SHIPWRECKED! - APEIRON BAROQUE (CONCERT)

Wesley Uniting Church, Forrest, 21 April 2024

 

Reviewed by Len Power

 

Promising stormy vocal works by Baroque composers, Apeiron Baroque presented works for voice by Ariosti, Vivaldi, Handel and Hasse. In addition, there were instrumental works of other baroque era composers Biber, Uccellini, Cazzati, Vilsmayr and Bononcini.

The instrumentalists were John Ma, violin, Marie Searles, harpsichord, Lauren Davis, violin, Brad Tam, viola, Clara Teniswood, cello, and Henry South, double bass, with Tobias Cole, countertenor, performing the vocals.

Both John Ma and Tobias Cole gave the audience interesting and often entertaining and funny insights into the works they were about to perform. The works themselves required different combinations of instruments.

Commencing with il Naufragio (the Shipwreck) by Attilio Ariosti, Tobias Cole, countertenor, and the players created an atmosphere of the terror and heartbreak of a shipwreck. The last part of the work, the Largo, was especially memorable with its calmer beauty tinged with regret. It was played and sung with a moving sensitivity.

Tobias Cole

John Ma, violin. and Marie Searles, harpsichord, followed this with a performance of Marco Uccellini’s Sonata No. 2, la Luciminia Contenta. With its alternating fast and slow passages, it was a charming work played with great feeling.

All of the players with countertenor, Tobias Cole performed Mea Tormento, properate! (My torments hurry) by Johann Adolph Hasse. The dramatic and emotional allegro was followed by a reflective Lento that Tobias Cole performed with notable tenderness.

John Ma - photo by Joris-Jan Bos

The other instrumental works by Cazzati, Bononcini, Purcell and Handel were given fine performances. The work by Heinrich Biber was especially interesting as the performers all plucked the strings of their instruments, creating a pleasing ambiance for the work.

The Aria and Gigue by Johan Joseph Volsmayr began as a beautiful violin solo by John Ma. Suddenly, unseen violins could be heard off to the side and behind the audience, creating an echo effect that was unexpected and delightful.

The concert finished with Vivaldi’s Cantata, Cessate omai cessate (Cease, now cease) with all of the players and Tobias Cole. This emotionally dramatic work was given a strong, heartfelt performance by Cole, especially the aria, In the Horrid Cavern.

This tour through the baroque era with these composers was a thoughtfully devised and entertaining program. It was given well-earned applause by the near capacity audience.

 

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

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

  

FALASTEEN IN SONG (CONCERT)

 Ayşe Göknur Shanal, soprano

Embassy of the Republic of Türkiye, Yarralumla 18 April 2024

 

Reviewed by Len Power

 

Ayşe Göknur Shanal has won many prestigious awards and scholarships here in Australia and overseas. She has performed widely in the USA, UK, Europe and Asia including Opera Australia, Turkish State Opera and Opera Queensland.

She was accompanied by John Robinson, oud and guitar, Tarik Hüseyin, kanun, and Faruq Bin Buchari, percussion.

In the embassy’s beautiful Lalezar Hall, the seated audience surrounded the performers on all sides, giving the concert, Falasteen in Song, sub-titled “a concert in human solidarity with the Palestinian people, especially in Gaza”, a strong sense of community.

Ayşe Göknur Shanal and Faruq Bin Buchari, percussion.

Shanal sang Palestinian and Turkish songs, both traditional and contemporary. There were laments and songs of homeland and childhood, as well as songs of struggle and loss.

Each song was preceded by translations given by Shanal and her rich soprano voice gave the songs a clarity of emotion that was quite moving.

The atmospheric accompaniment of the Turkish instruments added immeasurably to the effect of the songs.

Joining the instrumentalists on the oboe for the song, Yumma mwein al Hawa, was guest, Laith Ismael, an esteemed woodwind performer who has worked with the Iraqi National Symphony Orchestra. Another guest, Farah Jirf, performed Zahrat al Mada'en in a duet with Shanal.

Many of the songs were known to the audience who joined in the choruses, the warmth in their voices adding further to the moving communal spirit of the evening.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 19 April 2024.

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

THE SHOE HORN SONATA (PLAY)

 

Written by John Misto

Directed by Lexi Sekuless

Mill Theatre at Dairy Road, Fyshwick to 27 April

 

Reviewed by Len Power 12 April 2024

 

First performed in 1995, “The Shoe Horn Sonata” won several awards for its Australian playwright, John Misto.

Based on true wartime events, two women (both fictional characters) are interviewed for television half a century after they were freed from a Japanese prisoner of war camp in the jungles of Sumatra.  Thousands of women and children had died there and were forgotten by their own Governments for the duration of the war.

Bridie Cartwright (Andrea Close), an Aussie battler and a British citizen, Sheila Richards (Zsuzsi Soboslay) meet for the first time since the war. Both women are noticeably different personality types and one of them has kept a terrible secret from wartime.

