SARAH TURNS 100 - BLAMEY STREET BIG BAND (CONCERT)

 

Conducted by Ian McLean

Vocalist: Leisa Keen

German Harmonie Club, Narrabundah November 2

 

Reviewed by Len Power

To celebrate vocalist, Sarah Vaughan’s 100^th year since her birth, the Blamey Street Big Band and Canberra vocalist, Leisa Keen, performed a large selection of music and songs associated with the singer. This birthday party was an evening to remember!

Born in 1924 in New Jersey, USA, Sarah Vaughan became one of the most celebrated jazz and popular singers of the 20^th century. From a talent contest that she won in 1942 at New York’s famed Apollo Theatre, to working with Earl Hines’ and Count Basie’s big bands and a solo career as an award-winning vocalist, she worked continuously until shortly before she died in 1990.

Conducted by Ian McLean, the band commenced with an arrangement by Dave Wolpe of Johnny Green’s, Body and Soul, the tune that Vaughan sang to win the talent contest at the Apollo. It was followed by Cavernism, composed by Earl Hines. Both tunes were fine mood-setting introductions to the world of Sarah Vaughan.

Leisa Keen then joined the band to perform songs associated with Vaughan. Commencing with Perdido, composed by Juan Tizon, a trombonist with Duke Ellington’s orchestra, Keen’s distinct artistry with this song was a fine tribute to Vaughan, who was the first vocalist to record it.

Lisa Keen with the Blamey Street Big Band

Among the various songs presented by Keen in the first half of the program, standouts were Tenderly, a 1947 song composed by Walter Gross, Just Friends, which featured passages of scat singing, for which Vaughan was renowned, and Misty, which became Vaughan’s signature song. Keen also gave a sublime performance of the lesser-known song, Gardens In The Rain, composed by Carroll Gibbons and a sultry performance of the Broadway song, Whatever Lola Wants.

The band performed Kansas City Shout, a number associated with Count Basie, and I’m Gonna Live Till I Die by Al Hoffman, which brought the first half of the program to a rousing end.

Goin’ On, composed and arranged by Count Basie band member, Benny Carter, was the Blamey Street Big Band’s opening number of the second half. Leisa Keen then sang tunes from Vaughan’s pop vocalist era. Each song was given a superb performance with I Can’t Give You Anything But Love, a slow and sultry, Honeysuckle Rose, I Left My Heart In San Francisco and an up-tempo arrangement of After You’ve Gone, particularly memorable.

Vaughan’s nickname was “Sassy”. Keen also performed Sassy’s Blues, composed by Sarah Vaughan and Quincy Jones and arranged by Andrew Hackwill, saxophonist with the Blamey Street Big Band. Keen’s expert scat singing led to an unexpected and electrifyingly long note, which she sustained superbly.

Played when Vaughan died, A Song For Sarah, was a haunting and poignant tune played sensitively by the band. Keen returned and, with the band, gave an uplifting version of Jerome Kern’s Nobody Else But Me to finish this excellent tribute to Sarah Vaughan.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 3 November 2024.

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

 

NICE WORK IF YOU CAN GET IT (MUSICAL)

 

Book by Joe Pietro

Inspired by material by Guy Bolton and P.G. Wodehouse

Music and lyrics by George and Ira Gershwin

Directed by Dave Smith

Musical Direction by Brigid Cummings

 

Reviewed by Len Power 1 November 2024

 

Broadway musicals from the 1920s generally followed a formula of light entertainment with throw-away stories, making most of the shows in their original form unrevivable today. Unfortunately, most of the shows with music and lyrics by the Gershwins were written at that time.

“Nice Work If You Can Get It”, which opened on Broadway in 2012, takes the basic idea of bootlegging during Prohibition from the 1926 Gershwin musical, “Oh, Kay”, but fashions a new, gently satirical story stuffed with music from the Gershwin catalogue. The result is a show that follows the style of musicals from that era but pokes fun at characters, situations, manners and 20s musicals themselves with a modern-day sensibility.

Queanbeyan Players, with Dave Smith directing, have given us a lavish staging of this delightful show with fine performances from a strong cast who sing, dance and act their roles with skill and enthusiasm.

Luke Ferdinands as the rich, much-married playboy, Jimmy Winter, gives a fine, comical performance and Sienna Curnow plays the bootlegger, Billie Bendix, with warmth, wit and tons of energy. Both performers sing very well with a fine sense of the style of the era. Her singing of “Someone To Watch Over Me” and their duet “S’Wonderful” are outstanding amongst their many songs in the show.

Amongst the strong cast of leading players, Anthony Swadling as the bootlegger and pretend butler, Cookie, and Anna Tully, as Jimmy’s wife-to-be, Eileen Evergreen, give memorable comedic performances. Both are fine singers, too.

Kay Liddiard as Jeannie, a chorus girl, and John Whinfield as Duke, a not very bright, rough bootlegger, are delightfully funny in their performance of the song, “Do It Again”. Lillee Keating as the uptight Duchess, a crusader for Prohibition, is a standout with her performance of the song, “Looking For A Boy”, after her lemonade has been spiked.

