A HANDEL CELEBRATION (CONCERT)

 

Canberra Choral Society

Erin Helyard, director

Myriam Arbouz, soprano

Llewellyn Hall, December 13

 

Reviewed by Len Power

Promising arias and choruses from the greatest works of Georg Frideric Handel, the Canberra Choral Society provided a huge choir to sing the many choruses and French soprano, Myriam Arbouz to sing the arias. It was all directed by Sydney’s Erin Helyard.

Myriam Arbouz has established herself as one of the most compelling interpreters of baroque and early classical repertoire. She has performed across Europe, Australia and beyond.

Erin Helyard is artistic director and co-founder of Pinchgut Opera and the Orchestra of the Antipodes (Sydney). He is also Associate Professor at the Sydney Conservatorium of Music.

For this Come & Sing event, the 160-member choir, prepared by Canberra based composer, conductor and performer, Dan Walker, included 80 guest singers from the Canberra community.

Canberra Choral Society, guest singers and orchestra with director, Erin Helyard

Helyard addressed the audience at the beginning of the concert, saying that, in his opinion, Handel’s music and his works were Theatre of the Mind, conjuring up colourful ancient stories and characters. To open the program, Sinfonia from Handel’s early opera Agripinna was played by the orchestra, taking us deep into Handel’s world.

A large program of choruses was presented. Many were familiar and the huge choir impressed with the depth and accuracy of their singing. The words in English were very clear and easily understood.

It was all so well performed by the choir. Particularly outstanding were Jealously! from Hercules with its contrasting soft and dramatic passages and Funeral Anthem For Queen Caroline with its beautiful, sombre beginning. The very well-known Zadok the Priest was given a rousing performance, with trumpeters Zach Raffan and Sam Hutchinson playing superbly. Two choruses from the oratorio Theodora were also memorably sung as was the moving finale of Handel’s Messiah.

 

Myriam Arbouz, soprano with Erin Helyard, director

Soprano, Myriam Arbouz, sang four arias. Her beautiful, clear soprano, and the depth of feeling she presented in each item to bring her characters to life, showed why she is so renowned as a performer. Each aria she sang was a highlight of the program. The well-known Lascia ch’io pianga (Let me weep) from Rinaldo was given a refreshing new depth in her interpretation and the emotional Ombre pallide from Alcina was also memorably sung.

The orchestra gave a fine performance throughout and the thoughtfully chosen items of the program produced a true celebration of Handel’s music, ending the year on a high note.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 14 December 2025.

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

 

HAND TO GOD (PLAY)

 

Written by Robert Askins

Directed by Jarrad West

Everyman Theatre Production

ACT Hub Theatre, Kingston to 20 December

 

Reviewed by Len Power 10 December 2025

 

When shy young Jason joins his mother’s Christian Puppet Ministry in the tiny, conservative town of Cypress, Texas, he unwittingly releases the Devil through his creation of a puppet, Tyrone. The resulting effect on Jason and the characters around him has to be seen to be believed!

Robert Askins’ play, first produced off-Broadway in 2011, seems to have everything you need for a good night out at the theatre - religious hypocrisy, family dysfunction, shockingly bad language, faith, bullying, morality, bereavement, horny teenager troublemaking and assorted sexual stuff, blasphemy, insanity, puppet addiction, obsessiveness, furniture smashing, virginal timidness, ear biting, frenzied behaviour and violence. I think that was everything…

 All five members of the cast give strong performances with excellent comic timing. Michael Cooper as Jason and his puppet, Tyrone, displays extraordinary vocal ability that brings Tyrone to malevolent life, adding a surreal edginess to the show. His physical performance as he fights with the puppet has to be seen to be believed.

Michael Cooper (Jason)

Meaghan Stewart is quietly funny as Jessica, the young woman attracted to Jason. How she manages to show her true feelings for him results in a hilariously explicit sex scene. William ‘Wally’ Allington, as Timmy, the youthful and horny town tough chasing after the mother, Margery, gives a nicely repellent and amusing performance.

Amy Kowalczuk as Margery, the religious mother overtaken by lust, brings out the humour in her role through thoughtful characterization. Lachlan Ruffy as the hypocritical Pastor Greg with a strange dress sense, is funny as well as creepy.

Lachlan Ruffy (Pastor Greg) & Amy Kowalczuk (Margery)

The speed at which this show is played is breath-taking at times. The Director, Jarrad West, has kept a firm control on the frenzied and farcical action in the first act, but the second act seemed less humorous and slower, making it feel more uncomfortable than funny in places.

Overall, ‘Hand to God’, with its fine performances and strong direction, is an outrageously funny play with a lot of truth under the surface.

Photos by Janelle McMenamin & Michael Moore

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

 

 

AT THE GRAVE OF BEETHOVEN (CONCERT)

Phoenix Collective Quartet

Wesley Music Centre, Forrest, November 28

 

Reviewed by Len Power

 

A Beethoven concert is always welcome, but in the program presented by the Phoenix Collective quartet, works by the much later composers, Leoš Janáček and Karen Tanaka, were included. Both had ingenious links with the two Beethoven works to be played.

The Phoenix Collective quartet consisted of Dan Russell, violin, Pip Thompson, violin, Ella Brinch, viola and Andrew Wilson, cello.

