LUMINESCENCE - CHRISTMAS CLASSICS (CONCERT)

Luminescence Chamber Singers and Children’s Choir

Directed by Roland Peelman

Wesley Uniting Church, Forrest to December 15

 

Reviewed by Len Power December 13

 

With a large and varied selection of Christmas songs from around the world, Luminescence produced an evening of uplifting music that ranged from traditional Nativity hymns, Medieval carols and classic Yuletide songs.

With both the Luminescence Chamber Singers and the Luminescence Children’s Choir as well as internationally acclaimed organ virtuoso, Thomas Heywood, it was directed by Roland Peelman.

 The concert commenced with the familiar carol, Once In Royal David’s City, by Henri John Gauntlett from 1849. Boy soprano, Magnus Hoy, sang the haunting opening solo part from the gallery of the church. Joined by the Children’s Choir and the augmented Chamber Singers with Thomas Heywood on the organ, the combined sound was exhilarating, especially the dramatic finale.

Magnus Hoy with the Luminescence Children's Choir

Seventeen songs were presented in this hour-plus concert. Some were accompanied by Thomas Heywood on the organ, and others were sung a capella by the choirs. Songs from Germany, England, Spain, France, USA and Australia were heard in this delightful program.

Each song showed the variation in Christmas music from around the world and across the centuries. All were memorably sung and there were some notable highlights.

Coventry Carol from 1591 had music and text from the Pageant of Shearmen and Tailors in Coventry, England. With Roland Peelman providing the percussion accompaniment, the Luminescence Chamber Singers gave this a rousing performance.

Attributed to Catalan composer, Mateu Fletxa, Ríu ríu chíu, from 1556, this folk narrative was given a dramatic performance by the Chamber Singers that invoked all the passion of Spain.

The more recent The Paling of the Stars from 2012 with music by Cecilia McDowall to a Christina Rossetti poem was given a nicely sensitive performance by the Chamber Singers.

A Child Is Born in a 2024 arrangement of the music of Roland Hanna and Thad Jones was a hauntingly beautiful song with soloist, Magnus Hoy, again with both choirs.

Roland Peelman (director), Thomas Heywood (organ) and the Luminescence Chamber Singers

Organist, Thomas Heywood, played an arrangement of carols including The First Noel and Good King Wenceslas. It was superbly played with a powerful finale.

Sleeping Child, a 2021 English song with music by Bob Chilcott and text by Charles Bennett was presented by the Chamber Singers with soloist, boy soprano Bryn Lymburner. His astonishingly clear voice and confident presentation was another highlight of this program.

Bryn Lymburner

The program ended with the augmented Choral Singers and Children’s Choir singing the well-known carols, Hark! The Herald Angels Sing, O Come All Ye Faithful and Stille Nacht (Silent Night). To hear these carols so beautifully and sensitively sung was the perfect end to this excellent Luminescence concert.

 

Photos by Peter Hislop

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

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

 

tick, tick... BOOM! (MUSICAL)

Written by Jonathan Larson

Directed by Nikki Fitzgerald

Musical Direction by Callum Tolhurst-Close

ACT Hub, Kingston to 21 December

 

Reviewed by Len Power 12 December 2024

 

Jonathan Larson, the author of the 1996 musical, “Rent”, died just before its opening on Broadway, where it became a big hit. “tick, tick… BOOM!” details the struggle and self-doubts of a young musical writer in New York in the 1990s. It’s a semi-autobiographical show that gives an insight into the current state of mind of the character as he tries to have his work accepted in the notoriously tough Broadway environment.

“tick, tick… BOOM!” began life as a solo work in 1990, which Larson himself performed. After his death and the success of “Rent”, “tick, tick… BOOM!” was revised and revamped by playwright David Auburn into a three-character work which premiered off-Broadway in 2001. The show has gone on to have an international success and has been filmed.

The musical needs a performer who can play the piano, sing and act very well. In ACT Hub’s new production, Alexander Unikowski brings his knowledge and talent as a musical director of local shows to the part of the aspiring composer, Jon. The role fits him perfectly and he performs all aspects of this character with skill and a winning appeal. His singing of “Johnny Can’t Decide”, “See Her Smile” and “Why” are especially memorable.

Dave Collins is convincing as Jon’s best friend, Michael, and he gives a heart-felt performance of the song, "Real Life".

As Jon’s girlfriend, Susan, Taylor Paliaga impresses with a touching and believable performance of a woman who clearly loves Jon but needs a change in her life. She also plays other incidental characters in the show and gives a nicely sensitive performance of the song, “Come To Your Senses”, as the character, Karessa.