The nicely detailed set, designed by Annette Sharp, evokes memories of wartime experiences amongst live screens of a modern television studio. The action moves between on set interviews and Sheila’s bedroom in a hotel.

Timmy Sekuless provides the voice of the unseen television interviewer, gently coaxing memories from the two women. Leisa Keen’s sound design of voices, war-time sound effects and music create an apt, vibrant atmosphere.

Bridie Cartwright, a member of the Australian Army nursing corps during the war, has a forceful, lively personality. There is a marked vulnerability under the surface brashness of this character and her vocal inflections are nicely recognizable from women of that era. Andrea Close gives the character a remarkable depth as well as maintaining the bustling energy of this woman throughout the play.

As the British wartime nurse, Sheila Richards, Zsuzsi Soboslay plays a more retiring, fragile-seeming character. Soboslay adeptly hints at the pain this woman still suffers from her wartime experiences and then surprises by revealing a steely strength hidden under the surface. It’s a subtle, carefully detailed study of this woman.

Lexi Sekuless, the director, has given this play a memorable production that flows very well back and forth between the television station and the hotel room. The use of live images of the women as they are interviewed gives the immediacy of today’s electronic world, in sharp contrast to their vivid war-time memories.

The story of these women is harrowing, compelling and very well told. The reality is that these women were prevented from telling their stories after the war. Governments even destroyed their diaries, which they had risked their lives to keep secret. “The Shoe Horn Sonata” contains shocking revelations, as well as providing a memorable drama of two women who survived the horrors of that time.

 

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

 

BILLY ELLIOT: THE MUSICAL

Directed by Jarrad West

Musical Directors: Katrina Tang & Caleb Campbell

Conducted by Caleb Campbell

Choreography by Michelle Heine

Book & Lyrics by Lee Hall

Music by Elton John

A Free Rain Theatre Production

Q Theatre, Queanbeyan to 5 May

 

Reviewed by Len Power 11 April 2024

 

“Billy Elliot: The Musical”, based on the 2000 film of the same name, first opened in London in 2005. It was an enormous success, running for over 4000 performances before it closed in 2016.

A motherless boy, Billy, begins taking ballet lessons while his family struggle with the difficulties caused by the 1984–85 UK miners' strike in County Durham, in North East England. Despite his angry father’s bigoted view about boys learning ballet, his natural talent is nurtured by his teacher, Mrs Wilkinson.

The demanding role of Billy Elliot needs a young man who can sing, dance and act. Fergus Paterson’s charismatic dancing in the “Swan Lake (Dream Ballet)” and his singing of “Electricity”, as well as his dramatic interaction with other major cast members, showed an ability to create and maintain an in-depth characterisation.

Billy (Fergus Paterson) and the miners

Janie Lawson as Mrs Wilkinson gave a no-nonsense but warm portrayal as Billy’s dance teacher and was particularly impressive in the musical numbers, “Shine” and “Born To Boogie”. Alice Ferguson was highly amusing as a tough Grandma with a twinkle in her eye and Charlie Murphy gave a funny and believable characterisation as Billy’s friend, Michael Caffrey. His number with Billy, “Expressing Yourself”, was one of the highlights of the show.

Joe Dinn gave Billy’s father a threatening strength and there were fine and amusing performances by James Tolhurst-Close as Mr Braithwaite and Zahra Zulkapli as Mrs. Wilkinson’s daughter, Debbie. Jordan Dwight’s impressive dancing ability was highlighted in the “Swan Lake (Dream Ballet)“ with Billy. Other members of the featured ensemble had their moments to shine and the ballet school girls were funny and delightful.

Jordan Dwight (Older Billy) and Fergus Paterson (Billy Elliot)

Cate Clelland’s set with union posters on the walls were a constant reminder of the strike action being taken by the miners. The music was played very well, and the singing of the cast and ensemble was confident and enjoyable. The choreography by Michelle Heine was spectacular.

The poor sound design on the show was a major problem and at times it was physically painful to listen to. The show is difficult enough with North-East English accents to contend with, but the sound was generally too loud, causing vocal distortions and song lyrics to be unintelligible.

Apart from the sound issue, the director, Jarrad West, has brought together a show that is grand entertainment. It’s colourful, has extraordinary dancing, fine singing and polished performers in this often raw and strong musical.

 

Photos by Janelle McMenamin

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

 

 

SEAGULL (PLAY)

Written by Anton Chekhov

Translated by Karen Vickery

Directed by Caitlin Baker

Presented by Chaika Theatre

ACT Hub Theatre, Kingston to 21 April

 

Reviewed by Len Power 10 April 2024

 

Written in 1895 in Russia by Anton Chekhov, his play, “The Seagull”, has developed a classic status over the years, with characters and situations that still resonate with audiences.

An examination of human nature, the play focusses on a group of people who come together in a remote setting. They know each other well but their surface interactions hint at hopes and feelings that become clearer to us as the play progresses. Searching for love and recognition, they mostly find pain and desperation by looking in the wrong places.

