ARE YOU LONESOME TONIGHT (MUSIC)

Concept by Patrick Nolan

Directed by Laura Hansford

Opera Queensland production

Q Theatre, Queanbeyan 15 April 2025

 

Reviewed by Len Power

 

Described as a unique celebration of country music and opera, featuring arias and songs by Puccini, Verdi, Slim Dusty, Troy Cassar-Daly and Dolly Parton, Are You Lonesome Tonight was a pleasant evening of song from both genres cleverly woven together.

The young cast of singers – Gabrielle Diaz, Marcus Corowa and Jonathan Hickey – moved from Opera to Country effortlessly. All three amiable individuals connected quickly with the audience in a down to earth manner and showed themselves to be very capable singers of both styles of music as well as being accomplished musicians.

Jonathan Hickey, Gabrielle Diaz and Marcus Corowa

On a colourful and attractive set, designed by Penny Challen, the cast gave a potted history of opera and country music, illustrated with various arias and songs along the way. There was some mild audience participation that added to the connection between cast and audience.

The show moved at a good pace with most of the arias being from very well-known operas like Carmen, La Traviata, The Marriage Of Figaro and La Boheme. The country music included songs by Hank Williams, Slim Dusty, Troy-Cassar-Daly and Dolly Parton, amongst others. The arrangements where arias moved deftly to country and back again were very well done.

The operatic arias were sung in their original languages, which might have been a barrier for audience members unfamiliar with the shows they came from, but they could not fail to be affected by the powerful melodies and emotions in the music. The country songs were well-chosen, also displaying emotions and melodies that make this a powerful genre for many.

It was the choice of a song from Kate Miller-Heidke’s opera, The Rabbits, that particularly showed that opera and country can come together very well. This was the highlight of the show.

The show finished with the song Are You Lonesome Tonight. It had been an enjoyable evening of song that should gain some converts to a genre of music until now unfamiliar to them.

 

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

HENRY 5 (PLAY)

Written by William Shakespeare

Directed by Marion Potts

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 20 April

 

Reviewed by Len Power 11 April 2025

 

Henry 5 may be Shakespeare’s well-known play with the rousing call to battle, ”Once more unto the breach, dear friends, once more”, but the grim reality of war is unflinchingly depicted in this production with its messy brutality and death. In its contemporary setting with laptops, microphones and surtitles digitally identifying characters by name and serial number, the dehumanization of war is clear. The use of today’s communication equipment is a reminder that current world conflicts and their biased reporting are probably shaping our own attitudes. Our minds become the weapons of the future.

The drama before and after Henry 5’s victorious Battle of Agincourt in 1415 plays out on a bare stage in which darkness looms over the characters. Everything is geared for war – the metallic uniformity of the set pieces and the costuming that hints at uniforms. There’s even a punching bag hanging aggressively on the set that becomes a symbol of dead soldiers being dragged over the battlefield.

Marion Potts’ production strips the play down to its essential story. Many characters and subplots are omitted as the narrative drives forward compellingly in one act. The battles are cleverly choreographed with movement (Nigel Poulton), lighting (Verity Hampson) and sound (Jethro Woodward) and the atmospheric set design (Anna Tregloan) includes the inspired use of real and very messy mud to depict the bloodiness of battle.

JK Kazzi is a fine, physical King Henry. There are echoes of his dissolute youth in his characterization but there is a steely resolve that drives him towards battle. His famous speeches “Once more unto the breach” and “We few, we happy few, we band of brothers” are delivered with a notable intensity and sensitivity.  There are fine, colourful and truthful performances from all members of this ensemble cast.

This is a memorable production from Bell Shakespeare. It’s atmospheric and disturbing and its message for today’s world is worryingly relevant.

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

 

  

OPERA'S BAD GIRL: ANNA BISHOP, THE WORLD'S FIRST DARINGLY DEFIANT DIVA (MUSICAL PLAY)

Written by Sarahlouise Owens

Sarahlouise Owens, soprano

Lucus Allerton, piano

Directed by Tony Turner and Cate Clelland

A Cantaviva presentation

Canberra REP Theatre to 5 April 2025

 

Reviewed by Len Power 4 April 2025

 

Opera diva, Anna Bishop, born in London in 1810, performed in many countries, including Australia, survived a shipwreck, various husbands and scandals. She made and lost fortunes and was considered one of the finest operatic sopranos of her day.

Recreating a recital in the style of the times, soprano Sarahlouise Owens’ takes us on a musical journey through the fascinating life and career of this 19^th century opera diva.

