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.