Steven O’Mara, Pat Gallagher and Fiona Hale all have their moments to shine. The Vice Squad members and the Chorus Girls sing, dance and perform with a fine sense of the style of the times.

Kirsten Smith’s choreography shows a good understanding of the styles of dance from shows of the 1920s and the costume designs of Jess Zdanowicz nicely evoke the era.

The music for the large number of Gershwin songs is played very well by the band under conductor, Brigid Cummins. Listen carefully for references to other Gershwin music in this cleverly arranged score.

Director, Dave Smith, has brought all the elements of this large and fast-moving show successfully together to give us a stylish, colourful and highly amusing entertainment.

 

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

 

THE WHARF REVUE - THE END OF THE WHARF AS WE KNOW IT

Created by Jonathan Biggins, Drew Forsythe and Phillip Scott

Musical Direction by Phillip Scott

Directed by Jonathan Biggins and Drew Forsythe

Presented by Canberra Theatre Centre & Soft Tread Enterprises

Canberra Theatre, Canberra Theatre Centre to November 2

 

Reviewed by Len Power 26 October 2024

 

If politics is the beast we must have, at least we’ve had the Wharf Revue at the end of each year to put it all in a better and hilarious perspective. After 25 years, this year’s show is to be the last. Nothing goes on forever, but the full house at the Canberra Theatre on opening night gave the performers a well-deserved sendoff.

Once again, the quality of the humour and political satire was up there with the best. The creators and performers, Jonathan Biggins, Drew Forsyth and Phillip Scott, with the addition of the other cast members, Mandy Bishop and David Whitney, presented a bewildering number of sketches, songs and film clips in which no-one in the political arena was safe from their incisive humour.

Jonathan Biggins as Paul Keating

The show commenced with Jonathan Biggins in his uncanny persona as Paul Keating, who assured us that “the age of enlightenment never happened”. Miriam Margolyes, farts and all, with a tipsy Joanna Lumley gave us “Mad Ducks And Englishmen” and Annabel Crabb hosted the TV’s “Hindsight”, a continuing theme in the show on various hot topics.

Mandy Bishop (Joanna Lumley) and Phillip Scott (Miriam Margolyes)

Trying to list every personality presented in the course of the show is impossible but there were nicely devastating portrayals of Bob Katter, Tony Abbott, Gina Reinhardt, Clive Palmer, Geoffrey Robertson, Julia Gillard, Alan Koehler, Anthony Albanese, Bob Hawke, Kevin Rudd and many others.

Mandy Bishop as Jacqui Lambi

Highlights were Jonathan Biggins singing in a skimpy sparkling dress as Angus Taylor Swift, David Whitney as Peter Dutton declaring “Nuclear’s Here” and Mandy Bishop singing up a storm as Jacqui Lambi. There were also Phillip Scott’s “I’m A Boomer”, Drew Forsyth’s delightfully edgy and cross Pauline Hanson talking about skulbuggery and King Charles’ chlorination and the clever film and song on the state of America was a thoughtful and chilling change of pace.

Drew Forsythe as Pauline Hanson

The high quality of the scripting, the frantic pace of the production, Phillip Scott’s musical direction and the clever costuming and wigs made this a superbly executed entertainment.

Running over 90 minutes without an interval, the show came to an end all too soon with a farewell song to the tune of “Seasons Of Love” from the musical “Rent”. It was hard to believe this was the last Wharf Revue but, with luck, maybe they were bending the truth like the politicians they satirise so well.

 

Photos by Vishal Pandey

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

 

LOVE FROM A STRANGER (PLAY)

Written by Agatha Christie

Directed by Jon Elphick

Tempo Theatre Inc production

Belconnen Theatre, Belconnen to November 2

 

Reviewed by Len Power 25 October 2024

 

Opening in London in 1936, Love From A Stranger is based on Agatha Christie’s short story Philomel Cottage, which was first published in 1934. It’s the story of a woman who breaks off her engagement and impulsively marries a stranger, only to suspect him of dark deeds in his past.

This play is more of a Will-He-Do-It than a Whodunnit, but anyone thinking this is a more straight-forward mystery than usual, will be caught napping as Christie stealthily controls the minds of her unsuspecting audience yet again.

Elphick has assembled a fine cast of 8 to tell this story. It’s notable for the depth of character work that he and the cast have achieved to bring these 1930s people convincingly to life.

Lilliana Cazabon-Mitchell brings a believable innocence to the role of Cecily Harrington, a typical middle-class young woman of the period. Eloise Willis, as her friend, Mavis Wilson, quickly establishes herself as the more worldly of the two women. George Belibassakis gains audience sympathy with his nicely controlled performance as the jilted fiancé, Nigel Lawrence.

