THE WHARF REVUE - THE END OF THE WHARF AS WE KNOW IT

Created by Jonathan Biggins, Drew Forsythe and Phillip Scott

Musical Direction by Phillip Scott

Directed by Jonathan Biggins and Drew Forsythe

Presented by Canberra Theatre Centre & Soft Tread Enterprises

Canberra Theatre, Canberra Theatre Centre to November 2

 

Reviewed by Len Power 26 October 2024

 

If politics is the beast we must have, at least we’ve had the Wharf Revue at the end of each year to put it all in a better and hilarious perspective. After 25 years, this year’s show is to be the last. Nothing goes on forever, but the full house at the Canberra Theatre on opening night gave the performers a well-deserved sendoff.

Once again, the quality of the humour and political satire was up there with the best. The creators and performers, Jonathan Biggins, Drew Forsyth and Phillip Scott, with the addition of the other cast members, Mandy Bishop and David Whitney, presented a bewildering number of sketches, songs and film clips in which no-one in the political arena was safe from their incisive humour.

Jonathan Biggins as Paul Keating

The show commenced with Jonathan Biggins in his uncanny persona as Paul Keating, who assured us that “the age of enlightenment never happened”. Miriam Margolyes, farts and all, with a tipsy Joanna Lumley gave us “Mad Ducks And Englishmen” and Annabel Crabb hosted the TV’s “Hindsight”, a continuing theme in the show on various hot topics.

Mandy Bishop (Joanna Lumley) and Phillip Scott (Miriam Margolyes)

Trying to list every personality presented in the course of the show is impossible but there were nicely devastating portrayals of Bob Katter, Tony Abbott, Gina Reinhardt, Clive Palmer, Geoffrey Robertson, Julia Gillard, Alan Koehler, Anthony Albanese, Bob Hawke, Kevin Rudd and many others.

Mandy Bishop as Jacqui Lambi

Highlights were Jonathan Biggins singing in a skimpy sparkling dress as Angus Taylor Swift, David Whitney as Peter Dutton declaring “Nuclear’s Here” and Mandy Bishop singing up a storm as Jacqui Lambi. There were also Phillip Scott’s “I’m A Boomer”, Drew Forsyth’s delightfully edgy and cross Pauline Hanson talking about skulbuggery and King Charles’ chlorination and the clever film and song on the state of America was a thoughtful and chilling change of pace.

Drew Forsythe as Pauline Hanson

The high quality of the scripting, the frantic pace of the production, Phillip Scott’s musical direction and the clever costuming and wigs made this a superbly executed entertainment.

Running over 90 minutes without an interval, the show came to an end all too soon with a farewell song to the tune of “Seasons Of Love” from the musical “Rent”. It was hard to believe this was the last Wharf Revue but, with luck, maybe they were bending the truth like the politicians they satirise so well.

 

Photos by Vishal Pandey

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

 

LOVE FROM A STRANGER (PLAY)

Written by Agatha Christie

Directed by Jon Elphick

Tempo Theatre Inc production

Belconnen Theatre, Belconnen to November 2

 

Reviewed by Len Power 25 October 2024

 

Opening in London in 1936, Love From A Stranger is based on Agatha Christie’s short story Philomel Cottage, which was first published in 1934. It’s the story of a woman who breaks off her engagement and impulsively marries a stranger, only to suspect him of dark deeds in his past.

This play is more of a Will-He-Do-It than a Whodunnit, but anyone thinking this is a more straight-forward mystery than usual, will be caught napping as Christie stealthily controls the minds of her unsuspecting audience yet again.

Elphick has assembled a fine cast of 8 to tell this story. It’s notable for the depth of character work that he and the cast have achieved to bring these 1930s people convincingly to life.

Lilliana Cazabon-Mitchell brings a believable innocence to the role of Cecily Harrington, a typical middle-class young woman of the period. Eloise Willis, as her friend, Mavis Wilson, quickly establishes herself as the more worldly of the two women. George Belibassakis gains audience sympathy with his nicely controlled performance as the jilted fiancé, Nigel Lawrence.

Bradley Jones (Bruce Lovell) and Lilliana Cazabon-Mitchell (Cecily Harrington)

Bradley Jones as the man of mystery, Bruce Lovell, is convincingly charming when he first meets Cecily and carefully adds layers of darkness to his character as the play progresses. Some of the later psychological aspects of his character show that this is a play of its time, but Jones plays the threatening behaviour at a believable level.

Debra Byrne  (Auntie Loo Loo) and Eloise Willis (Mavis Wilson)

Debra Byrne excels with her humorous character study of the interfering and bigoted middle-aged Auntie Loo Loo and there is especially strong support by Chris McGrane as a very funny gardener, Hodgson. Jessica Slusser as the maid, Ethel, and Kim Wilson as Dr. Gribble also give finely etched characterizations.