In a new translation entitled “Seagull” by Karen Vickery, the setting is contemporary rural Australia. The modern dialogue gives a sense of recognition to the characters without losing any of the subtleties or humour in the text. It is clearly the work of someone who knows the play intimately and Vickery has successfully made it a play that modern Australia, especially, can relate to and embrace.

Caitlin Baker, the director, has set the first half of the play in a simple outdoor setting which relies on the location under the spotlit trees to give it an atmosphere of space and remoteness. The second half plays inside the theatre with a more detailed and conventional setting with old-style furniture, creating a feeling of claustrophobia that suits the intensity of that part of the play.

Amongst the cast, Natasha Vickery is particularly effective as Nina, her nervous, fluttery energy while desperately trying to impress others is endearing and ultimately moving. James McMahon plays the difficult role of Trigorin - enigmatic on the surface with a studied charm that arouses our suspicions. McMahon captures this character very well.

Karen Vickery is a tower of strength as Irina, the fading actress and a selfish, attention-seeking woman. Her desperation at the thought of losing her young lover is both frightening and pathetic. As Konstantin, Joel Horwood is thoroughly believable as a tragic, neurotic young man living in his mother’s shadow. Everyone else in this strong cast bring their characters to life with clarity, depth and colour.

“Seagull” is a success on every level. It’s thoroughly engaging, often funny and, ultimately, very moving.

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

 

 

ROMANTIC MASTERS (CONCERT)

Art Song Canberra

Andrew Goodwin, tenor, Roland Peelman, piano

Wesley Music Centre, Forrest 7 April

 

Reviewed by Len Power

 

It was a grey autumn day and the leaves were falling from the trees around the Wesley Music Centre in Forrest. It was the perfect atmosphere for a recital of bitter-sweet romantic songs by Schumann, Tchaikovsky and Rachmaninoff.

In a well-balanced program, Andrew Goodwin, tenor, and Roland Peelman, piano, took us on a romantic journey through Schumann’s Dichterliebe song cycle and five songs each by Tchaikovsky and Rachmaninoff. Roland Peelman also performed Schumann’s Arabesque Op 18 and Skriabin’s Etude Op 2, No 1.

Roland Peelman first played Schumann’s Arabesque. This melodic, reflective and romantic work, beautifully played by Peelman, set the mood for the rest of the recital.

Composed in 1840, the 16 songs of Robert Schumann’s Dichterliebe (A Poet’s Love) were set to poems by the German writer, Heinrich Heine.  These beautiful songs tell of the high and low points of a disappointed love, giving the singer an opportunity to express various emotions through the cycle.

Roland Peelman (piano) and Andrew Goodwin (tenor)

Andrew Goodwin gave a sensitive reading of the songs. He was particularly impressive in several of the songs. In Im wunderschönen Monat Mai (In the wondrous month of May), his excitement as a young man falling in love was very real. The rapid Die Rose, die Lilie, die Taube, die Sonne (Rose, lily, dove, sun) showed his remarkably clear diction and, in Ich Grolle nicht (I bear no grudge), his passionate singing was very moving.

Goodwin studied singing at the St Petersburg State Conservatory in Russia and, with his ability in the Russian language, he was able to bring a strong depth of meaning to his performance of the songs by Tchaikovsky and Rachmaninoff.

His moving performance of Why? by Tchaikovsky was outstanding and his wistful singing of Rachmaninoff’s Do you remember? was memorable.

It was also fascinating to compare both Tchaikovsky’s and Rachmaninoff’s different settings of Tolstoy’s poem, Do not believe it, my friend. Goodwin nicely brought out the turbulent emotions in the former and the victorious drama of the latter.

Throughout, Roland Peelman accompanied Goodwin superbly, bringing out all of the beauty and depth in these composers’ songs. His solo performances of Schumann’s Arabesque and Skriabin’s Etude were excellent.

The concert concluded with an encore of Goodwin singing L’ultima Canzone, a song by the Italian, Francesco Paolo Tosti. Goodwin’s performance of the song was thrillingly passionate and was the perfect ending to a highly successful concert.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 8 April 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/.

 

  

HEROIC MASTERWORKS (CONCERT)

Edward Neeman, piano

Tuggeranong Arts Centre 6 April 2024

 

Reviewed by Len Power

 

Putting together a program that included two “heroic” works by Beethoven and Chopin, plus an autobiographical work of Grieg, the pianist, Edward Neeman, gave a heroic performance that was quite simply exhilarating.

Australian-American pianist Edward Neeman has performed across five continents, holds a Doctorate from the Juilliard School and is currently a piano lecturer at the ANU School of Music.

Beethoven’s “Eroica” Variations was written before his well-known Symphony No. 3, the “Eroica”. The theme for the variations was based on the last movement of his symphony and it was fascinating to hear the wide range of styles in which the theme was presented.