Bradley Jones (Bruce Lovell) and Lilliana Cazabon-Mitchell (Cecily Harrington)

Bradley Jones as the man of mystery, Bruce Lovell, is convincingly charming when he first meets Cecily and carefully adds layers of darkness to his character as the play progresses. Some of the later psychological aspects of his character show that this is a play of its time, but Jones plays the threatening behaviour at a believable level.

Debra Byrne  (Auntie Loo Loo) and Eloise Willis (Mavis Wilson)

Debra Byrne excels with her humorous character study of the interfering and bigoted middle-aged Auntie Loo Loo and there is especially strong support by Chris McGrane as a very funny gardener, Hodgson. Jessica Slusser as the maid, Ethel, and Kim Wilson as Dr. Gribble also give finely etched characterizations.

The women’s costumes and hats are attractive and nicely in period and the design of the two settings is artfully handled to give the impression of two completely different locations.

The entire cast of 'Love From A Stranger'

Renowned world-wide for her record number of murder mystery novels, Agatha Christie also wrote quite a number of plays. Jon Elphick, the director of Christie’s Love From A Stranger, has now directed 12 of them, which must be some kind of record, too.

 

Photos by Peter Butz - Methinks Creative

 

This review was first published by Canberra CityNews digital edition on 26 October 2024.

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

 

PETER AND THE STARCATCHER (PLAY)

Written by Rick Ellice

Based on the novel “Peter and the Starcatchers”

by Dave Barry and Ridley Pearson

Music by Wayne Barker

Directed by David Morton

Dead Puppet Society, Glass Half Full Productions,

Jones Theatrical Group and Damien Hewitt Production

The Playhouse, Canberra Theatre Centre to 27 October

 

Reviewed by Len Power 24 October 2024

 

J.M. Barrie’s much-loved play and novel about Peter Pan, the boy who never grew up, has been a powerful story that we remember fondly from childhood. “Peter and the Starcatcher”, a prequel of sorts to Barrie’s work, takes us back once again to that magical world, telling a story of Peter and how his faith in himself gave him the ability to fly.

Re-imagined from the 2012 Broadway production that won 5 Tony Awards, this new and lavish Australian production is a crazy and magical ride full of colourful characters and situations with a strong and emotional message of yearning and wish-fulfilment.

The orphans - Otis Dhangi (Boy-Peter), Benjin Maza (Ted) and Morgan Francis (Prentiss)

The large ensemble cast skilfully play orphans, British subjects and sea-farers. Outstanding in the cast are Colin Lane as Black Stache, the pirate Captain, Otis Dhagi as the orphan boy who becomes Peter, Olivia Deeble as Molly, the Starcatcher, Pete Helliar as the pirate, Smee, and Ryan Gonzalez as Fighting Prawn, the leader of the Mollusks, a group of ship-wrecked Italian chefs.

Underwater magic

The design work in this show is breath-taking, creating a world full of imagination. Magical effects and puppetry enhance the show at every turn and it moves at a frenetic pace. Designer and director of the show, David Morton, clearly had a vision which he has impressively realized.

The original and tuneful music of Wayne Barker is played by an onstage ensemble led by James Dobinson. The songs are performed very well by the cast, especially a very funny number sung by mermaids at the start of the second act.

The mermaids

“Peter and the Starcatcher” is a delightful and very funny show. Its powerful message reminds us that a sense of wonder is still there in the child in all of us.

 

Photos by Daniel Boud

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

 

8 WOMEN (PLAY)

Written by Robert Thomas

Translated by Céline Oudin

Directed by Chris Baldock

Mockingbird Theatre Company

Belconnen Arts Centre to 19 October

 

Reviewed by Len Power 17 October 2024

 

Set in an isolated mansion in the snowy countryside of 1950s France, where a family has gathered for the holiday season, it’s no surprise that a murder occurs. It quickly becomes likely that the killer must be one of the only eight women in the house, causing them all to suspect and doubt each other. With revelations of dark family secrets adding complications to the mystery, the stage is set for an entertaining comedy-thriller.

Written by the French writer, actor and movie director, Robert Thomas, in 1958, this popular play was given new life in 2002 with a sumptuous film musical adaptation by French director, Francois Ozon.

Cast member of this production, Céline Oudin, has translated the play, retaining its French appeal and successfully making it accessible to Australian audiences.

For his first production as the new company in residence at the Belconnen Arts Centre, director, Chris Baldock, has wisely chosen this very amusing French comedy-drama with its meaty roles for eight actresses.

Most of the cast in '8 Women'

The ensemble cast of women all give fine performances. Liz St Clair, Carole Wallace, Catherine Elias, Emily Borgo, Céline Oudin, Jane O’Sullivan, Liz Caddy and Maxine Eayrs quickly establish their individual characters, and they are particularly impressive in the panicky sequences where everyone is talking at once. There are some impressive screamers amongst the group, too.

The intimate performing space adds to the involvement in the play. It has been used very well with the audience on three sides close to the action and the set has well-chosen furniture and props to evoke the atmosphere of a French mansion.

