloucester’s first-born son, Edgar, is particularly fine in his disguise as the mad Tom o’Bedlam.

Josh Wiseman

There are notable performances by Petronella van Tienen, in the dual role of the Fool, Christina Falsome as Kent, Jim Adamik as Albany and Tom Cullen as Cornwall. The rest of the cast in smaller roles all give fine support.

The production design by Kathleen Kershaw utilizes the full width of the stage. The first half of the show uses curtaining to great effect, especially in the storm sequence and then the plain backdrop for the second half evokes an open country setting. With a sensitive lighting design by Zac Harvey it all comes alive.

Joel Horwood has given us a fine production with in-depth performances of a challenging and demanding play that deserves to be seen.

 

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 YOUNG SOLOISTS (CONCERT)

Alexander Gilman, artistic director

Snow Concert Hall, Red Hill, 25 November

 

Reviewed by Len Power

 

In their first Australian concert, The Young Soloists, an award-winning group of young virtuosos between the ages of 14 and 23, showed why their world-class reputation has preceded them.

Established in 2013 by violinist Alexander Gilman, who plays in the orchestra, the group members perform as soloists with the orchestra, accompany each other, and share their passion for music. They have performed in many of the prestigious concert halls in the world.

In the first half of the concert, the ensemble performed a wide-ranging program of works by the composers Holst, Bruch, Paganini, Skoryk and Bottesini.

The whole orchestra commenced with Holst’s “St. Paul’s Suite”, a work full of colour with dramatic moments that clearly showed the skill and passion of these players.

Alexander Gilman (4th from left in foreground) and The Young Soloists

“Kol Nidrei” by Bruch was the second item, with 14 year old Lyam Chenaux playing solo cello with the orchestra. His assured performance of this well-known work was one of the highlights of the concert. Chenaux may not yet be as tall as his cello but he showed he will be a giant in the music world in years to come.

Lyam Chenaux

Paganini’s “La Campanella” from Concerto No.2 is a formidable work for any violinist to play. Ji Eun Park skilfully played the solo part on viola, giving it a rich, appealing sound.  There was a second Paganini work, the ‘Variation on the Moses theme by Rossini” and Tara Stranegger played the solo cello part with great sensitivity and passion.

The “Melody” by Skoryk was given a beautiful, romantic performance by Agnes Oberndorfer on solo viola and Clarissa Bevilacqua on solo violin and Alexander Heather on solo double bass played Bottesini’s “Gran Duo Concertante”, giving an electrifying performance of this dynamic work. They made parts of it seem like a good-natured duel between their instruments.

The second half of the program was a performance of Beethoven’s “Sonata No. 9 (‘Kreutzer’) Op. 47 for Violin and Strings”. Haeun Honney Kim played the solo part on a rare and priceless Stradivarius “Kreutzer” violin.

Haeun Honney Kim and the Stradivarius "Kreuzer" violin

The first movement was full of drama with an excellent performance by Kim. The second movement with its beautiful melodies and then its rousing finale made this a memorable performance by the orchestra and soloist deserving of the standing ovation given by the audience.

Two encores followed – “Czardas” by Monti with Emmanuel Webb on solo violin and Alexander Heather on solo double bass and a superb arrangement of, surprisingly, “Yankee Doodle” with Haeun Honney Kim on solo violin.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 26 November 2023.

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

 

METAVERSE OF MAGIC

Co-creators: Siobhan Ginty, Suzanne Jones and Del Wynegar

Directed by Siobhan Ginty, Associate Director: Del Wynegar

Production: JONES Theatrical Group, Sydney Coliseum Theatre, Canberra Theatre Centre and Queensland Performing Arts Centre

Canberra Theatre, Canberra Theatre Centre to 3 December

 

Reviewed by Len Power 23 November 2023

 

It used to be enough in magic shows to just have a magician, a props table and a pretty assistant. Now the computer generation has “Metaverse Of Magic”, a spectacular, interactive show that dazzles the eyes with stunning production values built around a troupe of very clever magicians.