Beethoven dedicated his “Eroica” Symphony to Napoleon Bonaparte and his anti-monarchic government, only to cross out the dedication in a rage when Napoleon declared himself emperor.

Edward Neeman

Neeman’s performance of the Variations was full of energy and colour and, being so close to the artist in the small Tuggeranong Arts Centre theatre, there was the opportunity to see the complexity of the playing that the work required. It was a thoughtful and memorable performance.

The next item on the program, Grieg’s Ballade, was a subdued, melancholic work that seemed autobiographical.  There were echoes of homesickness for his beloved Norwegian homeland as well as the influence of the time of his musical education in Germany. Neeman’s sensitive playing brought out the emotional depth in this work.

The third item on the program was the well-known “Heroic” Polonaise by Chopin, a work that was also linked with revolution. His lover, the French novelist George Sand, declared that she felt a deep symbolic connection between this polonaise and the 1848 French Revolution.

Neeman gave this work a precise and bright performance that underlined the heroic themes that stir the emotions. It was the perfect end to a superb recital.

Or so we thought…

For an encore, Neeman invited his wife, Stephanie, also a brilliant pianist, to the stage and together, they played a four-hand arrangement of William Bolcom’s 1969 piece, The Serpent’s Kiss, a ragtime inspired work that told the story of Adam and Eve in the garden of Eden.

This unique work was given a playful and thoroughly enjoyable performance by the Neemans, complete with foot-stamping, piano-slapping, unexpected vocalising and physical comedy. It was a delightful conclusion to this heroic concert.

 

Photo by Cassidy Richens

 

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

 

AWKWARD (DANCE)

Director: Cadi McCarthy

Catapult Dance Choreographic Hub, Newcastle

The B Theatre, Queanbeyan 27 March

 

Reviewed by Len Power 27 March 2024

 

Remember feeling like the odd one out at a party? Did your small-talk dry up before you’d even started? Did your pick-up line go over like a lead balloon? In “Awkward” from Catapult Dance Choreographic Hub, based in Newcastle, all those remembered fears are realized in dance.

A group of people come to a party, having been invited by friends of the host. They don’t know each other. They don’t know anyone else at the party. They don’t even know whose house it is, and their friends don’t show up. Sound familiar?

To a selection of well-known songs and music with driving beats from the past, the seven dancers, Jordan Bretherton, Cassidy Clarke, Alexandra Ford, Nicola Ford, Romain Hassanin, Remy Rochester, and Anna McCulla take you through all those cringe-worthy moments that you’d rather forget. It’s funny, appealing, easy to identify with and cleverly danced.

The host of the party is also the narrator and, at times, instructor, pointing out some hilarious do’s and don’ts of party-going. Particularly funny was a demonstration of a “cool” dance that would be sure to attract attention – the wrong type, of course.

Using the stage, steps and a large part of the auditorium floor of the B Theatre in Queanbeyan, the production used that unique 2 level environment to good effect. They must have had to adapt their choreography to work in that space and it’s a credit to them that they gave such a highly polished performance.

Catapult Dance Choreographic Hub, Newcastle is a contemporary dance and multi-arts organisation that cultivates, and champions mid-career and emerging professional dance choreographers, multidisciplinary artists, with strong programs with and for young people and the community.

It’s a pity they were only here for one night. It was very enjoyable, funny and skilful evening of dance.  It brought up memories that most of us would prefer to forget!

 

Photos: Ashley de Prazer

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

THE FAITHFUL SHEPHERD (CONCERT)

Canberra Choral Society and Soloists

Directed by Dan Walker

St Paul’s Anglican Church, Manuka, 23 March 2024.

Reviewed by Len Power

 

With the autumn sun streaming through the windows of the church, this program of music for Easter certainly had the perfect atmosphere.

The thoughtfully devised program consisted of works by the composers Finzi, Vaughan Williams, Thalben-Ball, Tavener, Elgar and Parry. The choir was joined by the soloists Rachel Mink, soprano; AJ America, mezzo-soprano; Charles Hudson, tenor; and Alasdair Stretch, baritone.

The accompanist on the organ was Callum Tolhurst-Close. He and the soloists were in the gallery above and behind the audience. The resulting spacial sound of the choir on the altar level before the audience, the vocalising of the soloists and the playing of the organ above was well-balanced and gave the concert a notably warm and enveloping feeling.

The concert began with the Mass in G Minor for SATB soloists and double chorus by Ralph Vaughan Williams. The soloists gave memorable performances, and the choir also sang with a depth and confidence that was at times quite thrilling.

Tolhurst-Close then played the solo Elegy For Organ by George Thalben-Ball - Australian born, but considered an English composer. This meditative piece was given a fine and sensitive performance by the organist.

Next on the program was Gerard Raphael Finzi’s Lo, The Full, Final Sacrifice, written in 1946. A moving work, it began quietly and built in intensity, soloists and choir giving it a moving clarity and radiance.