Director, Chris Baldock, has obtained strong performances from his cast. The level of frantic action, the creation of an effective ensemble and attention to detail throughout, indicate the steady hand of his direction.

This is a funny and entertaining production that takes the whodunnit genre and gives it a distinctly French flavour.

 

Photo supplied by the production

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

 

SUBLIME VIENNESE SOUNDS (CONCERT)

Myee Clohessy, violin

John Martin, piano

Greenaway Studio, Chapman 13 October

 

Reviewed by Len Power

 

Sublime was the word for this afternoon program played by Myee Clohessy, violin, and John Martin, piano. They performed music by Beethoven and Schubert plus two works by composer and host of the concert venue, Greenaway Studios, Sally Greenaway.

Myee Clohessy has performed as a violinist with orchestras and ensembles in concert halls worldwide. She has also worked and recorded with some of Australia's top ensembles, including the Australian Chamber Orchestra, Pinchgut Opera, and the Australian Brandenburg Orchestra. An accomplished chamber musician, she was one of the founding members of the highly renowned Acacia Quartet, with whom she played for twelve years.

Myee Clohessy (violin) and John Martin (piano)

John Martin has worked extensively as a pianist and musical director in the music and theatre industry, in Australia and overseas. He is an accomplished composer and has performed regularly as a soloist and with numerous ensembles and has also toured internationally.

Both performers gave down-to-earth and often humorous introductions to each of the works played.

Their program commenced with Beethoven’s Sonata in D major Op. 12 No.1. This dynamic and colourful work in three movements was a great choice and was played very well.

To honour Sally Greenway’s significant birthday, they next played two works composed by her – Poems I, II and III and Summer Beckons. These exquisite, melodic works were given performances full of colour and emotion and it was a rare bonus to be able to see the composer’s delighted reaction while listening to these excellent performers play her music.

John Martin next played Franz Schubert’s Impromptu Op. 90 No. 4. Beethoven’s influence on Schubert’s compositional work was evident but the characteristic emotion in the music made it distinctly Schubert’s own. Martin gave it a fine performance.

The final work on the program was Schubert’s Sonatina in D major. Composed at the age of 19, and again in three movements, the beautiful melodies in this work and its brilliant finale were played with great sensitivity.

Another Schubert work, the most well-known of his Swan Songs with its haunting melody, was the perfect encore.

 

Photo by Peter Hislop

This review was first published by Canberra CityNews digital edition on 14 October 2024.

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

 

 

THE INHERITANCE PARTS 1 & 2 (PLAY)

Written by Matthew Lopez

Directed by Jarrad West

Everyman Theatre production

ACT HUB Theatre, Kingston to November 2

 

Reviewed by Len Power 12 October 2024

 

Inspired by E.M. Forster’s novel, Howard’s End, the past, present and future collide in Matthew Lopez’s play about love and legacy in the queer community. Focussing on a young group of friends in New York from about 2015, the play moves back and forth in time, showing how the past shapes and informs their current existence as well as their future.

Eric is a New York City lawyer trying to keep his family’s apartment; his boyfriend, Toby, is a successful but abrasive writer, living in a state of denial. From there, a web of touching and heartbreaking stories unfolds, remembering the dead and calling on the living to keep looking forward. E.M. Forster himself is on hand to offer comment and advice.

Lopez keeps the story moving swiftly with literate dialogue and deeply etched characters. The characters self-narrate, giving a theatrical immediacy and style to the play that is highly effective. Gay politics, past and present, and the AIDS crisis are discussed, as well as class divisions, personal survival, healing and a sense of belonging, while America faces a troubling future.

Director, Jarrad West, and his ensemble cast of 13 bring this stirring play brilliantly to life. A central square main acting area is reminiscent of a boxing ring where the battles of life take place. Raised levels either side cleverly represent other rooms and locations.

Joel Horwood (Toby) and James McMahon (Eric)

James McMahon gives a calmly sensitive and moving performance as the lawyer, Eric. Joel Horwood is superb as the self-destructive writer, Toby, and Andrew Macmillan skilfully plays the two roles of Adam and Leo, both men damaged emotionally in different ways.

There is also fine work from Rhys Robinson as businessman, Henry, and Karen Vickery as Margaret, the mother of an AIDS victim.

Duncan Driver (Morgan) and cast members

Duncan Driver plays Morgan (E.M Forster) with a wry and matter of fact elegance, as well as another key character in the story, Walter. Both parts are played by Driver with skill and a notable warmth.

The rest of the cast play a kind of Greek chorus throughout the play, commenting and pushing the narrative forward, but they also have their individual character moments to shine.

This epic play in two parts is a highly memorable and emotional theatrical experience. It’s a story set in the queer community, but its message of love, loss, hope and healing will resonate with everyone.

 

Photos by Janelle McMenamin and Michael Moore

This review was first published by Canberra CityNews digital edition on 13 October 2024.

