AMADEUS (PLAY)

Written by Peter Shaffer

Directed by Cate Clelland

Canberra REP production

Canberra REP theatre, Acton to 12 August

 

Reviewed by Len Power 28 July 2023

 

‘Amadeus’, a fictitious drama about the rivalry between Wolfgang Amadeus Mozart and the Austrian Court Composer of the time, Antonio Salieri, premiered in London in 1979 and was a big hit on Broadway in 1980.  A subsequent film based on the play won eight Academy Awards including Best Film.

Canberra REP’s production has a cast of 16.  It looks great with colourful period costumes designed by Deborah Huff-Horwood and an atmospheric set designed by the director, Cate Clelland.

The story, told in flashback by Salieri, covers the arrival at Court of Mozart.  To Salieri’s horror, Mozart is foul-mouthed and foolish but also a musical genius.  Salieri recognizes that Mozart’s ability is far superior to his.  He feels betrayed by God and plots a deadly revenge.

The huge roles of both Salieri and Mozart dominate the play.  Jim Adamik gives a towering performance as Salieri showing all aspects of this man reacting to a perceived threat to his position and blaming God for it.  There is an impressive stillness at times in his performance which gives way to thunderous outpourings of emotion.  This is a dangerous man to cross.  His soliloquy with God at the end of the first act is memorably powerful.

Jack Shanahan is a superb Mozart.  Underneath the uncouth behaviour and lack of tact in Court, Shanahan gives us a Mozart who is aware that he must control his offensive behaviour but also shows us a young man who loves life and has an extraordinary musical talent.  He is most impressive and touching in his final scenes as he desperately works on his Requiem while losing touch with reality.

There is also fine work by other actors in major roles, including Neil McLeod as an amusing and doddering Joseph II, Emperor of Austria and Sienna Curnow as Mozart’s wife, Costanze.  Tony Falla, David H. Bennett and Ian Russell are all highly effective as the Court officials.

Justice-Noah Malfitano and Michael J. Smith as the ‘Venticelli’ (little winds) provide the gossip on the happenings at Court.  Both give skilful performances in these difficult, fast-paced roles.

The rest of the cast as Citizens of Vienna and Harriet Allen in the smaller role of opera singer, Katherina Cavalieri, all add strongly to the play’s atmosphere.

The music, recorded by Christine Faron for Mozart and Salieri to ‘play’ on stage, has been skilfully done.

Cate Clelland, the director, has given us a memorable staging of this very entertaining and thought-provoking play.

 

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

  

THE MIRACLE CLUB (FILM)

 

Written by Joshua D. Maurer, Timothy Prager, Jimmy Smallhorne

Directed by Thaddeus O’Sullivan

A Transmission Films release

In cinemas from August 3

 

Previewed by Len Power 20 July 2023

 

In this age of Hollywood blockbusters, it’s nice to see that the film industry is still capable of producing films that quietly touch the emotions.

‘The Miracle Club’ is a heart-warming film about three ordinary women and close friends, Lily (Maggie Smith), Eileen (Kathy Bates) and Dolly (Agnes O'Casey) from a hard knocks community in Dublin, Ireland.

Chrissie (Laura Linney), has returned from the U.S. after a long absence for her mother’s funeral.  She gets a hostile reception from Lily and Eileen for reasons that become clear as the film progresses.

 As a result of a local talent quest, the three women win a pilgrimage to Lourdes in France.  Chrissie also joins them at the last minute.  During the trip, this uneasy group must confront their past while searching for personal miracles.

Maggie Smith, Agnes O'Casey and Kathy Bates

The film impresses with its very real characterizations, its deliberate pacing, its photography and the performances of the four women and the colourful community of people around them.

Maggie Smith is superb as Lily, a religious woman whose son drowned many years before.  Well known for her comedic performances, this is an opportunity to see this fine actress in a serious role.  There are still flashes of humour - Maggie Smith is priceless as a backup singer in a talent contest.

Maggie Smith as Lily

Kathy Bates, well-remembered for her roles in ‘Misery’ and ‘Titanic’, is convincing as a bitter Irish woman, Eileen, who is unable to forgive the past and Laura Linney is quietly effective as the woman returning from the US.  Agnes O’Casey as Dolly, is very real as a younger woman struggling with domesticity as well as keeping her own identity.