The concert began with an arrangement by the quartet’s cello player, Andrew Wilson, of the first movement of Beethoven’s Sonata no 9 in A major op 47 Kreutzer. One of Beethoven’s most famous chamber works, written for piano and violin, this arrangement had three players covering the piano part and one player with the violin part. The slow beginning was contrasted with more intense passages that gave this complex work a feeling of underlying emotional tension. It was given a fine performance by the quartet.

It was followed by Janáček’s String Quartet no 1 The Kreutzer Sonata from 1923. This work was written in response to Tolstoy’s 1899 novella, The Kreuzer Sonata, which was itself inspired by Beethoven’s Sonata No. 9. In four movements, Janáček’s music was distinctly edgy throughout, producing a sense of the jealousy, doubt and rage of the novella and with sly musical references to Beethoven’s work. The quartet brought out all the emotional disorder in this work with their strong, colourful performance.

From left: Dan Russell, Pip Thompson, Ella Brinch, Andrew Wilson

Karen Tanaka’s two movement 1999 work, At the Grave of Beethoven, was next on the program. It explored the themes of the first and second movements of Beethoven’s String Quartet op 18 no 3 and was a peaceful, reflective work with elements of turmoil underneath. The connection to Beethoven’s work was there in the music but the work had its own distinctive and satisfying style. It was given a sensitive performance by the quartet.

The program concluded with Beethoven’s String Quartet in D major op 18, no 3 from 1798. It was actually the first string concerto that Beethoven wrote. It is traditional in form and structure, but Beethoven’s unique style is clearly apparent. It was melodic with sudden dramatic changes creating tension and depth and the quartet’s appealing performance of it was very enjoyable.

All four works were well-played and the links between the works resulted in a concert with an extra dimension of interest.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 29 November 2025.

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

TWIGGY: THE STORY OF AN ICON (FILM)

Directed by Sadie Frost

Transmission Films

In cinemas from December 4

 

Previewed by Len Power 26 November 2025

 

Ever since she burst onto the fashion scene in London in 1966, Twiggy has shown that she was not just a model who would fade away after a few years of fame. The new documentary, ‘Twiggy: The Story Of An Icon’, looks at the woman and her long and varied career. It’s a surprising and fascinating story.

Born Lesley Hornby in Neasden, London, the 16 year old schoolgirl suddenly found herself to be the most famous model of the 1960s. Her distinctive look, accent and slight figure caused a media frenzy at the time. It would have been understandable if fame and fortune had changed her for the worst, but decades later she displays the same natural and appealing personality that we remember from those early days.

The film is an exploration of her upbringing, career and relationships. The story of how her modelling began is surprising enough, but the unexpected direction in which her career moved afterwards is equalling fascinating.

In 1970, she surprised everyone with her singing and dancing skills in the Ken Russell musical film, ‘The Boyfriend’. She released several record albums of songs and relates a chilling tale in the film about record producer, Phil Spector.  She also burst onto Broadway in 1983 with the hit Gershwin musical, ‘My One And Only’ with Tommy Tune.

Television work followed, including a duet with Bing Crosby filmed shortly before he died. She became well-known to modern audiences with her appearances in ‘Absolutely Fabulous’.

Various media personalities such as Dustin Hoffman, Joanna Lumley, Paul McCartney, Lulu, Tommy Tune, Brooke Shields and others reminisce about her in the film. They’re not just a bunch of famous people called in to enhance the film. They all have worthwhile stories to tell about their interactions with Twiggy. Joanna Lumley gives a particularly interesting picture of life as a fashion model in the 1960s.

Twiggy’s life hasn’t been all rosy. There were failed marriages, but she also had a daughter, who appears in the film. She is now happily married to actor and director, Leigh Lawson. In 2019, she was appointed Dame Commander of the Order of the British Empire (DBE) for services to fashion, to the arts and to charity.

The film is directed by Sadie Frost, who previously made a feature film on fashion designer, Mary Quant. ‘Twiggy: The Story Of An Icon’ is a pleasant trip down memory lane with a fascinating woman, who might have been in the right place at the right time, but went on to show that she had so much more going for her.

LOW PAY? DON'T PAY! (PLAY)

Written by Dario Fo

Translated by Joseph Farrell

Directed by Cate Clelland

Canberra Rep Production

Canberra Rep Theatre, Acton to 6 December

 

Reviewed by Len Power 21 November 2025

 

It’s a night of total lunacy as the cast of “Low Pay? Don’t Pay!” tackle Dario Fo’s 1974 Italian farcical comedy about a consumer backlash to ever-increasing prices. While it’s all madness on the surface, Fo was unrelenting and unapologetic in his criticism of political and social issues. His style might be crazy, noisy and non-realistic, but the influences of commedia dell’arte, farce and medieval traveling theatre are clearly apparent in his work.

Fo’s work was ferociously attacked at the time, but he was eventually the recipient of the 1997 Nobel Prize for Literature. His plays have been translated into many languages and performed internationally. The title of the original English translation of his play in 1975 by Lino Pertile, “Can’t Pay? Won’t Pay!” has passed into the English language.

Fo encouraged producers and directors of his plays to change the setting to suit their circumstances, so, although the original setting for the play was Milan, Italy, the director of this production, Cate Clelland, has set it in Canberra, which works fine.

From the opening noisy demonstration in front of a supermarket, the action is broadly played by two couples, Joe and Toni, Maggie and Lou and an eight-member ensemble. There is also The Actor, a rather mysterious character.

The whole cast are clearly having fun playing the high-speed, farcical elements of the plot. If it seems a bit uneven at times, it really doesn’t matter. It’s the ideas and messages being presented that matter most in this play. Antonia Kitzel, though, gave a clever performance as the various characters of The Actor.