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 BOY FROM OZ (MUSICAL)

Book by Nick Enright

Music and lyrics by Peter Allen

Directed by Kirsty Griffin

A Free Rain Theatre production

The Q Theatre, Queanbeyan to October 20

 

Reviewed by Len Power 4 October 2024

 

First opening in 1998 in Sydney, ‘The Boy From Oz’ achieved great popularity and a long run on stage with Todd McKenney as Peter Allen. Taken to Broadway with Hugh Jackman in the lead, it repeated its popularity throughout its limited run. It remains a popular musical in revivals around Australia.

Peter Allen was a larger-than-life figure for much of his later career, finding success as performer, singer and song-writer. The book of the show provides glimpses into his life from childhood in a New South Wales country town to the glittering lights of Broadway, using many of his popular and enduring songs along the way.

Jared Newall as Peter Allen

The performer who plays the marathon role of Peter Allen must have charisma, energy and strong vocal ability. Free Rain Theatre made a fine choice in casting Jared Newall in the role. His high energy performance, acting ability and fine singing capture the essence of Allen the man and performer. His singing of ‘Tenterfield Saddler’ and ‘Once Before I Go’ are particular highlights, topped only by his performance of the rousing ‘I Go To Rio’ with the company at the end of the show.

Jared Newall as Peter Allen with the 'Rockettes'

Janie Lawson gives a fine performance of great warmth as Allen’s mother, Marion Woolnough. In her capable hands, the level of emotion she brought to the song ‘Don’t Cry Out Loud’ was another highlight of the show.

The roles of Judy Garland and Liza Minnelli are difficult to play, given the well-known and unique characteristics of these performers. Meaghan Stewart as Garland and Stephanie Bailey as Minnelli give a sense of these of these personalities without making the mistake of trying to copy them. Both strong singers, they performed their songs very well.

There are many other effective performances from the large cast and many of the ensemble had cameo roles as well.

The large amount of choreography by James Tolhurst-Close and Kristy Griffin matched the dancing styles of the time periods of the story. It was danced with high energy by the ensemble, who also sang very well. Their singing of ‘I Still Call Australia Home’ with Jared Newall almost stopped the show.

The orchestra, conducted by Ian McLean, gave a rousing performance of the many songs in the show. 

The show moves with speed and energy and has been efficiently directed by Kirsty Griffin. The messy-looking words painted on the floor were a distraction and the set was minimal and uninteresting. The soundscape before the show was too loud and was such a jumble of words and sounds that it was annoying rather than atmospheric.

The ensemble of 'The Boy From Oz'

Overall, this is a good production with fine performances, singing and dancing. The cast display the life and times of Peter Allen with great appeal, making this an enjoyable show.

Photos by Janelle McMenamin

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

GHOSTLIGHT (FILM)

Screenplay by Kelly O’Sullivan

Directed by Kelly O'Sullivan and Alex Thompson

Vendetta Films

In Cinemas from October 10

 

 

Reviewed by Len Power 2 October 2024

 

Performing in live amateur theatre, people often discover a tremendous sense of community and even healing as they strive for a common goal. While analysing the characters they are to play or interact with, they can find themselves confronting their own desires and fears.

“Ghostlight”, centres on Dan, a melancholic middle-aged construction worker grieving over a family tragedy. Cut off from his devoted wife, Sharon, and talented but troubled daughter, Daisy, Dan finds comfort and community in a misfit company of amateur actors. While moonlighting in a low-rent production of Shakespeare’s tragedy, “Romeo & Juliet”, Dan is forced to confront his buried emotions.

Touching and at times gently funny, this is a story of a family shattered by tragedy and how they unexpectedly begin to recover.  Real-life acting family Keith Kupferer (Dan), Tara Mallen (Sharon) and Katherine Mallen Kupferer (Daisy) play these family members with tenderness and authenticity. Keith Kupferer gives a particularly intense and powerful performance as father and husband, Dan, a man who initially finds it difficult to get in touch with his feelings until confronted with his onstage character’s reaction to the death of a much-loved person.

Tara Mallen and Katherine Mallen Kupferer as mother and daughter also give fine, believable performances. Dolly De Leon as Dan’s co-star in the play is nicely quirky and strong, while the performers playing unskilled amateur actors struggling to find their characters in the play are both funny and real.

Watching this family coming to terms with tragedy bit by bit is moving and cathartic. It’s quite intense as we feel the pain of these people and share their joy at the end.

The sensitive subject matter is nicely directed with great sensitivity by Kelly O’Sullivan and Alex Thompson, making this a highly memorable film.

 

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

 

GOLDNER STRING QUARTET (CONCERT)

Snow Concert Hall, Red Hill September 28

 

Reviewed by Len Power

It was a bittersweet evening as this concert was a farewell performance by the Goldner String Quartet. First formed in 1995 and named after Richard Goldner, founder of Musica Viva Australia, the founding members of the group are still together 30 years later.