Once in Lourdes, the film fascinates with its depiction of the pilgrims visiting the grotto and the healing springs.  The basilica and the area surrounding is photographed beautifully by John Conroy.

Do the women get their hoped for miracles?  There have been so few miracles documented at Lourdes over the years that it seems unlikely.  Maybe there are miracles that they are not looking for?

 

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

FLORESCENCE (CONCERT)

The Australian String Quartet

Gandel Hall, National Gallery Of Australia 23 July

 

Reviewed by Len Power

 

“Florescence”, or full-flowering, was an apt theme for this dazzling concert. The program consisted of four works designed to show the composers at their best.

The Australian String Quartet has been performing internationally since 1985. Based at the University Of Adelaide, where they are Quartet-In-Residence, the four performers, Dale Barltrop (violin), Francesca Hiew (violin), Christopher Cartlidge (viola) and Michael Dahlenburg (cello), have a formidable set of individual credits between them.

From left: Dale Barltrop, Francesca Hiew, Christopher Cartlidge and Michael Dahlenburg

Commencing with “Movement For String Quartet” by Australian violist and composer, Justin Williams, this work, written in 2020 during the Covid lockdown, was dark and edgy with a mood of uncertainty, contrasting with joyful flashes of optimism. It captured the emotions of that year perfectly.

The second work performed was Franz Joseph Haydn’s “String Quartet In B minor”, one of six quartets by the composer that were published in 1781. The first movement was unusual, having only one melody instead of the traditional two. It was inventive and playful and led on to a joyful second movement of question and answer phrases that were a delight.

The third movement was a slow, stately dance and this brought us to a wild and furious finale that was brilliantly played.  It was the highlight of the first half of the concert.

Fantasia No. 6 by Henry Purcell opened the second half of the program. Written in 1680 for four viols (predecessors of today’s string instruments), it is has four different melody lines, two fast lines and two slow. The slow sections were sublimely atmospheric, ending in a peaceful resolution.

The final work presented was Antonin Dvoȓák’s “String Quartet No. 14 in A-Flat Major”. Composed in 1895, it was his final string quartet.

The work is full of warm, dance-like melodies, at times reflective and lyrical, and with Dvoȓák’s use of Czech folk music. Each part had its own unique sensibility, leading to a final movement that brought it all together to a satisfying and triumphant close.

The performance of each of these works was masterly and clearly demonstrated that this quartet is at the top of their game – in full-bloom, you might say.

 

Photo by Laura Manariti

This review was first published by Canberra CityNews digital edition on 24 July 2023.

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

 

THE BACH PROJECT (CONCERT)

The Michelle Nicolle Quartet

The Street Theatre 21 July

 

Reviewed by Len Power

 

One of the great composers, J.S. Bach’s music and its often abstract nature makes it a good choice for re-imagination and improvisation.

Jazz ensemble, the Michelle Nicolle Quartet, in their concert at the Street Theatre, showed a sold out audience how this could be achieved with spirit and superb musicianship.

For 24 years, the Michelle Nicolle Quartet has been interpreting and re-imagining music as a 21^st century improvising chamber group.  Vocalist, Michelle Nicolle, was joined onstage by guitarist Hugh Stuckey, bassist Tom Lee and drummer Ronny Ferella.

From left: Michelle Nicolle, Ronny Ferella, Tom Lee and Hugh Stuckey

The Bach Project was initiated by the University of Adelaide’s Elder Conservatorium, inviting the MNQ to perform for the 2014 Bach Festival. The quartet’s arrangements showcase the mastery of J.S. Bach’s compositions and add a new flavour to the improvisational elements found in these great works.

The quartet performed 10 works, most of them from The Bach Project.  There were also two other songs – “Naturally What” and “One Beer”.

They commenced with “Bist du bei mir”, haunting and sensuous and a perfect mood-setting piece for the evening. Nicolle’s voice just draws you in and the musicians accompanying her are with her all the way.  The result is spell-binding and continued throughout the evening.

They continued with other Bach works in their unique musical style including “Minuet in G”, “Musette in D Major” and “March in D(Ornette)” – a re-imagining of this work as if it were played by Ornette Coleman.

