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.

 

 

 

NEXT TO NORMAL (MUSICAL)

Book & Lyrics by Brian Yorkey

Music by Tom Kitt

Director: Christopher Bennie

Musical Director: Jen Hinton

Choreographer: Belinda Hassall

Queanbeyan Players production

Belconnen Community Theatre to 24 February

 

Reviewed by Len Power 15 February 2024

 

When a theatre company takes on a project like ‘Next To Normal’, it’s either going to be brilliant or a disaster. This demanding musical about the effects of a mother’s worsening bipolar disorder and the way her family cope with it, needs an unusually sensitive approach as well as very capable musical performers who can sing a taxing musical score and bring these characters and their problems realistically to life.

This powerful rock musical opened on Broadway in 2009.  It won three Tony Awards as well as the 2010 Pulitzer Prize for Drama.

Sarah Hull is excellent as Diana Goodman, the mother suffering from bipolar.  She sings the demanding musical aspects with accuracy and appeal and her vivid acting of the role indicates a deep understanding of the character’s condition.

Sarah Hull (Diana), Kara Murphy (Natalie) and Dave Smith (Dan)

Dave Smith gives a fine performance as her husband, Dan Goodman.  His strong singing and acting abilities show a sensitive and caring man desperately trying to keep the family together as normally as possible through this crisis.

Kara Murphy as their daughter, Natalie Goodman, sings her role with confidence and skill. She achieves a touching performance of a young woman dealing with normal late teenage issues on top of the problems that her mother’s illness presents. John Whinfield as, Henry, gives a sensitive performance of her dependable and often unappreciated boyfriend.

 

John Whinfield (Henry) and Kara Murphy (Diana)

In the role of Gabe Goodman, Luke Ferdinands has a strong singing voice and charismatic presence. Andrew Finnegan in the dual role of two doctors is calming and re-assuring but also is unexpectedly alarming in certain moments of the treatment of the illness.  Both actors handle the musical demands of the score very well.

There is a large amount of music and singing in this show. Musical Director, Jenn Hinton, has done a fine job in preparing the cast vocally for this show and conducting the musicians during the performance.

The excellent sound designer, James McPherson of Eclipse, has ensured that the sound is clear and well-balanced.  It’s particularly important that every word of this show can be heard.

Christopher Bennie, Jenn Hinton and Belinda Hassall have worked with a strongly successful vision and in the program they are listed as ‘Creative Team’. Surely all other crew members like costume, lighting and sound designers etc. are a part of that creative team, too?

A musical about a family trying hard to cope when one of them is suffering from bipolar disorder maybe doesn’t sound like a fun evening or even an attractive subject for a musical, but you really can’t afford to miss this sensitive, entertaining, at times funny and thoughtful production.

 

Photos by Ben Appleton – Photox Photography

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

 

RIVER (CONCERT)

Screen Australia

Australian Chamber Orchestra

Richard Tognetti, musical director and composer

William Barton, composer, vocals and didgeridoo

 

Reviewed by Len Power

 

Filled to the rafters, the Canberra Theatre’s audience for River experienced an extraordinary concert of live music and film.

The film, written and directed by Jennifer Peedom, is a cinematic exploration of the way rivers have shaped our world. For millions of years, rivers have passed through our landscapes and sustained communities. Within a couple of centuries, the ability to reshape rivers to suit our perceived needs has brought changes downstream that have proved to be catastrophic.

The breathtaking principal photography in the film by Yann Arthus-Bertrand, Ben Knight, Sherpas Cinema, Renan Ozturk and Pete McBride has been fashioned by film editor, Simon Njoo, into a remarkable visual exploration of rivers around the world and the impact of man on them.

Richard Tognetti and William Barton with the Australian Chamber Orchestra

On the film, the distinctive voice of actor, William Dafoe, accompanied the journey with a commentary that was informative, warm and poetic.

The music score features a large number of works by a range of classical composers including Bach, Vivaldi, Ravel, Sibelius and Mahler as well as works by the contemporary composers Piers Burbrook De Vere, Jonny Greenwood and Radiohead.

There was also new, original music by Richard Tognetti and William Barton.  Barton also performed on didgeridoo and provided vocals and Satu Vänskä provided vocals as well as performing on violin.

The powerful combination of music and film produced a haunting, dream-like atmosphere. While a mesmerising experience, the film’s message was very clear. Showing the fragile beauty of untouched waterways as well as the damage that humans have inflicted in recent years, the film pleads for a major re-think in how we live with rivers the world over.

 

Photo by Nic Walker

This review was first published by Canberra CityNews digital edition on 8 February 2023.

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