GOLDNER STRING QUARTET (CONCERT)

Snow Concert Hall, Red Hill September 28

 

Reviewed by Len Power

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

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

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

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

Goldner String Quartet

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

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

 

Photo by Peter Hislop

 

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

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

THE CRITIC (FILM)

Written by Patrick Marber, Anthony Quinn

Directed by Arnand Tucker

Transmission Films

In Cinemas from October 3

 

Previewed by Len Power 25 September 2024

 

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

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

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

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

Ian McKellen as Jimmy Erskine

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

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

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

 

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

 

 

 

THIS SHINING NIGHT (CONCERT)

Canberra Choral Society

Music Director: Dan Walker

Wesley Uniting Church, Forrest September 21

 

Reviewed by Len Power

 

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

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

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

    Canberra Choral Society

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

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

Rachel Mink, soprano

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

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

Dan Walker, musical director

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

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

 

Photos by Peter Hislop

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

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

  

BEN HOADLEY AND THE ELLERY STRING QUARTET (CONCERT)

Ben Hoadley, bassoon

Brad Tham, violin

Anika Chan, violin

Pippa Newman, viola

Chloe Law, cello

Wesley Uniting Church, Forrest 15 September 2024

 

Reviewed by Len Power

 

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

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

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

Ben Hoadley

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

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

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

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

 

Photos by Peter Hislop

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

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

 

 

 

IN A NUTSHELL: THE POETRY OF VIOLENCE (PLAY)

 

Directed by Peter Evans

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 14 September

 

Reviewed by Len Power 13 September 2024

 

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

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

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

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

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

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

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

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

 

CHICAGO (MUSICAL)

Book by John Kander & Bob Fosse

Music by John Kander

Lyrics by Fred Ebb

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

John Frost for Crossroads Live and Jones Theatrical Group

Canberra Theatre, Canberra Theatre Centre to 29 September

 

Reviewed by Len Power 11 September 2024

 

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

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

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

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

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

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

Anthony Warlow (Billy Flynn) and the female ensemble

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

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

Female ensemble of "Chicago"

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

 

Photos by Jeff Busby

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

  

AUGUST: OSAGE COUNTY (PLAY)

Written by Tracy Letts

Directed by Cate Clelland

A Free-Rain Theatre Company production

ACT Hub Theatre, Kingston to 15 September

 

Reviewed by Len Power 7 September 2024

 

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

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

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

Karen Vickery (Violet Weston)

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

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

Karen Vickery (Violet Weston) with the cast.

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

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

 

Photos by Janelle McMenamin

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

 

AWAY (PLAY)

Written by Michael Gow

Directed by Lainie Hart

Canberra REP production

Canberra REP Theatre, Acton to September 21

 

Reviewed by Len Power 6 September 2024

 

Originally performed in 1986, Australian playwright, Michael Gow’s “Away”, has since become one of the most produced Australian plays and has been studied by school students in many States.

It tells the story of three families holidaying on the coast in summer 1967-68. The holidays should be a time of happiness and relaxation but are clouded by darker issues that the families are trying to cope with. Parts of Shakespeare’s A Midsummer Night’s Dream and King Lear underline the very human responses by the families to their problems. It is a play that resonates with Australians, but the issues presented are universal.

Andrea Close as Coral

Andrea Close as Coral and Jim Adamik as Roy, a couple trying to getting over the loss of a son in the Vietnam war, give outstanding performances. Adamik also shines in a very different second role as the ghastly, weak joke-telling MC of a holiday concert.

Jim Adamik as Roy

Christina Falsone achieves a strong characterization as Gwen, whose unhappiness and complaining affects all her family. Callum Doherty gives a heart-felt performance as the young Tom and everyone else in the large cast give fine, believable and recognizable performances of great depth.

Christina Falsone as Gwen

The show, with its multiple scene changes, is a challenge for a set designer. Andrew Kay’s abstract design for the beach scenes including the depiction of a storm and the Kodachrome slide projection of the locations worked particularly well. The set pieces of the families’ rooms in their homes, while realistic and detailed, seemed heavy and awkward to move. Costume designer, Helen Drum, has dressed the cast in costumes that reflect the period very well.

Callum Doherty as Tom

Director, Lainie Hart, has ensured that her entire cast have achieved fully developed characterizations. This is a fine and enjoyable production of this famous Australian play.

 

Photos by Eve Murray

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

  

ORDINARY DAYS (MUSICAL)

Music & Lyrics by Adam Gwon

Musical Director: Matthew Webster

Directed by Chris Zuber

Q The Locals production

Q Theatre, Queanbeyan to 7 September

 

Reviewed by Len Power 5 September 2024

“Ordinary Days”, was first developed by New York Theatre Barn in New York City in 2007. Since then, it has had numerous productions around the world, and this is the first chance for local audiences to see it.

It is a sung-through musical with a cast of four and a pianist. Adam Gwon’s music has the same challenging elements for singers that you find in the works of Stephen Sondheim and Jason Robert Brown, but it has its own unique voice that makes it tremendously appealing to audiences.

Set in New York City, the show follows the ordinary lives of four people and how they grow through their interactions with each other. It needs very capable performers who can develop strong characterizations while singing the challenging music.

The show has been cast with four experienced performers who between them have already proved their abilities with previous shows.

Vanessa Valois as Deb

Vanessa Valois plays Deb, a feisty, nervy student who is struggling as much with herself as with others. Joel Horwood is a young dreamer and optimist, Warren, who looks for the simple beauties of life. Kelly Roberts is Claire, a young woman finding it difficult to live with the new man, Jason, in her life. Grant Pegg is Jason, a romantic, who is puzzled by Claire’s responses to him.