There were also superb arrangements of “Fugue in Gm” combined with “Round Midnight” by Thelonius Monk and “Sarabande (from Partita No. 1) fused with “Lonely Woman” by Horace Silver.  These were the highlights of the evening.

The final work performed, “Komm, süsser Tod” (Come Sweet Death), their interpretation was full of the yearning for rest in death and Heaven. In their hands, it was strangely uplifting and a perfect end to this sublime concert.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 22 July 2023.

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

  

GOOD WORKS (PLAY)

Written by Nick Enright

Directed by Julian Meyrick

The Mill Theatre At Dairy Road, Fyshwick to August 12

 

 Reviewed by Len Power 19 July 2023

 

Written in 1995 by Australian Nick Enright, the play explores the memories of members of two Irish Catholic families, the Donovans and the Kennedys.  Covering 60 years, the play moves randomly between the 1920s, the 50s and the 80s and builds up a vivid picture of life in those times.

The ‘Good Works’ of the play’s title depend on everyone’s personal point of view.  The religious influence of the time on these people is strong and far-reaching.  It underlies thoughts, judgements and decisions, many leading to conflict and tragedy.

The cast of six play the members of this family at various times in their lives.  At first, the random nature of the memories seems confusing but eventually a clearer picture emerges.  The incisive performances of all six actors add considerably to the production’s success.

Oliver Bailey and Martin Everett give deeply detailed performances as the two boys who share a binding friendship growing up together before an incident tears them apart.  Adele Querol gives a spirited and moving performance as Rita, a girl and woman who tries to fight against the perceived restrictions of her life.  Lexi Sekuless skilfully plays Mary Margaret, Rita’s school friend, who grows into a woman of strong, well-meaning principles.  Helen McFarlane gives finely etched characters in a number of roles and Neil Pigot, who also plays multiple roles, is particularly effective as the sadistic Catholic Brother Clement.

Director, Julian Meyrick, keeps the highly complex interaction of these characters and the time shifts clear.  The clever lighting design of Stefan Wronksi, Jennifer Wright and Tim Sekuless helps to keep us aware of these different time periods.  The simple but attractive set designed by Kathleen Kershaw works well.  It has a dreamlike, shadowy feeling about it.

This is a play that resonates for anyone who lived during those time periods.  For everyone else, it is a highly effective look back at a very different time in this country.

 

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

  

GATHER (DANCE)

QL2 Dance in partnership with Youth Dance Australia

Choreographed by:

Timothy Farrar (AUSTI Dance, Wollongong NSW)

Caitlin Comerford (Stompin, Launceston TAS)

Gabrielle Rose (FLING, Bega NSW)

Ruth Osborne and Stephen Gow (QL2 Dance, Canberra ACT)

Alexandra Ford (Catapult, Newcastle NSW)

Kyall Shanks (Yellow Wheel, Melbourne VIC)

At The Playhouse, Canberra Theatre Centre  10 July 2023

 

Reviewed by Len Power

 

‘Gather’ is the Meet Up Performance of this year’s gathering of Australian Youth Dance companies in Canberra.  Normally held every two years, this is the first gathering after postponements due to Covid.

Meet Up is an opportunity for youth dance company leaders and young dancers to maintain national connections, discuss important issues and opportunities and share knowledge and skills.  It is also an opportunity for their work to be performed on stage at the Playhouse.

This year, six dance companies from around Australia performed six new dance works.  The local QL2 Dance company was joined by dance companies Yellow Wheel (Melbourne), Stompin (Launceston), Catapult – The Flipside Project (Newcastle), AUSTI Dance and Physical Theatre (Wollongong) and FLING Physical Theatre (Bega).

The evening of dance commenced with a short but visually striking contemporary Aboriginal piece by Jahna Lugman of Bundjalung and Gumbaynggirr country and Julia Villafor of Waigman country.  The two dancers showed considerable skill and technique in their performance of this work.

What followed were six works by each of the companies’ choreographers, developed in collaboration with the dancers.  In each case, the imagination shown in the works was very appealing and mostly very effective.  Some of the underlying meaning of the works needed more clarity but the dancers performed them all with sensitivity, technical skill and enthusiasm.