Dene Olding, violin, Dimity Hall, violin, Irina Morozova, viola and Julian Smiles, cello played three masterpieces from the string quartet repertoire – works by Robert Schumann, Carl Vine and Franz Schubert.

The concert commenced with Robert Schumann’s Quartet No. 3 in A major, Op.41 No. 3. Composed in 1842 it was the last string quartet that he wrote. It was followed by the 1994 Quartet No. 3 by Australia’s Carl Vine and Franz Schubert’s Quartet in C minor D810, Death and the Maiden, composed in 1824, was the last work on the program.

As expected, the Quartet gave each of these very different works a superb performance. The clarity of their playing brought out additional depth and colour in the works and it was almost like hearing them for the first time. The exciting finale of the Schumann was especially well played, as was the well-known third movement of the Schubert work. Their playing of all three parts of Carl Vine’s Quartet was electrifying.

Goldner String Quartet

For an encore, they played the second movement of Dvořák’s American Quartet. This work with its exquisite melody was the perfect end for the concert.

Violinist, Dene Olding, gave short informative introductions to each of the works. With his dry humour he mentioned that, although this was Canberra’s farewell performance by the Quartet, they might “do a Nellie Melba”. We can only hope!

 

Photo by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 29 September 2024.

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

THE CRITIC (FILM)

Written by Patrick Marber, Anthony Quinn

Directed by Arnand Tucker

Transmission Films

In Cinemas from October 3

 

Previewed by Len Power 25 September 2024

 

Theatre and theatre critics have always had an uneasy relationship. Reviews of shows are often viewed as a necessary evil. A good review of a show can boost box office takings while a poor review may have the opposite effect. Critics have at times been so powerful, they could make or break a show with a single review.

A cruel personal review may amuse the reader but it can have a devastating effect on a performer. Ask any actor who has received one and they can quote it from memory, even if it was written years ago.

In the film, “The Critic”, a famous and feared theatre critic in 1930s London involves a vulnerable young actress in a blackmail scheme to discredit his employer, the new owner of the newspaper that he writes for. The result is devastating for all concerned.

Ian McKellen plays the critic, Jimmy Erskine. Aware of his powerful position, Erskine feels invulnerable and his behaviour and treatment of those around him is appalling. McKellen gives this character a colourful theatricality that is initially amusing but Erskine soon loses our sympathy as his evil nature comes through. It is an exceptional performance of great depth.

Ian McKellen as Jimmy Erskine

Gemma Arteton gives a fine performance as Nina Land, the vulnerable young actress who is desperate for Erskine’s approval and there is good work from Alfred Enoch as Erskine’s live-in assistant, Tom, Lesley Manville as Nina’s mother and Mark Strong as David Brooke, Erskine’s new employer.

Ian McKellen (Jimmy Erskine) and Gemma Arterton (Nina Land)

“The Critic” is a good film with a memorable performance of pure evil by McKellen. It will certainly appeal to those with an interest in the theatre world and, for others, it has a rattling good blackmail plot with plenty of twists and turns to keep you guessing.

 

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

 

 

 

THIS SHINING NIGHT (CONCERT)

Canberra Choral Society

Music Director: Dan Walker

Wesley Uniting Church, Forrest September 21

 

Reviewed by Len Power

 

Celebrating Canberra’s Spring season, Canberra Choral Society’s latest concert was a selection of contemporary choral music by North American composers. The large choir was accompanied by pianist, Anthony Smith, and the direction was by Dan Walker. Rachel Mink, soprano, was the soloist.

Mink commenced the concert with a solo performance of Sure On This Shining Night by Samuel Barber. Her beautiful soprano filled the large church with Barber’s shimmering setting of the words by American, James Agee.

The choir then sang three works, two by American composers, Jane Kozhevnikova and Gwyneth Walker and one by Canadian, Sarah Quartel. With the first, Can We Reflect The Stars, by Kozhevnikova the choir impressed with their performance, creating a truly ethereal atmosphere.

    Canberra Choral Society

In the second work by Canadian Sarah Quartel, “Hope” Is The Thing With Feathers, a setting of the poem by Emily Dickinson, the choir’s sensitive performance underlined the deeper meaning of the poem.

Gwyneth Walker’s Ring Out, Wild Bells gave the choir the opportunity to show the power of their singing. The finale of this joyful work was awesome.

Rachel Mink, soprano

The choral brackets of the concert were interspersed with solo works featuring Rachel Mink. These more intimate works were sung with great sensitivity. Her performances of Barb’ry Allen, He’s Gone Away and Will There Really Be A Morning were particularly outstanding.

The range of works performed reflected the melting pot of North America. Amongst the large number of works presented by the choir, the delicacy of Eric Whitacre’s Lux Aurumque, the warmth of Samuel Barber’s The Coolin and Amy Beach’s beautiful work, Peace I Leave With You, were highlights.

Dan Walker, musical director

Dan Walker’s arrangement of the well-known lullaby, Summertime, by George Gershwin from his folk opera Porgy and Bess, was performed by Rachel Mink with the choir. Walker’s arrangement gave this work a spiritual sense which was unexpected and refreshing and was another highlight of the concert.