This production provides an opportunity to experience the work of one of the most influential playwrights of his time. It’s knockabout fun with strong messages underneath. I wonder what Fo would be saying about grocery prices now?

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

 

THE ALMIGHTY SOMETIMES (PLAY)

 

Written by Kendall Feaver

Directed by Lachlan Houen

Off the Ledge Theatre and Q The Locals production

Q Theatre, Queanbeyan to 22 November

 

Reviewed by Len Power 19 November 2025

 

Being an adolescent is hard enough without also dealing with a cocktail of pills that were prescribed to treat a severe childhood mental illness. Would life be better and maybe more exciting and fulfilling without the medication?

That is the question that eighteen year old Anna is grappling with in the play by Australian playwright, Kendall Feaver. This award-winning play looks at this young woman’s struggle to find the true identity which her medication may be masking. The effect on her, and those around her, raises serious issues in this thought-provoking play.

Winsome Ogilvie as Anna

Winsome Ogilvie gives a fine performance in the central and demanding role of Anna. The highs and lows of her character’s struggle are carefully judged and always believable. It’s a compelling and memorable study of a young woman trying to find herself.

Elaine Noon as Renee, the mother

Elaine Noon is very effective as the protective mother, Renee, who has difficulty in relating to her daughter as an adult. Steph Roberts gives a nicely edgy performance of Anna’s long-term doctor who keeps her distance professionally. As Anna’s tentative boyfriend, Robert Kjellgren deftly plays the confusion of youth as well someone trying to understand and deal with Anna’s behaviour.

Director, Lachlan Houen has obtained fine, in-depth performances from his cast in this highly emotional drama. It is thoughtfully staged and well-paced. The set by Caitlin Baker simply but effectively fills the large stage at the Q Theatre and her costumes for the cast have been well-chosen.

This is a good production of a compelling play. It’s confronting and makes you think but it’s also a play with humour, heart and a sense of optimism.

 

Photos by PHOTOX

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

 

 

TRENT'S LOVE STORIES (PLAY)

 

Additional Writing and Story: Trent Dalton and Fiona Franzmann

Directed by Sam Strong

General Management by Alex Woodward and Sophie Watkins for Woodward Productions on behalf of Brisbane Festival and QPAC

Canberra Theatre, Canberra Theatre Centre to 27 September

 

Reviewed by Len Power 25 September 2025

 

‘Can you please tell me a love story?’ Journalist, Trent Dalton, spent two months in 2021 gathering stories on his sky-blue 1960s Olivetti typewriter, on a prominent street corner in Brisbane’s CBD. Speaking to Australians from all walks of life, he asked them that one simple thing. Published in 2022, his collected ‘Love Stories’ has become a much-loved best-seller.

Produced by the Brisbane Festival and QPAC, the book is now on stage in a highly imaginative and unique production with a cast of 11.

Before the play begins, the theatre auditorium’s seats are seen in a live onstage projection. It’s a bit disconcerting suddenly seeing yourself larger than life sitting there. It’s a clever idea, reminding us that the play’s content has come from members of the public.

For lovers of the book, the content of multiple love stories comes as no surprise. All aspects of love are presented, many joyful and happy as expected, but there is sadness and heartbreak, too. Beautifully played by the cast, there is an extraordinary depth in their performances. In many cases, it’s gestures not words that are moving.

Jason Klarwein and Anna McGahan give fine performances as the journalist and his wife. The project of gathering love stories causes them to examine their own relationship. Rashidi Edward is Jean Benoit, a delightfully cheeky character who slips in and out of the action unfolding on the stage.

The 8 member ensemble play multiple characters of the stories.  Some we get to know very well as the stories unfold. With no program or photographs, it is not possible to single out individual actors who deserved praise. All were effective in their roles.

As well as the fine acting, the strength of this production is in the staging by director, Sam Strong.. The use of video and projection, both live and pre-recorded, is fresh and imaginative. You quickly forget that it’s performed mostly on a bare stage with minimal props.

With it’s striving to present the voices naturalistically, there were times where the dialogue was too quick to catch what was being said and at other times the actors spoke so softly that they could not be heard at all, even though they were miked. Maybe this aspect would be better in a smaller auditorium that the Canberra Theatre.

As the 16^th century French writer, Rabelais, once said, ‘Gestures, in love, are incomparably more attractive, effective and valuable than words.’ This charming production showed that his words still hold true today.

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

 

HARMONIC CURVES: HARP AND PIANO (CONCERT)

 

Alice Giles, harp

Arnan Wiesel, piano

Wesley Music Centre, Forrest September 21

 

Reviewed by Len Power

 

In a concert of harp and piano, you might think that the piano could easily dominate a delicate instrument like the harp.

The artists, Alice Giles, harp, and Arnan Wiesel, piano, showed how both instruments can harmonize with each other with their program of music by C.P.E. Bach, J.S. Bach, Charles Eakin, Emile Deltour and Carlos Salzedo.

Alice Giles has had a wide-ranging career and has appeared as guest artist at international chamber music festivals. She has given Master Classes in harp world-wide and is Lecturer at the Sydney Conservatorium of Music.

Arnan Wiesel’s career as solo and chamber musician has taken him to many countries internationally. He has performed with numerous orchestras around Australia and is the former head of the ANU School of Music Keyboard area. He currently has a teaching studio in Canberra.