The magicians, Charli Ashby, HARA, Horret Wu, Jarred Fell, Sabine van Diemen and Ash Hodgkinson aka Ash Magic are a young, international group. All of them perform astounding illusions with great style leaving us open-mouthed with wonder.

Illusionist, HARA

This is a show has two levels. You can sit back and be entertained in the usual way by this colourful, energetic entertainment or you can choose to interact with a computer game that is part of the show and works via your phone.

Clearly a lot of thought and planning has gone into this game by Simone Clow and George Kacevski of ZEBRAR.  It was easy to follow the set up instructions issued before the show and it added an exciting and challenging extra dimension if you decided to play it.  I had a woeful score at the end of the game compared to other players, but I certainly had fun playing it.

Alex Hodgkinson aka Ash Magic checks the game scores

This co- production brings together the work of a number of very creative people. The eye-popping production design is by Patrick Larsen of Studio Bound, the lighting and video design is by Paul Collison of Eleven Design, sound design is by Julian Spink, composition is by Adam Gubman of Moonwalk Audio, choreography is by Lauren Elton and Nick Eltis of Technik is responsible for the technical direction and design.

It is a slick entertainment utilizing the best in current computer technology and is full of top class illusions. It is hugely entertaining and suitable for children as well as adults.

 

Photos by Jeff Busby

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

AMERICA SINGS! (CONCERT)

 

AJ America, mezzo-soprano

Roland Peelman, piano

Art Song Canberra

Wesley Music Centre, Forrest 19 November

 

 Reviewed by Len Power

 

Exploring the changing world of American art song, “America Sings!” was a fascinating journey that focussed on composers like Stephen Foster, known as the “Father of American Music”, through foreign composers that visited America such as Gustav Mahler, who brought a German influence, and Australia’s Peggy Glanville-Hicks as well as contemporary American composers like Charles Ives and Taylor Swift.

The mezzo-soprano, AJ America, is a performer, conductor and creative producer. She is the Artistic Director and founder of Luminescence Chamber Singers and Children’s Choir and currently serves as Chair of the Minister’s Creative Council.

Pianist, Roland Peelman, has been active in Australia for over 30 years as a conductor, pianist, artistic director and mentor to singers, composers and musicians.  He has been the Artistic Director of the Canberra International Music Festival since 2015.

The program commenced with two songs by Stephen Foster, “Beautiful Dreamer” and “Hard Times Come Again No More”.  A J America’s rich mezzo-soprano gave these songs a comforting warmth.  Her clear diction made every word count.

Roland Peelman and A J America

The program of many contrasting songs was a good showcase for America’s fine vocal ability.  Highlights from the first half of the program included “Songs To The Dark Virgin” by Florence Price and Charles Ives’ electrifying “Majority” which was given a strongly dramatic and winning performance by America. Peelman’s breath-taking accompaniment to this work included moments where, not just his fingers, but his whole arm had to be used on the keyboard!

Roland Peelman playing Charles Ives' "Majority"

The second half of the program commenced with Peggy Glanville-Hicks’ haunting “Thirteen Ways Of Looking At a Blackbird”, followed by the edgy “Five Elegies” by Hans Eisler, a life-long collaborator with Berthold Brecht. The two very different works were sung well by America.

A J America

After the songs by Eisler, it seemed a natural step to two songs by Kurt Weill, “Dirge For Two Veterans” from the poem by Walt Whitman and the sublime “Speak Low”. America sang this with a sensitivity that added a welcome dimension to this well-known song.

The program finished with “The Last Great American Dynasty”, a 2020 song by Taylor Swift. America and Peelman gave this a performance that was both witty and colourful, bringing this highly stimulating program to a close.

 

Photos By Peter Hislop

 

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

 

BLAMEY STREET BIG BAND SWINGS WITH THE BEATLES (CONCERT)

Conducted by Ian McLean

Harmonie German Club, Narrabundah, 18 November

 

Reviewed by Len Power

 

The Harmonie German club was really swinging when Ian McLean and his Blamey Street Big Band in concert gave an extra dimension to the much-loved music of the Beatles.

