JOSEPH AND HIS AMAZING TECHNICOLOR DREAMCOAT (MUSICAL)

Lyrics by Tim Rice

Music by Andrew Lloyd Webber

Directed by Kelda McManus

Music Direction by Jenna Hinton

Choreography by Caitlin Schilg

Conducted by Craig Johnson

 

Reviewed by Len Power 27 February 2025

 

An early musical by Andrew Lloyd Webber and Tim Rice, Joseph and the Amazing Technicolor Dreamcoat is based on the character of Joseph from the Bible’s Book of Genesis. The story is told as a sung-through musical and the musical score ranges through various familiar styles including Elvis-themed rock and roll, calypso, jazz, Country and Western, French ballads and 1970s go-go.

These ever-changing styles in the score give a director the golden opportunity to be wildly creative. The director of this production, Kelda McManus, has produced a highly colourful, imaginative and joyous show that will please everyone from children to adults.

The large cast includes a group of children who perform their numbers sweetly with discipline and charm. This production includes some adult cast members who began their theatrical life as children in earlier productions. Hopefully many of the children in this production will develop a lifetime love of theatre from this experience.

Tim Dal Cortivo (Joseph) with the children

Amongst the excellent adult cast, there are some standouts. As Joseph, Tim Dal Cortivo gives a highly appealing performance throughout the show.  He gave a particularly moving interpretation of the song, “Close Every Door.

Taylor Paliaga (Narrator) and the cast

The Narrator was played by Taylor Paliaga with strength and energy and her fine singing of the second act opening song, “Pharaoh’s Story”, was particularly memorable.

Joe Dinn (Pharaoh) and the cast

“Song of the King” was a showstopper for Joe Dinn, who gave the Pharoah’s song an outrageous and hilarious over-the-top quality that worked superbly. Joseph’s Brothers, led by Matthew Paliaga, gave a rousing performance of “Those Canaan Days”. The strength of their voices gave this song a notable depth of feeling.

Caitlin Schilg’s choreography suited the changing styles of the show and the cast’s abilities. The trained dancers in the company were given their chance to shine.

The set design by Ian Croker and Kelda McManus worked very well in conjunction with an imaginative lighting design by Alexander Clifford. The sound design of Telia Jansen was well-balanced between the cast and the orchestra, which was nicely conducted by Craig Johnson. The musical director, Jenna Hinton, obtained strong singing performances by the whole cast and Jennie Norberry’s costume designs were colourful and creative.

This is a very well-produced show that is suitable for all ages. It’s imaginative, colourful and enthusiastically played by the entire cast.

 

Photos by Ben Appleton - Photox

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

 

  

BABY JANE (PLAY)

Adapted and Directed by Ed Wightman

From the Henry Farrell novel, “Whatever Happened To Baby Jane?”

Canberra REP production

Canberra REP Theatre, Acton to 8 March

 

Reviewed by Len Power 21 February 2025

The 1962 psychological horror film, “Whatever Happened To Baby Jane?” is famous for its now iconic performances by the stars of the film, Bette Davis and Joan Crawford. The film was based on a novel by Henry Farrell and it is this novel on which Ed Wightman has based his play, rather than the film.

In the story, two sisters are living together in seclusion.  Former stage child star, Jane Hudson (Baby Jane) is caring for her crippled sister, Blanche Hudson, formerly a famous movie star. It seems that Jane is responsible for the accident that resulted in her sister’s condition. Jane’s unstable state of mind results in an unrealistic plan to revive her child act while her aggression towards her sister increases alarmingly.

While the story in both film and play is basically similar, there is, wisely, no attempt to copy the performances of Bette Davis and Joan Crawford.

Louise Bennet gives a winning performance in the marathon role as Jane Hudson. She gives the character of Jane an eccentric childlike quality that is initially funny and a little sad, making her gradual descent into a dangerous insanity effective and realistic.

As her crippled sister, Blanche Hudson, Victoria Tyrrell Dixon gives a fine, in-depth performance as a woman increasingly fearful for her safety who is unable to get help when she needs it.

The best moments in the play are the confrontation scenes between the sisters. Petty jealousies become serious conflicts as Jane’s mind deteriorates and both actresses make these sequences frighteningly memorable.

Michael Sparks gives a nicely controlled performance as the ghost of the sister’s father who appears in Jane’s mind at key moments in the play. The psychological impact he had on the young Jane is effectively detailed in Sparks’ performance.

Andrea Garcia plays the housekeeper, Luisa, with an appealing warmth and concern for Blanche’s situation while dealing with the difficult Jane, and Tom Cullen gives a good performance as Edwin Flagg, a seedy young man who sees a chance to take advantage of Jane’s delusions.

Andrew Kay’s detailed set of this faded Hollywood home is nicely claustrophobic. Ed Wightman’s adaptation of the Farrell novel works very well and his direction of both character and action is excellent, making this a fine and entertaining thriller.