The program commenced with Four Little Duets by C.P.E. Bach. The first duet was a sparkling, melodic work which contrasted with the more reflective and delicate slower second and third duets. The fourth was again melodic and bright and all four were a great choice to show the harp and piano working successfully together.

Wiesel then played a piano solo, Toccata in D Major for keyboard, by J.S. Bach. This dramatic work was given a superb performance. Wiesel also mentioned that the organisational skills of C.P.E Bach, a fine composer himself, and the son of J.S. Bach, ensured that much of his father’s music is still with us today.

Giles introduced the next duet, saying that it was one of their favourites to play. This modern work by Charles Eakin required the use of extended techniques to perform. It was edgy, colourful and dramatic and both artists gave it an extraordinary performance. It was one of the highlights of the program.

After a short break, Giles and Wiesel played Carlos Salzedo’s Sonata for Harp and Piano in one movement. The work showed the power and clarity that both instruments can achieve together. Giles explained before they commenced playing that the work featured sonorities and resonances that could make it hard to tell which instrument they were coming from. It was fascinating to hear this in action. It was a very dramatic work that was another highlight of the program.

Giles then played two works for solo harp by Salzedo – Ballade Op. 28 from 1914, composed near the start of his career, and Traipsin’ Thru Arkansaw from 1955, near the end of his career. The first was a lush, romantic work with hints of the modern works to come from the composer, and the second showed his connection to folk music of the time. This was a joyful, melodic, almost foot-tapping, work.

The final work on the program, Boogie Woogie for Harp and Piano by Emile Deltour was delightful with its boogie woogie beat bouncing between the instruments. The artists then played a passionate, rousing Spanish Dance No. 5 by Granados for an encore.

Highlighting the sonoric meeting places and differences of these two instruments produced a beautifully played concert that was educational as well as highly entertaining.

 

Photo by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 22 September 2025.

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

 

 

LEND ME A TENOR (PLAY)

 

Written by Ken Ludwig

Directed by Cate Clelland

Free-Rain Theatre Presentation

ACT Hub Theatre, Kingston to 27 September

 

Reviewed by Len Power 17 September 2025

 

Guaranteed to put a smile on your face, American playwright Ken Ludwig’s farce is a crazy story of mistaken identity, misconception, mistakes and mis-everything. First performed in London’s West End and on Broadway in the 1980s, the play has been an international success.

Although the Cleveland Grand Opera company are delighted to have secured world-famous tenor, Tito Merelli, to sing Leoncavallo’s Pagliacci for one evening in 1934, his late arrival sets off a chain reaction in which everything possible goes wrong.

On a substantial hotel two room set cleverly squeezed into the ACT Hub Theatre, set designer and director, Cate Clelland, has delivered a high-energy farce with fine performances.

Left to right: Michael Sparks (Saunders), Justice-Noah Malfitano (Bell-hop), one of the Pagliaccis (I lost track of who was who about here), Sally Cahill (Julia), Christina Falsone (Maria), Megan Stewart (Diana) and Maxine Beaumont (Maggie)

Michael Sparks is Saunders, the opera company’s general manager and a nervous wreck with an explosive temper. Maxine Beaumont as Maggie, his daughter, is not as innocent as she seems. John Whinfield, Max, her intended, is also the long-suffering assistant to Saunders. Sally Cahill is Julia, very much the grande dame chairwoman of the opera company. Meaghan Stewart is the glamorous, man-eating soprano, Diana, and Justice-Noah Malfitano is an opera-mad bell-hop. William ‘Wally’ Allington is the temperamental Italian opera star, Tito Merelli, and Christina Falsone is Maria, his formidable and fiery Italian wife.

John Whinfield (Max) and William 'Wally' Allington (Tito Merelli) - no wonder I was confused!

Everybody in the cast is at the top of their game, performing with extraordinary energy and finely-honed comic timing. Both Whinfield and Allington display fine singing voices with their opera duet from Don Carlos.

Fiona Leach has designed excellent and eye-catching period costumes. The most outstanding is Sally Cahill’s sparkling gown which fails to impress the general manager, resulting in one of the funniest lines in the play, delivered to perfection by Michael Sparks.

There’s nothing like a classic stage farce done well and Free Rain Theatre’s new production of Lend Me Tenor is as close to perfection as you can get.

 

Photos by Janelle McMenamin

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

A MUSICAL AWAKENING (CONCERT)

Australian Chamber Orchestra (ACO)

Directed by Timo-Veikko Valve

Llewellyn Hall, September 13

 

Reviewed by Len Power

 

With blossoms and a hint of spring in the air, the Australian Chamber Orchestra’s concert of uplifting music celebrated the awakening that this time of the year promises.

Directed by cellist, Timo Veikko-Valve, and with Genevieve Lacey on recorders and Simon Martin-Ellis on theorbo, the orchestra presented an atmospheric and enjoyably wide-ranging program with arrangements and works by Hildegard von Bingen, Max Richter, Melody Eötvös, Jaakko Kuusisto, Ludwig van Beethoven and Erkki Veltheim.

There was also the world premiere of a work commissioned by the ACO by Pulitzer prize-winning New York composer, David Lang, called flute and echo. The orchestra was joined by Genevieve Lacey on recorders and Simon Martin-Ellis on theorbo. This work created a beautiful and haunting soundscape with themes echoing and changing as it progressed. It was reflective, optimistic and uplifting.

