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.