It was followed by John Taverner’s The Lamb, a beautifully tender work set to the poem by William Blake. It was sweetly sung by the choir.

Then, Elgar’s Benedictus Op 34 No 2 built from a quietly reflective beginning to a thrilling climax. The choir sang it superbly.

Dan Walker’s meticulous direction of the company was evident in the high quality of the performances throughout.

The final work on the program was Hubert Parry’s Crossing the Bar, the music set to the poem by Alfred, Lord Tennyson. It was sung with warmth and an uplifting sense of hope and it was the perfect, quiet ending to this memorable concert for Easter.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 24 March 2024.

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

 

EULOGISER BUNNY (PLAY)

 

Written and performed by Cameron Ribbons

Q The Locals 2024 season

Q Theatre Queanbeyan March 16

 

 

Reviewed by Len Power

 

In and out of Queanbeyan in a flash (it was only on for one night), Eulogiser Bunny was the second instalment in the Q the Locals 2024 Season. Writer and performer, Cameron Ribbons, has been quoted as saying he “just wants everyone to have a good, silly time”.

The show was a funeral service for Ribbons himself. There was a slide of him projected on a screen behind a lectern. A pastor, played by Ribbons, conducted the service. He was Pastor Fastor who was somehow associated with the Fasta Pasta company, a cue for a long and tedious Pastor Fastor’s Fasta Pasta word game.

Eventually he talked about the deceased.  There were short videos illustrating various moments in Ribbons’ fictional life as well as some audience participation. The audience members chosen for these readings seemed suspiciously part of the show.

There was also a murder mystery to solve and a pen and a slip of paper for this purpose were issued to everyone on arrival in the auditorium. A long video of various weird aspects of the victim’s life and death (a slasher in a bunny costume, I think) was played close to the end of the show and then it was time to reveal the killer.

In the absence of a program or any background information, I am guessing that this meandering, unfocussed show was devised by Ribbons himself. The jokes were obvious and not very funny and both performer and show needed the firm hand of a director.

The whole show, although barely an hour long, seemed interminable. Like that other bunny, it just kept going and going and going.

 

This review was first published by Canberra CityNews digital edition on 17 March 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/.

SUOR ANGELICA (OPERA)

Libretto by Giovacchino Forzano

Music by Giacomo Puccini

Directed by Rachel Hogan

Conductor: Leonard Weiss

National Opera Canberra

Albert Hall to 10 March

 

Reviewed by Len Power 7 March 2024

 

Suor Angelica is a one act opera by Giacomo Puccini which first premiered in 1918. It is the second of the trio of operas known collectively as Il Trittico.

Set in a convent, Sister Angelica has had a baby out of wedlock and given her child up. She takes part in the daily life of the convent with the other nuns, helping them with her ability to make potions and remedies. The arrival of her aunt, the Princess, with news of the death of her child, causes her to take her own life in the hope that she will be reunited with her son.

From the day-to-day life of the nuns to the sadness and loss in Sister Angelica’s heart-breaking aria, Senza Mamma (without mamma) and the Princess’s aria Nel Silencio (in silence), Puccini’s emotional music weaves quite a spell around this sad tale of loneliness, death and redemption.

Intimately staged by director, Rachel Hogan, on the floor of the Albert Hall, the strength of this production is the fine singing and performances from the cast.

Emma Mauch (Suor Angelica) with nuns

Soprano, Emma Mauch, as Suor Angelica, sings the role very well. She gives her aria, Senza Mamma, a sensitive and moving performance. Her level of emotion throughout is nicely judged and quite affecting.

Soprano, Sonia Anfiloff, is a commanding presence as the Principessa and gives a strong performance of the aria, Nel Silencio. A hint of compassion showing through her stern exterior was a nice touch.

Sonia Anfiloff (La Zia Principessa)

There is beautiful singing by the nuns, many of whom bring individual character touches to their roles. The finale, which includes some male singers, brings the opera to an uplifting climax.

The musical director, Ella Luhtasaari, has captured a striking level of emotion and colour in the singing of Puccini’s music and the musicians, conducted by Leonard Weiss, give a fine performance of the beautiful score.

 

Photos by Peter Hislop

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

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

 

BRING IT ON (MUSICAL)

Book by Jeff Whitty

Music by Tom Kitt and Lin-Manuel Miranda

Lyrics by Amanda Green and Lin-Manuel Miranda

Directed by Isaac Gordon

Canberra Philharmonic Society production

Erindale Theatre to 16 March

 

Reviewed by Len Power 29 February 2024

 

Based on the 2000 film of the same name, “Bring It On” focuses on teenage rivalries amongst the competitive world of cheerleading in USA high schools. The captain of the Truman High School cheer-leading squad is suddenly rezoned to the tough Jackson High School. Offering her talents to Danielle, the tough head of the dance crew at the school, Campbell struggles to be accepted.  It’s not hard to guess the rest but the storyline doesn’t matter all that much here. Just look forward to the next big, spectacular music and dance number.