Lacey and Martin-Ellis also joined the orchestra in the second half of the program for Imaginary Cities: A Baroque Fantasy, arranged by Erkki Veltheim. Inspired by Italo Calvino’s celebrated novel, Invisible Cities, Veltheim created an arrangement of works by the Venetian Baroque composers, Claudio Monteverdi, Antonio Vivaldi and Barbara Strozzi. His work successfully created the images and sounds of the city with exotic influences due to the cosmopolitan nature of the city at the time. This was a rich, visually exciting work, sparkling with melodies of far-off places and was one of the highlights of the program.

Other highlights included Finnish composer Jaakko Kuusisto’s Wiima, which evoked the nostalgic charm of a small town in Finland where a summer festival is held. This busy work was alternately melodic and dramatic, and its abrupt ending was a witty surprise.

Meraki by Australian composer, Melody Eötvös, was another rich, emotive and often jaunty work of great depth and warmth. Max Richter’s On the Nature of Daylight and Hildegarde von Bingen’s hymn, Ave, Generosa, arranged by Erkki Veltheim were also haunting works beautifully played.

The final work presented was Beethoven’s Holy Song of Thanksgiving from String Quartet in A minor, O.132. Arranged for string orchestra, its sense of renewal, recovery and serenity was the perfect end to this charming concert for a spring awakening.

 

Photo by Charlie Kinross

This review was first published by Canberra CityNews digital edition on 14 September 2025.

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

 

THE CADAVER PALAVER: BENNETT COOPER SULLIVAN ADVENTURE (PLAY)

Written and performed by Christopher Samuel Carroll

Presented by Canberra Theatre Centre New Works

The Courtyard, Canberra Theatre Centre to 14 September

 

Reviewed by Len Power 12 September 2025

 

Before Indiana Jones, there was Bennett Cooper Sullivan, gentleman adventurer and rakish raconteur. Upholding the finest ideals of the British Empire, Sullivan takes us on a breathless tour of his turn of the 19^th century adventures involving a mad scientist, imprisonment in Afghanistan, a scarab brooch, a host of cadavers, a monosyllabic Scotsman and torture by analgesic. And that’s not all!

Christopher Samuel Carroll, an actor, director, and playwright from Ireland, trained at Trinity College Dublin and Ecole Jacques Lecoq, Paris. Since moving to Canberra in 2016, he has become one of its most prolific and celebrated theatre artists.

Christopher Samuel Carroll (Bennett Cooper Sullivan)

In his one-man show, Christopher Samuel Carroll presents a dashing hero’s adventures that owe a great deal to Sherlock Holmes, Richard Hannay, Phineas Fogg and other well-known characters from the literature of the period.

Written by Carroll, the clever story unfolds at breakneck speed with danger at every turn, colourful characters and hair-breadth escapes, all told with a wit that Oscar Wilde would have been proud of.

On a simple stage setting, Carroll’s performance as this gentleman adventurer is highly polished. Although presented at a bewildering speed, his clarity of diction is impressive, his comic timing is impeccable, and the physical aspects of his performance combine to produce a highly charming and attractive hero as well as the many other characters. The subtle lighting design by Ash Basham adds extra atmosphere at carefully judged moments.

Already presented in successful seasons at the Adelaide Fringe, The Butterfly Club, Melbourne, and the Edinburgh Fringe, Carroll’s play is hugely enjoyable from start to finish. Bennett Cooper Sullivan, gentleman adventurer, is vividly brought to life by Carroll in a memorable and delightful performance.

 

Photo by Novel Photographic

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

 

 

SHIMMYING WITH THE SCHUMANNS (CONCERT)

Sarahlouise Owens, soprano

Natalia Tkachenko, piano

Presented by Canta Viva

Wesley Music Centre, September 6

 

Reviewed by Len Power

 

In presenting songs and music by Robert and Clara Schumann as well as Johannes Brahms, soprano, Sarahlouise Owens, and pianist, Natalia Tkachenko, provided a rich program of romantic, spiritual and dramatic power.

Sarahlouise Owens has worked extensively in Europe and is a graduate of the ANU School of Music and Royal Northern College of Music, Manchester.  She has established herself as a busy concert artist and recitalist of Art Song since her return to Australia.

Natalia Tkachenko, piano & Sarahlouise Owens (soprano)

Natalia Tkachenko graduated with honours from the Moscow State Institute of Music and worked extensively in Moscow, France, Germany and South Korea before residing in Canberra and working with the ANU School of Music.

Clara Wieck was a piano virtuoso who fell in love at an early age with the composer, Robert Schumann, in 1836. Clara’s father refused permission for them to marry, but, after a court battle, they were free to marry without her father’s consent in 1840, when she was 21. In 1853, the young Johannes Brahms called on Robert Schumann with a letter of introduction. He became part of their household and proved to be a tower of strength for Clara during Robert’s later bouts of mental illness.

The program commenced with Robert Schumann’s Widmung (Dedication) from Myrthen Op.23, a song cycle written as a wedding present to Clara. Owens’ beautifully clear soprano and her skill at presenting the right level of emotion in the song made this the perfect choice for the start of the program.

Owens then presented Liederkreis (song cycle) Op. 39 by Robert Schumann, 12 musical pieces set to the words of poet Joseph von Eichendorff. The cycle ranged through a wide variety of emotions and Owens expertly captured the spirit of each. Her dramatic skills were particularly notable in the piece Forest Conversation where the Lorelei was fiercely portrayed.