Taylor Paliaga, Alexander Unikowski and Dave Collins

Director, Nikki Fitzgerald, has staged the show very well, keeping this 90 minute show without interval constantly interesting.  There are inventive touches that indicate changes of scene with minimal props and costume and the show moves at a good pace.  Nathan Rutups’ choreography is equally inventive and suits the style of the show very well.

Nathan Patrech’s sound design is so good that the singers did not sound amplified at all and the sound balance between performers and the small band was just right. Callum Tolhurst-Close and the band members gave a fine performance of the score.

This musical, all the more poignant because we know that Jonathan Larson didn’t live to see his success with “Rent”, has been given an excellent production by Nikki Fitzgerald and ACT Hub.

 

Photo by Janelle McMenamin and Michael Moore

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

 

KRISMAS! PEACE TO THE WORLD (CONCERT)

Llewellyn Choir

Conducted by Rowan Harvey-Martin

Holy Cross Anglican Church, Hackett December 7

 

Reviewed by Len Power

 

Like a Christmas stocking stuffed with goodies, the Llewellyn Choir presented a large and wide-ranging program of Christmas treats for the festive season.

In addition to the singing of the choir with Anthony Smith as accompanist and Rowan Harvey-Martin conducting, there were performances from the Pentecostal International Worship Centre Choir, the PNG Peroveta Singers and the To e Talatalanoa Uniting Church Choir.

There were also performances by Canberra musicians, Dante Costa, flute, Jojo Yuen, piano, Emily Thornton, flute, and Alex Monro, harp.

The program’s international flavour included works by Berlioz, Mendelssohn, Gounod, Dvořák, Rutter, Jiangzhong, Schütz and Nordqvist as well as traditional works from Tonga, Papua New Guinea and Africa.

Llewellyn Choir with Anthony Smith (accompanist) and Rowan Harvey-Martin (conductor)

The Llewellyn Choir presented the first item, The Many Moods Of Christmas, Suite 4, an arrangement of Christmas Carols by the Americans, Robert Shaw and Robert Russell Bennett. Nicely sung, it was the perfect opening for the concert.

The Pentecostal International Worship Centre Choir then presented an enjoyable selection of songs with a fusion of Afro-praise interwoven with Caribbean and Christian contemporary music.

Solo pianist, Jojo Yuen played the transcription by Wang Jianzhong of the atmospheric Silver Clouds Chasing the Moon. Her expert playing of this work was deeply visual.

PNG Peroveta Singers

Five Songs from Papua New Guinea, three of them Peroveta songs and two sene or ancient folksongs, were performed by the PNG Peroveta Singers. This group of singers with their bright and colourful dress sang skilfully and with such obvious joy that they were a highlight of the concert.

The Shepherd’s Farewell from The Entrance of Christ by Berlioz was sung with great sensitivity by the Llewellyn Choir and it was followed by the Trio for Two Flutes and a Harp from the same work by Berlioz. Dante Costa, flute, Emily Thornton, flute, and Alex Monro, harp, performed it with skill and great appeal.

Alex Monro (harp), Emily Thornton (flute) and Dante Costa (flute)

The To e Talatalanoa Uniting Church Choir gave a warm and sincere performance of a selection of Christmas-themed hymns from the traditional Tongan hymn book and Dante Costa, flute, and Jojo Yuen, piano, performed Dvořák’s Sonatina for Flute and Piano, a melodic, reflective work beautifully played.

Jojo Yuen (piano) and Dante Costa (flute)

There were so many works pleasingly presented in this concert and the final work presented by the Llewellyn Choir – Nordqvist’s Wonderful Peace – was quietly powerful and movingly sung.

This charming and varied concert concluded with an opportunity for the audience to join with the choirs and sing along to the well-known carols, Away In A Manger and Joy To The World.

 

Photos by Len Power

This review was first published by Canberra CityNews digital edition on 8 December 2024.

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

  

JACK MAGGS (PLAY)

Written by Samuel Adamson

Based on the novel by Peter Carey

Directed by Geordie Brookman

State Theatre Company South Australia

The Playhouse, Canberra Theatre Centre to 7 December

 

Reviewed by Len Power 5 December 2024

 

Everyone remembers Magwitch, the convict character who appears suddenly in a foggy graveyard to the main character, the boy Pip, in the 1946 David Lean film of Charles Dickens’ novel, “Great Expectations”.

In “Jack Maggs”, author Peter Carey’s clever reworking of Dickens’ classic novel, an ex-convict, Jack Maggs (Carey’s version of Magwitch), returns from Australia to 1837 London in a determined quest to find his “son”, Henry Phipps, who has mysteriously disappeared. Taking a job in the household of Percy Buckle, he makes a deal with young novelist and “mesmerist” Tobias Oates to find Phipps. Oates (or is he Dickens himself?) has another agenda. Maybe Maggs will prove to be the perfect inspiration for his new novel.