The choir also sang another setting of Sure On This Shining Night, this time by composer, Morten Lauridsen. It was a more reflective treatment and equally as beautiful as the earlier Barber arrangement. The Barber setting of this work was then sung by Rachel Mink with the choir, bringing this enjoyable concert of thoughtfully chosen works to a close.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 22 September 2024.

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

  

BEN HOADLEY AND THE ELLERY STRING QUARTET (CONCERT)

Ben Hoadley, bassoon

Brad Tham, violin

Anika Chan, violin

Pippa Newman, viola

Chloe Law, cello

Wesley Uniting Church, Forrest 15 September 2024

 

Reviewed by Len Power

 

The Ellery String Quartet’s recital of works old and new included music by Joseph Michl, Ross Edwards, Gillian Whitehead, Carl Maria von Weber. With noted bassoonist, Ben Hoadley, joining them for the concert, there was the added bonus of the Australian premiere of Hoadley’s own string quartet.

Commencing with Michl’s Quartet in F Major, Brad Tham, violin, Anika Chan, violin, Chloe Law, cello with Ben Hoadley on bassoon, gave this charming work a spirited performance. Their playing of the first movement was delightfully cheery while the second movement had an appealing reflective quality as well as being melodic.

The full quartet, including Pippa Newman on viola, then performed Ross Edwards’ Chorale and Ecstatic Dance. The first part started quietly and developed into a haunting, melancholic piece of great beauty. The second part, busy and colourful, was a distinct contrast to the first part. The quartet gave it a nicely sensitive and clear performance.

Ben Hoadley

Next on the program were two solo bassoon works by New Zealand composer, Gillian Whitehead – Ngā hā o neherā (a breath from the past) and Ohinemuto. Played by Hoadley from the gallery of the church above and behind the audience, the first had a lovely misty, nostalgic quality and the second, a grandness filled with sounds of nature, people and their stories.

The quartet then played Hoadley’s String Quartet: Mt. Eden. The first part was dramatic and busy, followed by a section that was calmer but still with an underlying tension. At the conclusion, Hoadley thanked them for their fine and sensitive playing of his work.

Ben Hoadley (2nd from right) with the Ellery String Quartet

With his bassoon, Hoadley joined the quartet to play the melodic Andante and Hungarian Rondo by Carl Maria von Weber. This melodic work with its colourful Hungarian melodies was played delightfully and brought this fine and varied concert to a close.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 16 September 2024.

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

 

 

 

IN A NUTSHELL: THE POETRY OF VIOLENCE (PLAY)

 

Directed by Peter Evans

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 14 September

 

Reviewed by Len Power 13 September 2024

 

At the beginning of “In A Nutshell: The Poetry Of Violence”, Bell Shakespeare’s Artistic Director, Peter Evans, describes the violence in Shakespeare’s plays as “acts of bastardry and lots of death”.  He admits that the violence is terrible, of course, but, rubbing his hands together with glee, he tells us it’s great, too, setting the scene for a fascinating, enlightening and entertaining trawl through the violence in many of Shakespeare’s plays.

On a stage set with raised rostra and a backdrop on which the titles of the plays are projected, Evans narrates and six performers show how violence is portrayed across various plays. The tone of the evening is relaxed and casual. Evans speaks to us as if we are part of a rehearsal and the house lights stay on for most of the show, bringing us closer to those on stage. Music and lighting add subtle touches, enhancing certain scenes.

Most of the performers have been seen in past Bell Shakespeare productions, including Jessica Tovey, Lucy Bell, Darius Williams and James Lugton. Madeline Li is a recent NIDA graduate making her debut with the company and Nigel Poulton is also Bell Shakespeare’s fight director. Poulton’s description of fighting implements and the method and code of conduct of their use was particularly enlightening and enjoyably presented.

Evans and the actors move quickly from one scene to the next. There is Brutus offering justification for the murder in Julius Caesar, the guilt of Claudius in Hamlet, Juliet’s delightful “yet I would kill thee with much cherishing” in the balcony scene in Romeo & Juliet and examples from many other plays.

Evans discusses how Shakespeare questions our relationship with violence. He enlightens us about the words Shakespeare uses to describe the emotions of violence, whether provoked by rashness, love, hate, politics or even if it’s just a gratuitous act.

For many of the well-known plays, Evans enhanced our appreciation of them with clarifications that were not apparent before. With the lesser-known plays, it was a fascinating journey through the many colourful characters and scenes, making us eager to further our experience with Shakespeare’s works.

Regardless of the level of our knowledge, Evans and the performers showed that there is still so much more to find and enjoy in Shakespeare’s plays. It was also a delight to listen to expert presentations of the words and poetry in the plays.