Pianist, Natalia Tkachenko, then played Brahms’ Variations on Theme of R. Schumann “Clara” Op.9. This rich, romantic work was played superbly by Tchakeno, bringing out all the warmth and feeling in the composition.

The large program continued with works by Brahms, Clara and Robert Schumann. The four pieces in Aus Jucunde (from Joy) by Clara Schumann were one of the highlights, as was the Spanish Song Op. 6 by Brahms and a selection from Brahms’ Songs and Romances Op.14.

Owens was in fine voice throughout this lengthy concert and her presentation of pertinent information about the relationship of the Schumanns with Brahms was polished and highly interesting.

This excellent concert finished with Schubert’s dramatic Erlkõnig as an encore. Both Owens and Tkachenko gave this thrilling work a performance to remember.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 7 September 2025.

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

  

LIZZY, DARCY & JANE (PLAY)

Written by Joanna Norland

Directed by Alexandra Pelvin

Canberra REP production

Canberra REP Theatre to 20 September

 

Reviewed by Len Power 5 September 2025

 

This year marks the 250^th birthday of Jane Austen and Canberra REP celebrates it with a production of Canadian playwright, Joanna Norland’s 2006 play, “Lizzy, Darcy & Jane”.

Mashing together elements of Austen’s novel, “Pride and Prejudice”, with aspects of her own life, interesting parallels come to light as characters and incidents from the novel step in and out of Austen’s own life experiences and imagination. A knowledge of the novel’s plot and of Austen’s life might be an advantage, but the cleverly woven action of the play is enjoyable on its own terms.

Lydia Milosavljevic (Jane Austen) and Dylan Hayley Rosenthal (Elizabeth Bennet)

Lydia Milosavljevic gives a fine central performance as Jane Austen, capturing her spirited character, humour and powers of observation. Dylan Hayley Rosenthal is a nicely strong-willed, intelligent Elizabeth Bennet and the four other cast members, Sterling Notley, Marco Simunec, Rachel Hogan and Elaine Noon, play multiple roles from Austen’s life and her novel, bringing their colourful characters to life very well.

Sterling Notley, Lydia Milosavljevic, Elaine Noon, Dylan Hayley Rosenthal and Rachel Hogan

The costumes by Eliza Gulley are nicely in period and the substantial period set, designed by Kayla Ciceran, with a clever lighting plot by Nathan Scibberas, assists the movement between Austen’s real life and imagination and the characters of her novel. Director, Alexandra Pelvin, has ensured that the spirit of Jane Austen and her world shines brightly in this production.

Centuries after it was written, Austen’s novel, “Pride and Prejudice”, remains one of the most beloved novels of all time, inspiring an extraordinary number of interpretations, plays and films. “Lizzy, Darcy and Jane” is a refreshing and entertaining way of looking at the novel as well as at the author, Jane Austen, herself.

 

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.

 

  

ROMEO & JULIET (PLAY)

Written by William Shakespeare

Directed by Peter Evans

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 7 September

 

Reviewed by Len Power 31 August 2025

 

Believed to have been written between 1591 and 1595, Shakespeare’s tragedy of ‘a pair of star cross’d lovers’ and their feuding families is one of his most popular plays.

The new production by director, Peter Evans, combines contemporary and traditional elements to bring clarity to both text and performance. The shining, dark set and basic black costumes, both designed by Anna Tregloan, make it clear that we are watching the play from a contemporary point of view.

The addition of colourful and traditional items of costume, as the play progresses, draw us back into the time and place of the story. The forest of overhead lighting, designed by Benjamin Cisterne, keeps the contemporary feel of the play while providing the atmosphere necessary for the various scenes. It is an attractive and successful overall design.

The contemporary aspects extend to the choice of actors, too. Age and gender have not driven the casting. Surrounding the young lovers are actors of similar age playing Juliet’s parents, the Friar, Mercutio, the Prince and others, stressing that we are watching a contemporary version of the play. While the story of the play never fails to involve, the style of production allows us to keep a slight distance, providing an opportunity to observe the play with great clarity.

There are some fine performances in this production. Madeline Li is a feisty, intelligent Juliet and Ryan Hodson appeals as an impetuous and personable Romeo knocked off balance by his sudden deep love for Juliet, leaving his youth behind. Both gave finely balanced and emotionally believable performances during their balcony scene. The final scene as they meet their deaths was superbly played and very moving.

Every performer in the ensemble was impressive with outstanding performances by Merridy Eastman as the Nurse, Khisraw Jones-Shukoor as the Friar and Brittany Santariga in the dual roles of the Prince and Mercutio.

Regardless of how many times you have seen it, Shakespeare’s play never fails to move an audience. This production is particularly successful because of its clarity and fine performances.

 

Photo by Pierre Toussaint

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

GOD OF CARNAGE (PLAY)

Arran McKenna, Jenna Roberts, Lainie Hart and Jim Adamik

Written by Jasmina Reza

Translated by Christopher Hampton

Directed by Jordan Best

Echo Theatre production

Q Theatre, Queanbeyan to 31 August

 

Reviewed by Len Power 29 August 2025

 

Two couples meet to discuss a playground fight in which their eleven year old boys were involved. The incident was serious enough for one of the boys to have had teeth broken. The meeting starts nicely with both sets of adults prepared to discuss and resolve the matter reasonably. However, their discussion soon deteriorates into an extraordinary battle full of rage and recriminations as each person’s beliefs, fears, jealousies and judgments clash with everybody else’s.