Maggs’ longing to return to London from his convict past Australia has risks. He may be a prosperous free man in Australia now but would still be considered a criminal in London. This bond with the past reminds us that, instead of breaking free, modern-day Australia still has historical attachments to Britain.

In the State Theatre Company South Australia’s production of Samuel Adamson’s play, 1837 London comes vividly to life with its Dickensian characters and its dark depiction of the squalor, filth and class consciousness of the time.

Mark Saturno (Jack Maggs) and James Smith (Tobias Oates)

Mark Saturno is impressively stoic and bitter as Jack Maggs.  James Smith gives a fine, enigmatic performance as the novelist, Tobias Oates, and the ensemble cast perform the many characters in this story with skill, colour and commitment. Ahunim Abebe has an appealing warmth as Mercy Larkin, the Narrator.

Ahunim Abebe (Narrator/Mercy Larkin)

The production design by Elisa Paterson is dazzling, depicting the era of 1837 London but always reminding us that we are watching a play. Director, Geordie Brookman, uses a multitude of theatrical techniques to keep the story swiftly moving along. The use of shadows is particularly effective and the lighting design of Nigel Levings and sound design by Andrew Howard add a great deal to the creation of the atmosphere of this era in London.

Although the technical aspects of the production were impressive, some of the effects and the busy direction were often distracting, making the many characters and their motivations difficult to grasp.

Overall, the fine acting and clever production made this an enjoyable theatrical experience.

 

Photos by Matt Byrne

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

 

  

ELIJAH (CONCERT)

Music by Felix Mendelssohn

Canberra Choral Society

Conducted by Brett Weymark

Llewellyn Hall, November 30

 

Reviewed by Len Power

 

Composer, Felix Mendelssohn, was a great admirer of Bach and Handel and composed his oratorio, Elijah, in the spirit of their works. His work, depicting events in the life of the prophet Elijah, as told in the books 1 Kings and 2 Kings of the Old Testament, premiered in Birmingham, England in English, in 1846. It has been frequently performed ever since.

Canberra Choral Society’s performance involved so many musicians and singers that it filled the large stage at Llewellyn Hall. As well as the orchestra and choir, the soloists included Teddy Tahu Rhodes, bass, Sonia Anfiloff, soprano, Christina Wilson, mezzo soprano, Damian Arnold, tenor and Charlotte Walker, soprano. Dan Walker was the chorus master and it was all conducted by Brett Weymark.

Set around 880 BCE, the story tells of the religious conflict that resulted from the marriage of Prince Ahab and Princess Jezebel. A drought is invoked by the prophet, Elijah, as punishment for destroying the Jewish faith and Elijah flees Israel to escape King Ahab’s wrath. After a confrontation on Mount Carmel, the true faith is eventually restored and the drought broken. The conclusion of the work depicts Elijah’s glorious ascension into heaven.

Teddy Tahu Rhodes (Elijah) and Brett Weymark (conductor)

Elijah is a dominant figure throughout the work with his many recitatives and arias. Bass, Teddy Tahu Rhodes, as Elijah was commanding throughout and gave a pleasingly robust performance with his sonorous voice. Highlights of his performance included the arias Is Not His Word Like A Fire, It Is Enough and For the Mountains Shall Depart.

Soprano, Sonia Anfiloff, gave a powerful performance of the opening aria of the second half, Hear Ye, Israel and Christina Wilson, mezzo soprano, brought a particularly notable sensitivity to the famous aria, O Rest in the Lord.

Tenor, Damien Arnold, gave an impressively heartfelt performance of If With All Hearts and the later Then Shall The Righteous Shine Forth. Charlotte Walker’s beautiful soprano was heard in O Lord, Thou Has Overthrown Thine Enemies.

A semi-chorus, as the Angels, gave a sweet, uplifting performance of Lift Thine Eyes that was also a highlight of the show.

Canberra Choral Society with Soloists (from left) Christina Wilson, Sonia Anfiloff, Damien Arnold with conductor, Brett Weymark

This Come and Sing performance included many guest choristers with the regular choir members. Producing a beautiful and, at times, thrilling sound, their combined singing of the large amount of music for choir was confident, accurate and enjoyable.

Conductor, Brett Weymark, brought all the elements of this major work together with great success, showing why Mendelssohn’s oratorio has retained its popularity over the years.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 1 December 2024.

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

  

BLOODY MURDER (PLAY)

Written by Ed Sala

Directed by Josh Wiseman

Canberra REP production

Canberra REP Theatre Acton to December 7

 

Reviewed by Len Power 22 November 2024

 

One of the reasons murder mysteries are so popular with audiences, is that they follow certain conventions. There is usually a murder at a remote location, followed swiftly by a second murder. The remaining recognizable character types then start suspecting each other until a surprising finale when all is revealed.