The women’s costumes and hats are attractive and nicely in period and the design of the two settings is artfully handled to give the impression of two completely different locations.

The entire cast of 'Love From A Stranger'

Renowned world-wide for her record number of murder mystery novels, Agatha Christie also wrote quite a number of plays. Jon Elphick, the director of Christie’s Love From A Stranger, has now directed 12 of them, which must be some kind of record, too.

 

Photos by Peter Butz - Methinks Creative

 

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

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

 

PETER AND THE STARCATCHER (PLAY)

Written by Rick Ellice

Based on the novel “Peter and the Starcatchers”

by Dave Barry and Ridley Pearson

Music by Wayne Barker

Directed by David Morton

Dead Puppet Society, Glass Half Full Productions,

Jones Theatrical Group and Damien Hewitt Production

The Playhouse, Canberra Theatre Centre to 27 October

 

Reviewed by Len Power 24 October 2024

 

J.M. Barrie’s much-loved play and novel about Peter Pan, the boy who never grew up, has been a powerful story that we remember fondly from childhood. “Peter and the Starcatcher”, a prequel of sorts to Barrie’s work, takes us back once again to that magical world, telling a story of Peter and how his faith in himself gave him the ability to fly.

Re-imagined from the 2012 Broadway production that won 5 Tony Awards, this new and lavish Australian production is a crazy and magical ride full of colourful characters and situations with a strong and emotional message of yearning and wish-fulfilment.

The orphans - Otis Dhangi (Boy-Peter), Benjin Maza (Ted) and Morgan Francis (Prentiss)

The large ensemble cast skilfully play orphans, British subjects and sea-farers. Outstanding in the cast are Colin Lane as Black Stache, the pirate Captain, Otis Dhagi as the orphan boy who becomes Peter, Olivia Deeble as Molly, the Starcatcher, Pete Helliar as the pirate, Smee, and Ryan Gonzalez as Fighting Prawn, the leader of the Mollusks, a group of ship-wrecked Italian chefs.

Underwater magic

The design work in this show is breath-taking, creating a world full of imagination. Magical effects and puppetry enhance the show at every turn and it moves at a frenetic pace. Designer and director of the show, David Morton, clearly had a vision which he has impressively realized.

The original and tuneful music of Wayne Barker is played by an onstage ensemble led by James Dobinson. The songs are performed very well by the cast, especially a very funny number sung by mermaids at the start of the second act.

The mermaids

“Peter and the Starcatcher” is a delightful and very funny show. Its powerful message reminds us that a sense of wonder is still there in the child in all of us.

 

Photos by Daniel Boud

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

 

8 WOMEN (PLAY)

Written by Robert Thomas

Translated by Céline Oudin

Directed by Chris Baldock

Mockingbird Theatre Company

Belconnen Arts Centre to 19 October

 

Reviewed by Len Power 17 October 2024

 

Set in an isolated mansion in the snowy countryside of 1950s France, where a family has gathered for the holiday season, it’s no surprise that a murder occurs. It quickly becomes likely that the killer must be one of the only eight women in the house, causing them all to suspect and doubt each other. With revelations of dark family secrets adding complications to the mystery, the stage is set for an entertaining comedy-thriller.

Written by the French writer, actor and movie director, Robert Thomas, in 1958, this popular play was given new life in 2002 with a sumptuous film musical adaptation by French director, Francois Ozon.

Cast member of this production, Céline Oudin, has translated the play, retaining its French appeal and successfully making it accessible to Australian audiences.

For his first production as the new company in residence at the Belconnen Arts Centre, director, Chris Baldock, has wisely chosen this very amusing French comedy-drama with its meaty roles for eight actresses.

Most of the cast in '8 Women'

The ensemble cast of women all give fine performances. Liz St Clair, Carole Wallace, Catherine Elias, Emily Borgo, Céline Oudin, Jane O’Sullivan, Liz Caddy and Maxine Eayrs quickly establish their individual characters, and they are particularly impressive in the panicky sequences where everyone is talking at once. There are some impressive screamers amongst the group, too.

The intimate performing space adds to the involvement in the play. It has been used very well with the audience on three sides close to the action and the set has well-chosen furniture and props to evoke the atmosphere of a French mansion.

Director, Chris Baldock, has obtained strong performances from his cast. The level of frantic action, the creation of an effective ensemble and attention to detail throughout, indicate the steady hand of his direction.

This is a funny and entertaining production that takes the whodunnit genre and gives it a distinctly French flavour.