From the comfortable position of audience member, it’s very funny to observe these people as they battle furiously, but how sure are we that we wouldn’t react in a similar manner given the right circumstances? It’s an unsettling thought.

Jasmina Reza’s 2008 French play, translated into English by Christopher Hampton, has the setting changed to Canberra for this production. Director, Jordan Best has given the show a stylish set design of a square living room that, as the play progresses, virtually becomes a boxing ring.

Jim Adamik is a self-centred lawyer who quickly shows his aggressive and sadistic side. Always on his mobile phone, his conversations give us an uncomfortable insight into the type of man he is.  Lainie Hart plays his downtrodden wife who is struggling to contain her own frustrations.

Both performers memorably played these roles in a 2022 production and have found impressive new depths in their characterizations.

New cast members for this production, Arran McKenna and Jenna Roberts, both well-known performers in Canberra, prove to be strong matches for the other couple. He is smarmy and passively resistant while she displays a reasonableness that is anything but reasonable.

Given four deeply flawed characters to play, the skill and energy of these four performers as they change from humans to animals is breathtaking.

Director, Jordan Best, has ensured that the frenzied movement in this confined setting remains naturalistic and that all elements of the production are finely tuned.

If you missed this play in 2022, don’t make the same mistake this time.

 

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

 

  

THE ADDAMS FAMILY (MUSICAL)

 

Book by Marshall Brickman and Rick Elice

Music and Lyrics by Andrew Lippa

Based on characters created by Charles Addams

Directed by Alexander Unikowski

Musical Director: Darcy Kinsela

Choreographer: Caitlin Shilg

Canberra Philharmonic Society

Erindale Theatre to 13 September

 

Reviewed by Len Power 28 August 2025

 

First appearing in a series of cartoons in the New Yorker magazine in 1938 by Charles Addams, the 1964 television series brought international fame to the fictitious and eccentric Addams family with their weird interest in all things macabre and grotesque. The musical comedy opened on Broadway in 2010, running for over 700 performances. While the show has an original score by Andrew Lippa, it retains the very recognizable signature music of the TV series in its opening and closing moments.

The plot centres around the Addams’ teenage daughter, Wednesday, who wants to marry a normal young man, Lucas Beineke, to the consternation of her parents. The rather familiar storyline is spiced up with the macabre attitudes and characters of the family and the chorus of their dead ancestors.

There are some nice performances amongst the leading players, especially Leah Peel Griffiths as the Addams’ daughter, Wednesday, who deftly captures the rebellious spirit of a troubled teenager wanting, abnormally, to be normal. She sings her role with a pleasing strength and confidence.

Leah Peel Griffiths (Wednesday)

The delightfully grotesque character of Uncle Fester is a gift for any actor who plays him. Tim Stiles gives a very warm and funny performance in the role and his singing of ‘The Moon and Me’, the best song in the show, is outstanding.

Giuliana Baggoley plays and sings the role of the mother, Morticia Addams, very well but some of her funniest lines lacked energy and timing in their delivery. Quintin Gravatt as the father, Gomez Addams, sang well and gave a straight-forward performance as the worried father, but might have been funnier if he’d played the over-the-top latin lover that the script and songs hinted at. The couples’ shining moment was the Tango de Amor late in the second act.

There were fine performances, too, from Lauren Nihill as Grandma, Benjamin Martin as Lurch, Andrew Finnegan as Mal Beineke, Amelia Andersson-Nickson as Alice Beineke and Callan James Clarke as Lucas Beineke.

 

The Addams family (left) and the Beineke family (right)

The large chorus of Ancestors were suitably grotesque and funny with fine costuming by Helen Wojtas. They sang and danced Caitlin Shilg’s choreography very well.

Director, Alexander Unikowski, kept the action moving at a good pace and ensured that the macabre visuals and surprises were well-presented and colourful. The music was played with gusto by the orchestra, conducted by Darcy Kinsela.

‘The Addams’ Family’ may not be the most memorable musical of recent years, but Philo’s new production is bright and breezy, and the enthusiasm and hard work of the large cast makes the show an enjoyable entertainment.

Photos by Ben Appleton 

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

 

 

THE DRAWER BOY (PLAY)

Written by Michael Healey

Directed by Zac Bridgman

A Mockingbird Theatre Company production

Belconnen Arts Centre to 30 August

 

Reviewed by Len Power 26 August 2025

 

The power of storytelling is at the heart of Michael Healey’s 1999 award-winning Canadian play.

About two ageing farmers and the young city actor who comes to stay with them while he does research for a new theatre work, this life-affirming play is surprising and ultimately deeply touching. Ignorant of all aspects of farmwork, the young man struggles to be part of the farmers’ lives. Overhearing a story told by one of the middle-aged farmers, Morgan, to calm the other brain-damaged man, Angus, the young actor, Miles, uses the story in his research material, unwittingly impacting on the fragility of the farmers’ existence together.

All three actors in this production give finely nuanced performances. As the young actor from the city, Callum Doherty impresses with his portrayal of a young man out of his depth but trying hard to fit in. His flamboyance as an actor as well as his awkwardness and eagerness to please are carefully balanced in his thoughtful and emotional performance.

Callum Doherty (Miles)

As the farmer, Morgan, Richard Manning gives a strong, realistic performance as a man of few words who has struggled through years of life on the land. His telling of the calming story at the centre of the play is one of the high points of this production. Manning’s finely tuned performance of it is outstanding.