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

 

CHICAGO (MUSICAL)

Book by John Kander & Bob Fosse

Music by John Kander

Lyrics by Fred Ebb

Re-creation of Original New York Production Direction by Tania Mardini

John Frost for Crossroads Live and Jones Theatrical Group

Canberra Theatre, Canberra Theatre Centre to 29 September

 

Reviewed by Len Power 11 September 2024

 

The original production of “Chicago” opened on Broadway back in 1975 and had a good run of over 900 performances. The Broadway revival that opened in 1996 is still running and is now the second longest running show ever on Broadway. The production currently playing here in Canberra is an Australian re-creation of that 1996 revival.

Set in Chicago in the jazz age, the story satirises corruption in the justice system in America when two women on trial for murder attempt to gather as much newspaper celebrity as possible to gain an acquittal. They then hope to use their notoriety to launch a variety stage career.

Beginning with the song, “All That Jazz”, the musical score presents one hot number after another with clever lyrics and music reminiscent of fast and furious jazz age America. The songs are presented by an expert cast who really know how to put these numbers over to great effect and the music is well-played by the orchestra.

Zoё Ventoura (Velma Kelly) and  Lucy Maunder (Roxie Hart)

The two "merry" murderesses, Roxie Hart and Velma Kelly, are played by Lucy Maunder and Zoё Ventoura respectively. Both women give fabulous singing and dancing performances, endearing their characters to the audience in spite of the horrific crimes they have clearly committed.

Their cynical and smooth lawyer, Billy Flynn, is played by Anthony Warlow who shines in his songs, “All I Care About Is Love” and ‘Razzle Dazzle”. He also gives and gives a superbly comic performance of the ventriloquist number, “We Both Reached For The Gun”.

Anthony Warlow (Billy Flynn) and the female ensemble

Asabi Goodman is excellent as the formidable gaoler, Matron “Mama” Morton and Peter Rowsthorn is Roxie’s hapless husband, Amos Hart, who performs his song, ‘Mr Cellophane”, appealingly. Devon Braithwaite as Fred Casely, the murdered lover of Roxie Hart, oozes a reptilian sex appeal that is both attractive and funny at the same time. S. Valeri gives a very good performance as the sympathetic tabloid columnist, Mary Sunshine.

One of the major attractions of this show is the choreography in the style of Bob Fosse, the original 1975 show’s director. His angular and sexy style of dance gives “Chicago” its characteristic atmosphere and purpose. The slinky and brief black costumes that originated in the 1996 revival ensure that the focus is on exposed parts of the body and their movement and positioning in dance. The large cast of dancers give an outstanding performance of this demanding style.

Female ensemble of "Chicago"

It’s a highly entertaining, sexy and colourful show that delivers on all levels and is a sheer delight from start to finish.

 

Photos by Jeff Busby

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

  

AUGUST: OSAGE COUNTY (PLAY)

Written by Tracy Letts

Directed by Cate Clelland

A Free-Rain Theatre Company production

ACT Hub Theatre, Kingston to 15 September

 

Reviewed by Len Power 7 September 2024

 

Tracy Letts’ play “August: Osage County” first opened in Chicago in 2007 and subsequently played on Broadway in 2008. It won the Pulitzer Prize for Drama. A success internationally, it was also filmed in 2013.

The disappearance and apparent suicide of father, Beverley Weston, brings family members home outside Pawhuska, Oklahoma. Thrown together for several weeks, this volatile group explode with truths, lies, anger, disappointments and secrets. If you think your family had problems, wait until you see this bunch go into battle with each other!

For this play to succeed, it needs a highly skilled ensemble of actors. The thirteen performers in this production, under director, Cate Clelland, bring these characters colourfully to life. Moments of high drama mixed with flashes of unexpected humour are all played superbly.

Karen Vickery (Violet Weston)

Violet Weston, the matriarch, is played by Karen Vickery as a formidable force of nature. Get in her way and you’re asking for it! Vickery gives this role an impressive strength but also shows the sensitivity and deep neediness in this woman. Hers is an extraordinary performance.

The cast show their ensemble skills with a dinner at a round table. The pacing of this scene is especially exhilarating with its over-lapping dialogue handled brilliantly by the cast. This is acting of a standard rarely seen.

Karen Vickery (Violet Weston) with the cast.

Of the other performers, it would be unfair to single out any of them for special praise. They all deserve mention – Louise Bennet (Barbara Weston), Michael Sparks (Charlie Aiken), Bruce Hardie (Bill Fordham), Tracy Noble (Mattie Fay Aiken), Crystal Mahon (Ivy Weston), Karina Hudson (Karen Weston), Ella Buckley (Jean Fordham), Steve Heidebrecht (Richard Manning), Lachlan Ruffy (Little Charles Aiken), David H. Bennett (Beverly Weston), Rob Drennan (Sheriff Dean Gilbeau) and Andrea Garcia (Johnna Monevata).

Director, Cate Clelland, has kept tight control throughout this production, bringing together the right levels of intensity, character and pace, making this a highly memorable theatrical experience.

 

Photos by Janelle McMenamin

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