“Bring It On” is a long way from your traditional musical.  The strength of this production is in the combination of choreography and music. With help from Belinda Dawson of Sirens Cheerleaders, choreographer, Charlotte Morphett, has blended the cheerleading with dance to produce many exciting, high energy, spectacular routines and the cast dance and sing them ferociously one after the other.

Jessica Gowing (centre) and the cast

The music and lyrics by Tom Kitt, Lin-Manuel Miranda and Amanda Green presented a formidable challenge to musical director, Alexander Unikowski. Using the latest technology available to them, the music writers expanded the possibilities of music theatre sound.  With live performances against pre-recorded tracks and the massive capabilities of keyboards today that produce hundreds of musical effects, there are, surprisingly, only seven musicians in the pit producing an extraordinary sound spectrum.

Amongst the huge cast, there are some standout performances. Jessica Gowing is appealing as Campbell, singing and dancing with skill. Jess Marshall is a formidable presence as the Queen Bee of Jackson High School and Katie Lis has many funny and endearing moments as Brigitte. Hannah Lance as Eva is memorable in her song, “Killer Instinct”, and Jeremy Chan as Twig has some good comic moments. Grayson Woodham as Randall also gives a fine characterisation and he and Jessica Gowing sing well together in the duet, “Enjoy The Trip”.

Grayson Woodham and Jessica Gowing

There is a sharp, atmospheric lighting design with some spectacular effects by Alex Clifford and the practical set by Ian Croker gives plenty of room for the big dance numbers, as well as the ability to move swiftly to more intimate scenes. 

Some of the cast delivered their lines too fast and needed to be clearer with their diction.  The rock music was expectedly loud, but the balance of sound between performers and music was often distorted, making it difficult to understand the dialogue and lyrics.  Hopefully, these issues can be addressed for the rest of the season.

This is a feel-good musical with excellent music and spectacular dancing. The director, Isaac Gordon, has done a fine job bringing this complex and demanding show together.

 

Photos by Bridie McKay

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

 

THE GREAT ESCAPER (FILM)

Written by William Ivory

Directed by Oliver Palmer

Transmission Films

In cinemas from March 7

 

Previewed by Len Power

 

“The Great Escaper” is a sensitive and touching drama based on a true story.  In 2014, pensioner, Bernard Jordan, escaped from his care home in Hove, England to attend an event in France marking the 70^th Anniversary of the D-Day landings. The story of his escape made the national news at the time.

Michael Caine gives a finely detailed performance as Bernard, a man whose quiet, unassuming manner hides a steely determination underneath. The details of his escape are amusing, but his playing of a scene where he meets with German veterans attending the same event in France is subtle and electrifying. When he visits the grave of a comrade who died on D-Day, his quiet but emotional performance is devastating.

Michael Caine and Glenda Jackson

Glenda Jackson plays his wife, Irene, who battles with the care home staff, and covers for Bernard’s absence.  She brings a fierce intensity to the part, but also shows that there is a warmly human person underneath.

John Stride gives fine support as an aged fellow veteran, Arthur, who befriends Bernard during his journey. He’s another performer who has had a long career in British films.

John Stride and Michael Caine

It’s the emotional story of two elderly people, played by Caine and Jackson, that is at the heart of the film and the director, Oliver Palmer, wisely focuses on it.  Towards the end of the film, when Irene and Bernard are re-united, the remarkable skill of these two veteran actors is displayed in an intense scene that is quietly sensitive. You’ll remember this scene long after the film is finished.

Glenda Jackson died after making this film and Michael Caine announced his retirement. It’s a memorable film for these two superb performers to go out on.

 

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

A TRIBUTE TO OLIVER (CONCERT)

Christina Wilson, mezzo soprano

Sonia Anfiloff, soprano

AJ America, mezzo soprano

Louise Page, soprano

Alan Hicks, piano

Philippa Candy, piano

Roland Peelman, harpsichord

Art Song Canberra

Wesley Music Centre, Forrest 25 February

 

Reviewed by Len Power

 

For Oliver Raymond, the retiring President of Art Song Canberra, a tribute concert performed by an outstanding group of singers and their accompanists became an extraordinary celebration.

Oliver Raymond has been President of Art Song Canberra continuously since 1995. Under his stewardship, the company has become one of Australia’s leading organisations devoted to the regular performance and wide appreciation of art song.

Also retiring and being honoured at the concert was his wife, Helen Raymond, who has been Art Song’s long serving Secretary.

Helen and Oliver Raymond

The list of performers, all of whom have close ties, past and present, to Art Song Canberra, were representative of the high standard that the company’s audiences have come to enjoy over the years.

Mezzo soprano, Christina Wilson, with Alan Hicks at the piano, presented a wide-ranging group of songs by composers such as Schubert, Schumann, Grainger and Fauré. All were superbly sung with the highlights being To Music by Franz Schubert and the haunting How Sweet The Moonlight Sleeps by Michael Head.