Blamey Street Big Band

Including at least one song from every Beatles studio album and some of their singles, the 22 piece big band moved from one hit to another, showcasing the extraordinary output from the Beatles’ 13 albums and showing in these arrangements how adaptable these songs are. Canberra’s leading jazz vocalist, Leisa Keen, joined the band for many of the songs, adding an extra sheen to this memorable evening of music.

Leisa Keen

The band, conducted with energy and sensitivity by Ian McLean, set an appealing, relaxed mood with a delightful jazz-funk arrangement of “Blackbird” and then Leisa Keen joined them to sing two numbers, “Here Comes The Sun” and “I Wanna Hold Your Hand”. Both songs were superbly sung and played, bringing back memories to those of us of a certain age who were around when the songs first burst onto the scene in the 1960s.

Ian McClean, conductor

Many of the songs had arrangements by the band’s principal saxophone player, Andrew Hackwill, and there were other arrangements written for the Count Basie Big Band, Ella Fitzgerald and others. In a first, band member and saxophonist, Jack Percy’s beautiful arrangement for “All You Need Is Love” was heard and, surprisingly, Andrew Hackwill’s lush new arrangement for the Beatles song, “Now and Then”, released only recently, was hauntingly sung by Leisa Keen.  Various band members and their instruments were featured in certain songs.

In the second half of the show, guest conductor, Natalie Dajski, of the Band of The Royal Military College, expertly conducted four songs, “Norwegian Wood”, “Something”, “Octopus’s Garden” and “Eleanor Rigby”. The rest of the show was conducted by Ian McLean and included the songs “Yesterday”, “She Loves You” and “Penny Lane” as well as others, most of them sung by Leisa Keen.

Each of the evening’s songs was given an interesting, relaxed introduction by the conductors and Leisa Keen. Their personable connections with the audience and the fine music played and sung made this a memorable, nostalgic evening of song from the fondly remembered Beatles era.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 19 November 2023.

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

THE COMPLETE WORKS OF SHAKESPEARE (ABRIDGED) (REVISED)

Written by Adam Long, Daniel Singer & Jess Winfield

Directed by Ylaria Rogers

A Canberra REP production

Canberra REP Theatre, Acton to 2 December

 

Reviewed by Len Power 17 November 2023

If you are looking for a Christmas show where you can relax, leave your brain at the door and just have fun, “The Complete Works Of William Shakespeare (abridged) (revised)” might be just the show for you. I think we’re safe in assuming that no-one would be expecting a serious show with THAT title!

Written by Adam Long, Daniel Singer & Jess Winfield, it started out as a short send up of “Hamlet” at a fair in California 1983. Bit by bit, the show was added to until it morphed into “The Complete Works Of William Shakespeare (abridged)” and appeared with great success at the Edinburgh Festival in 1987. The rest is history with the show receiving an entry in the Guinness Book of Records as the longest running Shakespeare show on the West End in London after a run of 3,744 performances, ending in 2005.

Canberra REP’s production goes for the most silliness you can cram into two hours from start to finish with three actors, Callum Doherty, Alex McPherson and Ryan Street, giving high energy performances from start to finish. They must be exhausted by the end of the show.

There is quite a bit of imagination in the staging and the director, Ylaria Rogers, and the cast have milked every moment for maximum effect. This isn’t a thinking man’s comedy – the script and the playing are as broad and obvious as possible.  Kayla Ciceran’s set design of half-finished stage sets and messy heaps of props gives this crazy show the right atmosphere.

The play itself seems to run out of steam in the second act and concentrates on “Hamlet” with some cringe-worthy audience participation and the multiple running of this sequence, including backwards. The action at times has a sense of desperation about it as if the actors are trying too hard to be funny.

Comedy can be a personal thing and how you react to this show depends on your own taste. Many audience members on opening night were laughing their heads off while others “sat like patience on a monument” (“Twelfth Night”, Act 2 Scene 4).

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

 

 

 

33RD ACT ARTS AWARDS PHOTOS

 Here are the photos from Tuesday November 14's presentation of certificates for the ACT Arts Awards:

Photos by Len Power

(you're welcome to make copies - just right click and 'File Save As...)