Richard Manning (Morgan)

Chris Baldock gives a superb performance as the brain-damaged farmer, Angus. He achieves a child-like quality in the grown man that is both appealing and tragic. There is a depth to his performance, both verbally and non-verbally, that shows a true understanding of the conflicting emotions of this man.

Chris Baldock (Angus)

The detailed setting for the play, designed by Chris Baldock, gives a vivid impression of the wide-open space surrounding this farm while the interior décor reflects the practical lives of two bachelors sharing.

Zac Bridgman, the director, keeps the emotional heart of this play at the right level throughout. How the art of storytelling has the power to change lives is at the centre of this emotionally charged play. It’s a rewarding and memorable experience.

 

Photos by Zac Bridgman

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

 

  

HAYDN'S MIRACLE (CONCERT)

Mikaela Oberg, flute

Australian Haydn Ensemble

Skye McIntosh, violin

Matthew Greco, violin

Karina Schmitz, viola

Daniel Yeadon, cello

Mikaela Oberg, flute

Wesley Uniting Church, Forrest 21 August

 

 

Reviewed by Len Power

 

 

With their playing of a thoughtfully selected program of works by Haydn, Schubert and Purcell, the Australian Haydn Ensemble showed once again that they are one of Australia’s leading period instrument groups.

The quartet of two violins, viola and cello began with Haydn’s String Quartet Op. 76 No. 6 in E flat major Fantasia. In four movements, their performance of Haydn’s inventiveness and playfulness impressed throughout. The quiet, dreamlike Adagio second movement, the Fantasia, was beautifully played, allowing your imagination to float along with the music. The finale was wonderfully unpredictable. Just when you thought you knew where it was going, it constantly surprised you.

The second work played was Schubert’s String Quartet Op. 29 in A minor D. 804 Rosamunde. The melodies and emotions in this work were achingly beautiful and superbly played and the edginess under the surface gave the work an extra dimension.

After interval, the quartet began with Purcell’s Fantasia in four parts No. 8 in D minor Z. 739. This calming, reflective work was well played, clearly showing the beauty and atmosphere in Purcell’s music.

The final work of the program was Haydn’s Symphony No.96 in D major Miracle in the arrangement by Johann Salomon. The Miracle refers to a Phantom of the Opera type incident where a chandelier crashed down in the theatre while this symphony was being played, miraculously missing audience members. The chandelier incident is true, but it happened four years after this No. 96 symphony premiered when another of Haydn’s symphonies, No. 102, was being played. Somehow the story stuck to the No. 96 and it has been known as the Miracle symphony ever since.

Flautist, Mikaela Oberg, joined the quartet and, together, they gave a brilliant performance, bringing out all the energy and joy of this charming work. The graceful Andante second movement was particularly well played with the flute soaring above the other instruments and the finale was joyous and exciting.

You could tell from the performers’ expressions that they clearly enjoyed playing these works and they were rewarded with thunderous applause at the end of the concert.

 

Photo by Helen White

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

 

 

GREATER LOVE (CONCERT)

Flowers of Peace

Second World War Memorial Concert

Directed by Christopher Latham

Llewellyn Hall, August 15

 

Reviewed by Len Power

 

Heroism comes in many forms. Inspired by the many acts of heroism and sacrifice by those who fought in the Second World War, the concert, Greater Love, honoured those heroes through the power of music.

The concert was a massive undertaking. It featured an extraordinary lineup of performers including esteemed actor, John Bell (narrator), musicians Simon Tedeschi (piano), Edward Neeman (piano), Helen Ayres (violin), Alice Giles (harp), Dong Ma (erhu), Callum G’Froerer (trumpet) and William Barton (didgeridoo) as well as singers Andrew Goodwin (tenor) and Rachel Mink (soprano). The Canberra Symphony Orchestra, ADF musicians and guest musicians made up the huge orchestra.

Also performing were the Flowers of Peace Chorus, Brisbane Chamber Choir and the Luminescence Children’s Choir. It was directed and conducted by Chris Latham with guest conductors SQNLDR Daniel Phillips, MAj Doug Hall and CMDR Cassandra Mohapp.

Chris Latham, director and conductor

There were newly commissioned works by William Barton, Paul Carr, Elena Kats-Chernin, Graeme Koehne, Peggy Polias, Cyrus Meurant, Andrew Schultz, Karen Tanaka and Julian Yu. There were also recovered and arranged works by Albert Arlen, Isador Goodman, Miriam Hyde, Margaret Dryburgh, Horace Perkins and many others.

As the concert progressed, a projected slideshow enhanced the narration and the music with photographs, art and statistics showing the appalling human cost of the war. These words, statistics and music produced an intense emotional impact as the concert progressed.

John Bell, narrator

There were many musical highlights including Miriam Hyde’s Faith in Darkness, the first item of the concert, Isadore Goodman’s New Guinea Fantasy, Margaret Dryburgh’s arrangement of Dvořák’s Largo from his New World Symphony, Graeme Koehne’s Caring, William Barton’s Love of Country, Love of Land, Elena Kats-Chernan’s To Hold The World, Andrew Schultz’s De Profundis and Paul Carr’s The Arms of Love.

Karen Tanaka’s achingly beautiful Eternity, a memorial to the Pacific War was another highlight. In addition, her The Birth of Peace, signifying the birth of the United Nations, was sung superbly by the Luminescence Children’s Choir holding lit candles. The final work, Buddha Symphony by Kōishi Kishi, a Prayer for Peace, brought this memorable concert to a quietly optimistic close.

 

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 16 August 2025.

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