Wilson was then joined by soprano, Sonia Anfiloff for two songs – The Night by Ernest Chausson and the famous Barcarole by Jacques Offenbach.  Their blend of voices, particularly in the Barcarole, was one of the high points of the concert.

After interval, the mezzo soprano, AJ America, with Roland Peelman accompanying on harpsichord, performed two songs by Monteverdi, one celebrating the joy of love and the other about unrequited love. America skilfully and beautifully brought out the emotions in both songs.

From left: Alan Hicks, Christina Wilson, Philippa Candy, Helen Raymond, Oliver Raymond, Louise Page, Sonia Anfiloff and AJ America

Soprano, Sonia Anfiloff, with Alan Hicks on piano then performed songs by Henri Duparc, Samuel Barber, Michael Head and Robert Schumann. The power of her voice and her sensitive delivery of the emotions in the songs were outstanding. The highlight of her performance was Barber’s Sure On This Shining Night.

The last performer was soprano, Louise Page. Long associated with Art Song Canberra, she returned from retirement just for this concert. She was accompanied by Philippa Candy on piano and they performed five songs by Monique Carole-Smith, Fernando Obradors and Richard Strauss.

Page’s voice and ability to delivery emotion and meaning in the songs were as remarkable as ever and it was wonderful to hear her voice again. Carole-Smith’s War Song and Strauss’s The Night and Dedication were the highlights of her performance.

The concert finished with a call to the stage for Oliver and Helen Raymond. Surrounded by the performers who then sang Strauss’s Dedication to the couple, the full-house of audience members gave them a long and much-deserved standing ovation.

 

Photos by Peter Hislop

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

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

  

LAST OF THE RED HOT LOVERS (PLAY)

Written by Neil Simon

Directed by Anne Somes

A Canberra REP production

Canberra REP Theatre, Acton to 9 March

 

Reviewed by Len Power 23 February 2024

 

Neil Simon’s 1969 play, ‘Last Of The Red Hot Lovers’, coincided with a time of change in the USA. There was the flower power of the hippy movement, the sexual revolution, the increasing dominance of rock music and the debate over the country’s involvement in the Vietnam War.

In the play, fish restaurant owner, Barney Cashman, is aware of the changes around him and worried that at age 47 he is missing out on the sexual revolution. Although married to his childhood sweetheart, he decides to do something about his frustrations. Using his mother’s apartment on afternoons when she is absent, he attempts seductions of three very different women.

The huge role of Barney Cashman is played very well by David Cannell. His excellent comic timing gets all of the laughs in the right places. The depth of his characterisation clearly and, at times poignantly, shows the good man underneath even though he is making feeble attempts at adultery.

As Elaine Navazio, the first woman invited to the apartment, Victoria Tyrrell Dixon gives a subtle, nicely detailed performance of a brittle woman who happily enjoys extramarital sexual encounters but has no patience with Barney’s need for a more romantic start.

Stephanie Bailey as Bobbi Michele is colourful and amusing as a not very self-aware young woman who is ill at ease with herself under the surface. Bailey captures every aspect of this character very well.

The third woman, Jeanette Fisher, is married to Barney’s best friend. Played by Janie Lawson, this nervous and guilty character is given an excellent characterisation.  Lawson also has great comic timing, making every laugh line count.

The full width of the Canberra REP theatre’s stage is used by set designer, Cate Clelland. It looks like Barney’s mother has a New York penthouse, rather than a smaller apartment typical of that city. It’s nicely designed but its spaciousness may have led to the distracting lighting decision to highlight moments when the characters spend time together on a sofa. Music cues often seem awkward as well.

Overall, Anne Somes has given us an enjoyable, well-paced production with a strong cast that brings out all of the humour and pathos in Neil Simon’s play.

 

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

  

LIVING THE TRADITION (CONCERT)

Ilse De Ziah, cello; Ian Date, guitarist

The National Film and Sound Archive 21 February

 

Reviewed by Len Power

 

For an emotional journey through traditional Irish music, cellist, Ilse De Ziah, first presented a screening of the film she made with Maarten Roose called Living The Tradition: An Enchanting Journey Through Old Irish Airs.

The film, a documentary, shows Ilse’s search around Ireland for the background and locations of many traditional Irish tunes and their composers. Along the way, she meets with composers, scholars and local characters who help to provide a deeper understanding of the roots of this emotionally charged music.

Dynamic, colourful, lush and romantic, the country’s history and politics are never far away in these tunes. Beautifully filmed, the atmospheric and unique scenery of Ireland, coupled with the country’s traditional music, make this a memorable journey.

Taking the stage after the film, Ilse De Ziah with her cello and Ian Date, guitarist, entertained with a selection of music from their debut album, Here & There.

Ilse De Ziah

Ilse De Ziah is a cellist and composer famous for her cross-genre style. She has worked across contemporary, classical, rock and roll, traditional Irish, jazz and experimental music. As a cellist, De Ziah is known for her daring and emotionally charged performances which connect at a deep level with people from all walks of life.