Joel Horwood as Warren

All four performers give immensely appealing performances. Through their first songs, they skilfully bring their characters to life, making their stories very real to the audience. The sound, designed by Telia Jansen, is finely balanced so that the all-important lyrics can be heard clearly.

Kelly Roberts as Claire

Musical director, Matthew Webster, also plays the piano accompaniment to the show. There are about 20 songs, all with challenging music, and Webster plays them all with skill and sensitivity. While it is a sung-through musical, a couple of songs, “Life Story” and “I’ll Be Here” are particularly memorable.

Grant Pegg as Jason

The show, performed without interval, has been given a fine staging by director, Chris Zuber. The setting, evoking the atmosphere of crowded skyscrapers in New York City, is achieved with the director’s clever set design using hundreds of milk crates. It is enhanced with a thoughtful lighting design by Zac Harvey. Changes of scene are imaginatively handled, keeping the action flowing at a good pace.

This show has realistic and colourful characters whose lives become easy to identify with. It’s touching, sentimental, tuneful and very enjoyable. There are many fine musicals that get their start off-Broadway and this production with its fine cast is definitely one to see and enjoy.

 

Photos supplied by the production

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

 

LUKÁŠ VONDRÁČEK, PIANO (CONCERT)

Snow Concert Hall, Red Hill September 2

 

Reviewed by Len Power

 

Lukáš Vondráček made his first public appearance at the age of four and h debuted with the Czech Philharmonic Orchestra in 2002 when he was 15. After finishing his studies at the Academy of Music and the Vienna conservatoire, he obtained an Artist Diploma from Boston’s New England Conservatory, graduating with Honours in 2012.

He was the winner in 2016 of the most reputable piano competition in the world – The Queen Elizabeth Piano Competition. Since then, he has enjoyed an extensive international career giving recitals and working with the major orchestras and conductors in the world.

Lukáš Vondráček at the piano

His recital commenced with Seven Fantasias, Op. 116 by Johannes Brahms. The precision and depth of feeling in his playing was immediately apparent with these pieces, some dreamy, some wildly passionate.

Next on the program was Fantasie in B minor, Op. 28 by the Russian composer, Alexander Scriabin. This demanding work was an excellent showcase for Vondráček whose playing gave it all the colour and emotion needed. His playing of the stormy passages was breath-taking and the quieter passages were given a notable sensitivity.

After interval, Lukáš Vondráček presented two works by Robert Schumann. In a short but warm address to the audience, he advised that Schumann was probably his favourite composer as his work was so true to life.

Lukáš Vondráček

He then played Schumann’s Kreisleriana, Op. 16 with its alternately dramatic and melodic movements. It was awesome seeing Vondráček’s ability to change moods so suddenly, his playing giving the work a freshness and deeper meaning throughout.

The final work played was Schumann’s Arabesque in C major, Op. 18. Vondráček’s playing of this contemplative and beautiful work was a perfect end to a superb recital that showed why he is considered one of the major pianists of today.

Photos by Peter Hislop 

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

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

 

HEDY! THE LIFE AND INVENTIONS OF HEDY LAMARR (PLAY)

Written and performed by Heather Massie

Directed by Blake Walton & Leslie Kincaid Burby

The Street Theatre August 31

 

Reviewed by Len Power

The thought of Hedy Lamarr conjures up an image of a glamorous movie star of the 1940s and ’50s. Born in Austria, she began her film career in Czechoslovakia. Her performance in a controversial 1933 erotic romantic drama, Ecstasy, led to a film career in Hollywood where she became a star in the 1938 romantic drama, Algiers, with Charles Boyer.

Many other successful films followed, and she is probably best known for her performance as Delilah in Cecil B. DeMille’s 1949 religious epic, Samson and Delilah.

Lamarr was more than just a successful, glamorous actress. At the start of World War 2, she co-invented, with George Antheil, a radio guidance system for Allied torpedoes that could defeat the threat of radio jamming by the Axis powers. Although granted a patent for their invention in 1942, Lamarr was told her time could be better spent selling war bonds as she was a celebrity. The technology was not used until after the war and then independently of their patent.

The play, Hedy!, begins with film and images projected on a screen showing the glamour of the woman once promoted as “the most beautiful woman in the world”. Some of those images show her, ironically, in seductive poses with military hardware, including torpedoes.

Heather Massie as Hedy Lamarr

The writer, Heather Massie, also plays the actress in this one person show. She looks extraordinarily like Lamarr and, as the character, realizing she has somehow time-warped into Canberra, she creates an immediate and charming rapport with individuals in the audience.

The play is cleverly written, directed and performed very well. It runs nearly two hours without a break and the story of this woman’s life is constantly entertaining.

As Lamarr, she tells the story of her life from her childhood in Austria, her film career in Europe and the USA, her many marriages, inventions and later life. Her colourful story is fascinating and told very well by Massie, who also convincingly takes on the voices of other characters in her story like actors, Charles Boyer and George Sanders and actress, Bette Davis, her husbands and acquaintances.

While her Hollywood film career is an interesting story, it is her work as an inventor that becomes the most interesting and unique aspect of the play. At one point, Lamarr remembers the difficulty getting influential people in that male-dominated era to listen to her ideas. One wonders what she could have been capable of in a more accepting time.

Lamarr never made money from her patent, giving it to the US Navy in wartime to help defeat the Nazis. These days as we reach for our mobile phones, we don’t realize how much current technology owes to her invention. Her contributions as an inventor were eventually recognised but not until the 1990s, shortly before her death in 2000.

Massie’s performance as Lamarr is magical. She commands the stage with her personalised story of this gifted woman who achieved fame as both a glamorous actress and inventor.

 

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

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