However, in Ed Sala’s play, those characters suddenly decide that they have had enough of playing variations on the same characters in conventional murder mystery storylines and rebel against the writer.

Where it goes from there, I won’t reveal, but your expectations will be turned upside down in this clever, entertaining and head-spinning comedy.

Antonia Kitzel plays the formidable Lady Somerset. Glenn Brighenti is her nephew Charles, who will inherit the Somerset fortune if she dies. Arran McKenna is the boring old Major, barking loudly about his past war experiences. Holly Ross is the fragile and innocent Emma Reese and Stuart Roberts is the alcoholic, once famous actor. Steph Roberts is the saucy and slovenly maid, Jane.

From left: Holly Ross (as Emma Reese), Stuart Roberts (as Devon Tremaine), Arran McKenna (as The Major) and Antonia Kitzel (as Lady Somerset)

 

Then there is the Countess In Red, a mysterious Mr Who, Chief Inspector Phelps, a passing Motorist asking for help, the weirdly foreign El Gato and a late-night Nun collecting for charity.

This strong cast of six bring these clichéd characters vividly to life. There is no hint of satire in their playing, making them much funnier. Everyone displays a fine sense of comic timing, making every line count as the plot moves at a furious speed.

Considerable thought has gone into the effective design of the set by the director and the delightfully apt costume designs by Suzan Cooper. Lighting by Nathan Sciberras and Sound by Neville Pye are crucial elements of the plot requiring razor-sharp operations by both crews. It all worked perfectly on the opening night.

Director, Josh Wiseman, has brought every element of this smart play skilfully together. Canberra REP usually present a fun and enjoyable end of year show. This very funny play and its highly effective production make this one of the most memorable.

 

Photo by Victoria Tyrrell Dixon

 

This review was first published by Canberra CityNews digital edition on 23 November 2024.

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

 

 

 

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/.

  

LITTLE SHOP OF HORRORS (MUSICAL)

 

Book and lyrics by Howard Ashman

Music by Alan Menken

Directed by Marty King

Dramatic Productions

Gungahlin Theatre, Gungahlin to October 26

 

Reviewed by Len Power 11 October 2024

 

A musical about a nerdy florist shop worker who raises a plant that becomes a man-eater, sounds like an unlikely choice for a musical, but this show has been an international success ever since opening off-Broadway in 1982.

Loosely based on a 1960 low budget black comedy film, The Little Shop Of Horrors, Alan Menken’s music in early 1960s rock and roll, doo-wop and early Motown style is matched with Howard Ashman’s clever book and lyrics to provide a show that satirises everything about that era.

This new production, directed by Marty King for Dramatic Productions, seems more interested in pushing the modern-day horror potential of the show rather than playing it for the satire inherent in the book, music and lyrics. It’s a dangerous step to take.

The prologue song that opens the show and sets the scene is sung by a girl trio, Crystal, Ronette and Chiffon. They become a type of Greek chorus throughout the show and should perform as a satire of doo-wop groups. In this show, the girls all sing well enough individually but there is no attempt to re-create that style.

The rest of the production plays out with no regard to the period it is supposed to be set in. It cannot be ignored as there are constant references in the lyrics about that period, amongst them Hedy Lamarr, Father Knows Best, Donna Reed, the Jack Paar Show and I Love Lucy.

Alexander Unikowski as Seymour Krelborn with the plant, Audrey II.

 Alexander Unikowski as Seymour Krelborn, the florist shop worker, sings well but gives his character of a nervous nerd a surface performance that needed more depth. Sarah Copley as Audrey, Seymour’s co-worker, fares better with her character and her song, Somewhere That’s Green, is nicely sung.

Samara Marinelli sang strongly and effectively as the voice of the plant, Audrey II. Tim Stiles, as Mr Mushnik the florist shop owner, gave a good performance of the song, Mushnik and Son.

The wobbly set, designed by John Nicholls, seemed to have problems on opening night and needed more creative interest. The choreography by Laurenzy Chapman showed little understanding of the type of show and the man-eating plant by puppet designer, Alex Rogers, looked fine but its operation was a bit clunky.

The sound was much too loud and unbalanced, making it difficult to understand the lyrics. The opening number of the second act, Call Back In the Morning, was particularly unintelligible. The music was well-played by the orchestra, directed by Kat Tang.

The director’s choice to ignore the satire in this show resulted in the cast playing too broadly to try and make the script funny. Little Shop Of Horrors can be a delightfully funny show but this production was a disappointment.

 

Photo by Janelle McMenamin

This review was first published by Canberra CityNews digital edition on 12 October 2024.

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

 

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.