 

Photo supplied by the production

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

 

SUBLIME VIENNESE SOUNDS (CONCERT)

Myee Clohessy, violin

John Martin, piano

Greenaway Studio, Chapman 13 October

 

Reviewed by Len Power

 

Sublime was the word for this afternoon program played by Myee Clohessy, violin, and John Martin, piano. They performed music by Beethoven and Schubert plus two works by composer and host of the concert venue, Greenaway Studios, Sally Greenaway.

Myee Clohessy has performed as a violinist with orchestras and ensembles in concert halls worldwide. She has also worked and recorded with some of Australia's top ensembles, including the Australian Chamber Orchestra, Pinchgut Opera, and the Australian Brandenburg Orchestra. An accomplished chamber musician, she was one of the founding members of the highly renowned Acacia Quartet, with whom she played for twelve years.

Myee Clohessy (violin) and John Martin (piano)

John Martin has worked extensively as a pianist and musical director in the music and theatre industry, in Australia and overseas. He is an accomplished composer and has performed regularly as a soloist and with numerous ensembles and has also toured internationally.

Both performers gave down-to-earth and often humorous introductions to each of the works played.

Their program commenced with Beethoven’s Sonata in D major Op. 12 No.1. This dynamic and colourful work in three movements was a great choice and was played very well.

To honour Sally Greenway’s significant birthday, they next played two works composed by her – Poems I, II and III and Summer Beckons. These exquisite, melodic works were given performances full of colour and emotion and it was a rare bonus to be able to see the composer’s delighted reaction while listening to these excellent performers play her music.

John Martin next played Franz Schubert’s Impromptu Op. 90 No. 4. Beethoven’s influence on Schubert’s compositional work was evident but the characteristic emotion in the music made it distinctly Schubert’s own. Martin gave it a fine performance.

The final work on the program was Schubert’s Sonatina in D major. Composed at the age of 19, and again in three movements, the beautiful melodies in this work and its brilliant finale were played with great sensitivity.

Another Schubert work, the most well-known of his Swan Songs with its haunting melody, was the perfect encore.

 

Photo by Peter Hislop

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

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

 

 

THE INHERITANCE PARTS 1 & 2 (PLAY)

Written by Matthew Lopez

Directed by Jarrad West

Everyman Theatre production

ACT HUB Theatre, Kingston to November 2

 

Reviewed by Len Power 12 October 2024

 

Inspired by E.M. Forster’s novel, Howard’s End, the past, present and future collide in Matthew Lopez’s play about love and legacy in the queer community. Focussing on a young group of friends in New York from about 2015, the play moves back and forth in time, showing how the past shapes and informs their current existence as well as their future.

Eric is a New York City lawyer trying to keep his family’s apartment; his boyfriend, Toby, is a successful but abrasive writer, living in a state of denial. From there, a web of touching and heartbreaking stories unfolds, remembering the dead and calling on the living to keep looking forward. E.M. Forster himself is on hand to offer comment and advice.

Lopez keeps the story moving swiftly with literate dialogue and deeply etched characters. The characters self-narrate, giving a theatrical immediacy and style to the play that is highly effective. Gay politics, past and present, and the AIDS crisis are discussed, as well as class divisions, personal survival, healing and a sense of belonging, while America faces a troubling future.

Director, Jarrad West, and his ensemble cast of 13 bring this stirring play brilliantly to life. A central square main acting area is reminiscent of a boxing ring where the battles of life take place. Raised levels either side cleverly represent other rooms and locations.

Joel Horwood (Toby) and James McMahon (Eric)

James McMahon gives a calmly sensitive and moving performance as the lawyer, Eric. Joel Horwood is superb as the self-destructive writer, Toby, and Andrew Macmillan skilfully plays the two roles of Adam and Leo, both men damaged emotionally in different ways.

There is also fine work from Rhys Robinson as businessman, Henry, and Karen Vickery as Margaret, the mother of an AIDS victim.

Duncan Driver (Morgan) and cast members

Duncan Driver plays Morgan (E.M Forster) with a wry and matter of fact elegance, as well as another key character in the story, Walter. Both parts are played by Driver with skill and a notable warmth.

The rest of the cast play a kind of Greek chorus throughout the play, commenting and pushing the narrative forward, but they also have their individual character moments to shine.

This epic play in two parts is a highly memorable and emotional theatrical experience. It’s a story set in the queer community, but its message of love, loss, hope and healing will resonate with everyone.