Ian Date

Ian Date is regarded as one of Australia’s great guitarists. Known for his lyrical, inventive style and virtuosity, Date has performed extensively as a jazz musician since the 1990s.

 Presenting nine of the songs from their album, the pair displayed their virtuosity, individually and together. They commenced with The Ambush, a work inspired by the history of a place where they had lived in Ireland. It was a dynamic piece which combined chaos, emotion and melody and displayed their skill at working harmoniously together.  Other works were inspired by music from Mexico and Argentina as well as other Irish stories and melodies.

Their performance made an immediate connection with the audience. De Ziah clearly loves performing and sharing her music with others. Constantly smiling, her relaxed rapport with Date and the audience was very appealing.

Both performers presented the audience with fascinating detail of the origins of each tune. Date’s personal interaction with the audience was also very down-to-earth, easily showing his enjoyment in playing this music.

 

Photos by Peter Hislop

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

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

 

THE GENIUS, SALUT! baroque (CONCERT)

Fairfax Theatre, National Gallery Of Australia

Reviewed by Len Power 16 February 2024

 

Although Johann Sebastian Bach held the position of Thomaskantor, director of church music, in Leipzig, Germany for 27 years until his death in 1750, he was not the first choice for that position.

Although Bach was an applicant, the position was offered to Georg Philip Telemann, who ultimately turned it down. The Leipzig Town Council then offered the position to a new applicant, Christoph Graupner, who was forced to decline the offer as he was unable to be released from his current position. Only then was the position offered to Bach.

Salut! baroque’s The Genius concert celebrated the work of Bach and his contemporaries with a music selection from the baroque period of the 17^th and 18^th centuries.

The artists who performed in various combinations, were Anna Fraser, soprano, Sally Melhuish and Alana Blackburn, recorders, Sally Walker, baroque flute, Meg Cohen and Sarah Papadopoulos, baroque violins, John Ma, baroque viola, Tim Blomfield, bass violin, Simon Martyn-Ellis, theorbo and Monika Kornel, harpsichord.

Anna Fraser (soprano) and ensemble

As well as two works by Bach himself, the program included pieces by other composers of the period such as Buxtehude, Hurlebusch, Telemann, Keiser, Monteverdi, Reincken, Caldara, Handel, Bach’s son, Johann Christian Bach, and his rival for the kantor position, Christoph Graupner.

It was a fascinating journey through the baroque period. All works were well-performed and highlights included Bach’s Aria, Aus liebe will mein Heiland sterben (Out of love my Saviour will die), with Anna Fraser’s beautiful soprano soaring above the accompaniment of the flute and two recorders, Monteverdi’s Madrigal, Lamento della Ninfa (Nymph’s Lament), with soprano, theorbo, flute and recorders as well as pieces by Hurlebusch and Keiser.

Simon Martyn-Ellis (theorbo) and Anna Fraser (soprano)

Bach’s Ouverture; Badinerie from Orchestral Suite No. 2 in which Sally Walker’s flute playing was delightful, brought this rich and enjoyable concert to a close.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 17 February 2023.

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

 

  

QUEERS (PLAY)

Curated by Mike Gattis

Directed by Steph Roberts and Jarrad West

Everyman Theatre at the ACT Hub Theatre, Kingston to February 24

 

Reviewed by Len Power 14 February 2024

 

Seated with us in a typical British pub setting, “The Prince’s Arms”, seven individuals bring to life the changing social and political attitudes of the last hundred years of gay history by relating deeply affecting and human personal experiences.

A young soldier returning from the trenches of the First World War recollects a love that dare not speak its name. Almost one hundred years later, a groom-to-be prepares for his gay wedding. Amongst other experiences, a woman tells of coming to terms with her husband’s closeted gay life and a young actor struggles with the impact of the AIDS epidemic. Their stories are tragic, funny, outrageous and moving.

Alexander Hoskison

Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in the UK in 2017, directed and produced by Gatiss.

Karen Vickery

The ACT Hub theatre has been turned into an atmospheric British pub with a bar where drinks are available, and the audience is seated at tables with the performers positioned amongst them. There are music interludes with singer, Louiza Blomfield expertly performing songs that set the mood for each of the monologues. Blomfield changes costumes to suit each period of the show.

Louiza Blomfield

Directors, Steph Roberts and Jarrad West, have produced an emotionally charged evening in a perfect setting. They have obtained detailed, in-depth performances from each of the actors. Alexander Hoskison, Natasha Vickery, Karen Vickery, Geoffrey Borny, Joel Horwood, Patrick Galen-Mules and Joe Dinn hold the audience’s attention throughout their monologues, bringing these people skilfully to life.

At three hours, it’s a long show but a satisfying, enjoyable and memorable one.

Photos by Ben Appleton – Photox Photography

This review was first published by Canberra CityNews digital edition on 15 February 2023.

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