It was a good opportunity to see the work of other Australian companies as well as our local QL2 Dance company.  It is clear that these companies provide an essential and worthwhile training ground for the choreographers and dancers of the future.

 

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

  

VOICE UNWRAPPED (CONCERT)

Sarah Mann, soprano

Ella Luhtasaari, piano

with

Milan Kolundzija, clarinet

Alira Prideaux, soprano

Sitiveni Talei, baritone

Larry Sitsky Recital Room 6 July

 

Reviewed by Len Power

Promised as an evening of “mainstream artsy and operatic hits”, the audience was treated to a well-planned program of mostly well-known operatic works cleverly arranged to flow effortlessly from one to the other.

Sarah Mann, soprano, 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 teaches classical singing at the ANU School of Music and is researching singing perception. This concert is part of her PhD project exploring the ways the operatic singing technique is perceived and processed by listeners.

Ella Luhtasaari, piano and Sarah Mann, soprano

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.

Each of the songs were fine examples of operatic works that affect an audience through verbal and non-verbal elements, creating a sense of colours, textures, locations and emotions.

Opening with “Juliet’s Waltz” from Gounod’s “Roméo et Juliette”, Sarah Mann conveyed the joyful moment of youth inherent in the song.  It was followed by Messaien’s “Vocalise étude”, in which the emotional sense was produced by this melodic work without words.

Milan Kolundzija and his clarinet then joined the singer with Schubert’s “Shepherd On The Rock”.  Mood, thoughts and imaginary conversation were evoked by this work, as well as the coming of spring.  Hauntingly played and sung, this work was a highlight of the concert.

Other colourful and emotional works on the program ranged from Handel’s 18^th century “Morrai si l’empia tua testa” from “Rodelinda” to Elena-Kats-Chernin’s “Eliza’s Aria” from the ballet “Wild Swans” of 2002, all of them superbly sung by Mann, who seemed to slip effortlessly into the emotional world of each song. Luhtasaari’s accompaniment on piano was excellent throughout.

For the rousing “To part is such sweet sorrow” from “Die Fledermaus” by Johann Strauss, Mann was joined by Alira Prideaux, soprano, and Sitiveni Talei, baritone. Together, they gave this bright work its full sense of good cheer, the perfect end to a highly enjoyable concert.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 7 July 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/.

 

ST JOHN PASSION (CONCERT)

 

Andrew Goodwin singing as the Evangelist

Music by J.S.Bach

Canberra Symphony Orchestra

Conducted by Elizabeth Scott

Llewellyn Hall, 30 June

 

 

Reviewed by Len Power

 

 

From the electrifying singing of the chorus of the opening of Bach’s “St John Passion”, it quickly became apparent that this performance was going to be something special.

Composed for Good Friday 1724, this story of Christ’s passion is dramatic and thoroughly involving as Bach’s glorious music weaves its spell over this much told story.  The story begins with Christ in the garden of Gethsemane and continues through his trial and, finally, his crucifixion.

The Canberra Symphony Orchestra, conducted by Elizabeth Scott, was joined by soloists Chloe Lankshear, soprano, Andrew O’Connor, bass, David Greco, bass, Tobias Cole, counter tenor and Andrew Goodwin, tenor, also taking over the Evangelist role from Robert Macfarlane, who was indisposed. Dan Walker, tenor, sang the smaller role of Servant.

The orchestra, conducted very well by Elizabeth Scott, played superbly throughout and the chorus singing, directed by Tobias Cole, was very strong and accurate, bringing out the full colour and meaning of Bach’s dramatic music.

The singing of the principal parts was notable for the way the distinctive voices complemented each other. Highlights included Chloe Lankshear’s beautiful singing of “Dissolve, my heart, in floods of tears”, Tobias Cole’s aria, “It is finished”, Andrew O’Connor’s heartfelt singing throughout of the role of Jesus and David Greco’s aria, ” My precious saviour, let me ask”. Andrew Goodwin gave an extraordinary performance in the large role of the Evangelist, singing it with assurance, drama and great appeal.

 

Photo by Martin Ollman

 

This review was first published by Canberra CityNews digital edition 1 July 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/.