 

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

 

  

BALANAS SISTERS (CONCERT)

Kristīne Balanas violin

Margarita Balanas cello

Snow Concert Hall, Red Hill February 20

 

Reviewed by Len Power

 

Opening their concert with an exciting performance of the Halvorsen arrangement of Handel’s Passacaglia in G minor, Latvia’s Balanas sisters, Kristīne and Margarita, showed why they are two of the most talked-about rising stars in Europe. As well as playing superbly, their silent interaction with looks and smiles was electrifying, showing their joy in performing with each other.

Kristīne Balanas, violin and Margarita Balanas, cello

Violinist, Kristīne Balanas, is a 3^rd prize laureate of the 66^th International ARD Music Competition, 2018 Artist of the Year in the Grand Music Awards of her home country and has performed as a soloist for many of the world’s leading orchestras and festivals.

Kristīne Balanas, violin

Cellist and conductor, Margarita Balanas, is a winner of the Latvian Grand Music Award and has performed with many renowned orchestras internationally. She has conducted the Tonhalle-Orchester Zurich, Royal Academy of Music Symphony Orchestra, Baltic Sea Philharmonic and Järvi Academy Orchestra and Sinfonietta.

Margarita Balanas, cello

Following their opening performance of the Handel, Kristīne Balanas played J.S. Bach’s Partita No. 3 in E major for violin solo. All three movements were beautifully played, especially the reflective second Loure movement.

Margarita Balanas then played J.S. Bach’s Suite No. 1 in G major for solo cello. All three movements were played with great sensitivity and the third movement, Courante, was especially memorable.

The sisters then played two contrasting movements from Vivaldi’s The Four Seasons - Summer and Winter.  Together, they brought out all the vibrant colour of Vivaldi’s Summer and their playing of Winter was equally colourful, passionate and exciting.

After interval, the sisters played Latvian composer Pēteris Vasks’ Castillo Interior. This 2013 work for violin and cello, with its slow, contemplative passages conflicting with rapid outbursts of emotion, was movingly played and proved to be the highlight of the concert.

The final work in four movements, Ravel’s Sonate pour violon et violoncelle, was also passionately played by the sisters, and was the perfect end to a great concert.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 21 February 2025.

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

  

SONGS OF EVE - ART SONG CANBERRA (CONCERT)

Jane Sheldon soprano

Jack Symonds piano

Art Song Canberra

Wesley Music Centre, Forrest February 16

 

Reviewed by Len Power

 

In a demanding but superb program, soprano, Jane Sheldon, and pianist, Jack Symonds, created an extraordinary world of atmospheric music that was dreamlike and haunting. The spell of the music evoked intensely individual memories, feelings and experiences.

Jane Sheldon is a leading Australian soprano and composer with an international reputation. Her own body of compositional work includes electronic music, chamber music, an opera installation, works for dance companies and large-scale sound installations for galleries and museums. She holds a doctorate in music composition from the Sydney University.

Jane Sheldon

Jack Symonds is a composer, conductor and pianist and Artistic Director of Sydney Chamber Opera. He studied composition at the Royal College of Music, London and at the Sydney Conservatorium of Music where he received the University Medal.

Jack Symonds

Sheldon introduced the order of the four program items at the start of the concert and then performed them without a break. She commenced with her own compositions to a text by Rainer Maria Rilke from her album, Flowermuscle, This was followed by Wolken (Clouds) by Pascal Dusapin to a text by Goethe. Gabriel Fauré’s La Chanson d’Eve with a text by Charles van Lerberghe was the third item and the final item was Francis Poulenc’s La Dame de Monte Carlo which had a text by Jean Cocteau.

Sheldon’s use of her clear soprano and ability to convey the meaning and different emotions in the works was quite extraordinary. The sly humour in in the words of Poulenc’s La Dame de Monte Carlo was especially well presented. Jack Symonds’ piano accompaniment for this program’s complex music was remarkable.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 17 February 2025.

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

BUBBLE BOY (MUSICAL)

Book by Cinco Paul and Ken Daurio

Music and lyrics by Cinco Paul

Directed by Tijana Kovac

Musical Direction by Tara Davidson

A Queanbeyan Players production

Belconnen Community Theatre to 23 February

 

Reviewed by Len Power 14 February 2025

 

Most musicals we know had a typical Broadway start, but ‘Bubble Boy’ is a musical that first appeared in a production in New Jersey, USA in 2013. A cast album was then released, and the show became available for subsequent productions.

Somehow, the clever people at Queanbeyan Players found out about it and, even though audiences here would be unlikely to have heard of it, they’ve had the courage to take a gamble and give it a local production.

Based on an equally obscure 2001 film of the same name, it’s about a boy who was born without immunities and has had to live in a plastic bubble room. The show explores the idea that we’re all in our own limiting ‘bubbles’ and need to break out of them to reach our full potential.

Director of this production, Tijana Kovac, has given the show a comic look and feel.  The set and properties design by Remus Douglas is minimal and deliberately ratty and Sally Taylor’s choreography is based on simple movement. Their apt choices all contribute to the show’s overall sense of fun.

Rylan Howard (centre), Jimmy, the Bubble Boy, with members of the cast of the show

The large youthful cast attack the material with gusto and enthusiasm right from the opening number and keep that energy level high throughout the show. The 6 piece band play the music very well.