 

Photos by Janelle McMenamin and Michael Moore

This review was first published by Canberra CityNews digital edition on 13 October 2024.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

  

LITTLE SHOP OF HORRORS (MUSICAL)

 

Book and lyrics by Howard Ashman

Music by Alan Menken

Directed by Marty King

Dramatic Productions

Gungahlin Theatre, Gungahlin to October 26

 

Reviewed by Len Power 11 October 2024

 

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

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

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

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

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

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

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

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

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

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

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

 

Photo by Janelle McMenamin

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

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

 

THE BOY FROM OZ (MUSICAL)

Book by Nick Enright

Music and lyrics by Peter Allen

Directed by Kirsty Griffin

A Free Rain Theatre production

The Q Theatre, Queanbeyan to October 20

 

Reviewed by Len Power 4 October 2024

 

First opening in 1998 in Sydney, ‘The Boy From Oz’ achieved great popularity and a long run on stage with Todd McKenney as Peter Allen. Taken to Broadway with Hugh Jackman in the lead, it repeated its popularity throughout its limited run. It remains a popular musical in revivals around Australia.

Peter Allen was a larger-than-life figure for much of his later career, finding success as performer, singer and song-writer. The book of the show provides glimpses into his life from childhood in a New South Wales country town to the glittering lights of Broadway, using many of his popular and enduring songs along the way.

Jared Newall as Peter Allen

The performer who plays the marathon role of Peter Allen must have charisma, energy and strong vocal ability. Free Rain Theatre made a fine choice in casting Jared Newall in the role. His high energy performance, acting ability and fine singing capture the essence of Allen the man and performer. His singing of ‘Tenterfield Saddler’ and ‘Once Before I Go’ are particular highlights, topped only by his performance of the rousing ‘I Go To Rio’ with the company at the end of the show.

Jared Newall as Peter Allen with the 'Rockettes'

Janie Lawson gives a fine performance of great warmth as Allen’s mother, Marion Woolnough. In her capable hands, the level of emotion she brought to the song ‘Don’t Cry Out Loud’ was another highlight of the show.

The roles of Judy Garland and Liza Minnelli are difficult to play, given the well-known and unique characteristics of these performers. Meaghan Stewart as Garland and Stephanie Bailey as Minnelli give a sense of these of these personalities without making the mistake of trying to copy them. Both strong singers, they performed their songs very well.

There are many other effective performances from the large cast and many of the ensemble had cameo roles as well.

The large amount of choreography by James Tolhurst-Close and Kristy Griffin matched the dancing styles of the time periods of the story. It was danced with high energy by the ensemble, who also sang very well. Their singing of ‘I Still Call Australia Home’ with Jared Newall almost stopped the show.

The orchestra, conducted by Ian McLean, gave a rousing performance of the many songs in the show. 

The show moves with speed and energy and has been efficiently directed by Kirsty Griffin. The messy-looking words painted on the floor were a distraction and the set was minimal and uninteresting. The soundscape before the show was too loud and was such a jumble of words and sounds that it was annoying rather than atmospheric.

The ensemble of 'The Boy From Oz'

Overall, this is a good production with fine performances, singing and dancing. The cast display the life and times of Peter Allen with great appeal, making this an enjoyable show.

Photos by Janelle McMenamin

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

GHOSTLIGHT (FILM)

Screenplay by Kelly O’Sullivan

Directed by Kelly O'Sullivan and Alex Thompson

Vendetta Films

In Cinemas from October 10

 

 

Reviewed by Len Power 2 October 2024

 

Performing in live amateur theatre, people often discover a tremendous sense of community and even healing as they strive for a common goal. While analysing the characters they are to play or interact with, they can find themselves confronting their own desires and fears.

“Ghostlight”, centres on Dan, a melancholic middle-aged construction worker grieving over a family tragedy. Cut off from his devoted wife, Sharon, and talented but troubled daughter, Daisy, Dan finds comfort and community in a misfit company of amateur actors. While moonlighting in a low-rent production of Shakespeare’s tragedy, “Romeo & Juliet”, Dan is forced to confront his buried emotions.

Touching and at times gently funny, this is a story of a family shattered by tragedy and how they unexpectedly begin to recover.  Real-life acting family Keith Kupferer (Dan), Tara Mallen (Sharon) and Katherine Mallen Kupferer (Daisy) play these family members with tenderness and authenticity. Keith Kupferer gives a particularly intense and powerful performance as father and husband, Dan, a man who initially finds it difficult to get in touch with his feelings until confronted with his onstage character’s reaction to the death of a much-loved person.

Tara Mallen and Katherine Mallen Kupferer as mother and daughter also give fine, believable performances. Dolly De Leon as Dan’s co-star in the play is nicely quirky and strong, while the performers playing unskilled amateur actors struggling to find their characters in the play are both funny and real.

Watching this family coming to terms with tragedy bit by bit is moving and cathartic. It’s quite intense as we feel the pain of these people and share their joy at the end.

The sensitive subject matter is nicely directed with great sensitivity by Kelly O’Sullivan and Alex Thompson, making this a highly memorable film.

 

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