Kay Liddiard (Chloe) and Rylan Howard (Jimmy, the Bubble Boy)

You could criticize certain aspects of the show – there is some flat singing and over-acting at times and the music for the show isn’t all that memorable – but, honestly, the rough edges of this production work in its favour and the cast’s enthusiastic delivery overcome any short-comings, making this a very enjoyable two hours of musical fun.

Once again, Queanbeyan Players have shown that you don’t always have to look to the well-known Broadway musicals to have a good show.

 

Photos by Damien Magee

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs
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MUSIC TO CELEBRATE (CONCERT)

Salut! Baroque

Wesley Uniting Church, Forrest January 31

 

Reviewed by Len Power

 

It’s hard to believe that in 2025 Salut! Baroque celebrates 30 years of presenting Baroque music.

Their first program for this year celebrated the entire spectrum of baroque music – from its near-beginning to its near-conclusion – presenting various composers who were either an influence for what was to come or influenced by what had already taken place.

A feature of a Salut! Baroque concert is the presentation of obscure or never heard before composers from the era. This concert offered works by Giovanni Antonio Guido and Jan Rokyta as well as works by several other composers.

The concert commenced with Tarquinio Merula’s canzona, The Nightingale, from 1615. Anna Stegmann, Sally Melhuish, Alana Blackburn and Alicia Crossley, playing recorders, gave this work a delightfully atmospheric performance.

On Baroque instruments, John Ma (violin), Julia Russoniello (violin), Isaiah Bondfield (violin), Brad Tham (viola), Tim Blomfield (bass violin) and Monika Kornel (harpsichord) then played Pietro Antonio Locatelli’s 1741 Concerto in E Flat Op. 7 No. 6, subtitled Arianna’s Tears. The sombre and contrasting bright and melodic sections were given a sensitive performance of great depth.

Salut! Baroque

The next item, Giovanni Guido’s Playful Harmonies on the Four Seasons – Summer Op. 3 from 1717 was performed by the string players. They were joined by Anna Stegmann on recorder for the final section, Dance of the Faun. The performance of this melodic and colourful work by the no longer well-known composer, Guido, proved to be one of the highlights of the concert.

Moving to an unexpected 1969, Balkanology, by Jan Rokyta for four recorders, this haunting, mysterious and complex work with Romanian and Turkish influences was given a superb performance by the four women on their recorders. The thunderous audience applause at the conclusion was well-deserved, making this another highlight of the concert.

There were also works by Johann Christian Schickhardt, Antonio Vivaldi and Johann Heinrich Schmelzer. Each of these was given a fine performance by these musicians.

The concert concluded with a work written towards the end of the baroque period in 1750, Georg Philipp Telemann’s Concerto in A minor TWV 43. The combination of strings and recorder produced a rich sound that was at times dreamlike. It was memorably played and the perfect end to a concert that was educational as well as charming.

 

Photo by Dalice Trost

This review was first published by Canberra CityNews digital edition on 1 February 2025.

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

 

 

 

MOJO (Play)

Written by Jez Butterworth

Directed by Lachlan Houen

Presented by Red Herring Theatre & ACT Hub

ACT Hub Theatre, Kingston to 1 February

 

Reviewed by Len Power 22 January 2025

 

You’ll need a sense of humour for black comedy and a keen ear to fully appreciate Jez Butterworth’s seedy gangster play set behind the scenes in a 1950s English nightclub. In fact, as the play begins, you could be forgiven for wondering if you’ve blundered into the wrong play with the characters speaking what sounds like a foreign language.

This is the world of 1950s Soho in London uncompromisingly presented by writer, Jez Butterworth. The dialogue is part profanity and part colourful Cockney delivered at a machinegun pace by a group of not very bright, edgy and pill-taking young men.  They’re trying to be as tough as their jobs demand, but they’re fearful and desperate to project an image of masculinity that they don’t really feel. When they learn that there has been a particularly nasty murder of the nightclub owner, they’re seriously out of their depth as a battle for power begins.

Lachlan Herring (Baby) and Taj De Montis (Skinny) - Photo by Ben Appleton - Photox Photography

 

The fast-paced action has been staged with an impressive fluidity by the director, Lachlan Houen. He has obtained strong, colourful and real performances from his cast. Taylor Barrett shines as the more-controlled, ambitious Mickey and Lachlan Herring is particularly effective as the dangerously psychotic Baby. Jack Ferrier as Potts, Joel Hrbek as Sweets and Taj De Montis as Skinny give vivid, individual characterizations of these gangster types of the period. Their keen sense of timing brings out the humour in the script very well.

From left: Jack Ferrier (Potts), Lachlan Herring (Baby), Taylor Barrett (Mickey), Taj De Montis (Skinny) and Joel Hrbek (Sweets) - Photo by Helen Musa

The lengthy opening scene with Potts and Sweets seems to be pitched too high, emotionally, and the impressively authentic sound of the dialogue is achieved often at the expense of clarity. It’s not a play where you feel much empathy for the characters, but it is an intriguing look at the shadowy world of English clubs of the era.

This is an impressive debut for Red Herring Theatre, a new theatre company for Canberra, hopefully a sign of more great theatre to come.

 

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/.