Surrounded by various items from her career and travels, Anna Bishop appears with her accompanist at the piano in a time warp to entertain us, not only singing arias and songs she made famous in her day but also relating stories from her long and colourful career.

Owens presents a rich program of songs associated with Bishop. Opening with Handel’s “Let the Bright Seraphim”, she sings other well-known arias by Balfe, Rossini and Donizetti, but also includes songs by her second husband, Nicolas-Charles Bochsa, and others. “Home Sweet Home” by her first husband, Henry Bishop, and the song she sang at her final concert in 1883 when she was 73 years old, is used to touching effect at the end of the show.

As well as being in fine voice with the many songs, Owens gives a portrait of considerable depth of a strong woman who lived life on her terms, despite the difficulties of doing so in those times.

Her accompanist is played by Lucus Allerton, who is not only a superb pianist, but also gives a sharp character sketch of a stiffly formal young performer of the time. There is a hilarious moment in the show where his over-enthusiastic accompanying is quickly squashed by the demanding diva.

As Bishop toured Australia more than once, it would have been interesting to hear of more incidents from those tours, if possible. Otherwise, the level of detail in the show about her life and travels is constantly interesting and the music is delightful.

The directors ensured that the show moves at the right pace with a good balance between songs and dialogue.

Anna Bishop may be a diva of the past, but this show brings her to life, giving her the opportunity to entertain once more.

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

 

 

 

 

  

THE PIRATES OF PENZANCE (MUSICAL)

Music by Arthur Sullivan

Lyrics by W.S. Gilbert

Directed by Richard Carroll

Co-Arranger and Musical Supervisor: Victoria Falconer

Musical Director and Co-Arranger: Trevor Jones

Hayes Theatre Co. production

The Playhouse, Canberra Theatre Centre to 6 April

 

Reviewed by Len Power 3 April 2025

 

When a show is over 140 years old, especially an operetta, you’d think it might not have much appeal any more for a modern audience, but “The Pirates Of Penzance or, The Slave To Duty” remains perennially popular.

It was the fifth collaboration of the English team of Gilbert and Sullivan. Surprisingly, it opened in New York in 1879, a year before it opened in London. It has remained popular ever since and, now that it’s out of copyright, it’s fair game for revision and non-traditional presentations.

Hayes Theatre Co. of Sydney have come up with a winner of a show with their current touring production. Gone are the expected large choruses and huge orchestra - this production has a cast of five and a piano or two. That it works so well is a triumph for this production’s creators.

Jay Laga'aia (centre) with (from left) Trevor Jones, Maxwell Simon, Billie Palin and Brittany Shipway

Jay Laga’aia is an excellent Pirate King, singing and swashbuckling his way through the show. He turns up unexpectedly and delightfully as other characters, too.

Brittany Shipway plays both Ruth and Mabel, giving a distinctive performance for each character. This fine comedienne sings very well, also popping up as other characters.

Maxwell Simon and Brittany Shipway

Maxwell Simon gives the role of the young Frederic a classic innocence that is very appealing. Also in fine voice, he makes the most of his songs. Billie Palin busily and cleverly plays the characters of Isabel and Barry as well as several others.

 

Trevor Jones

Trevor Jones is the pianist, Fishcake, and steals the show with his performance of the Major-General. Singing his tongue-twister of a song and accompanying himself on piano is a hilarious highlight of the show. Make sure you listen carefully to the lyrics!

The quality of the singing from this small cast is very high. Particularly memorable was the power and clarity of their harmony singing. Everything about this production works – the sets, costumes, lighting and sound – making this an evening of rollicking good fun.

From left: Billie Palin, Trevor Jones, Jay Laga'aia and Brittany Shipway

There is seating onstage for a number of fearless audience members. One of these, Peter McDonald, well-known Canberra musician, suddenly found himself briefly centre-stage as part of the action. He gave a performance that will be long remembered!

 

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.

 

THE MOORS (PLAY)

Written by Jen Silverman

Directed by Joel Horwood

Lexi Sekuless Productions

The Mill Theatre at Dairy Road to 12 April

 

Reviewed by Len Power 26 March 2025

 

First presented at the Yale Repertory Theatre in New Haven, Connecticut, USA in 2016, “The Moors” is a deliciously crazy melodrama that uses the elements of Victorian gothic fiction to tell a dark story of repressed desires, oppressive social mores, passions and secrets in an isolated and desolate setting on the windswept moors of England.

The play looks at the lives of two sisters, Agatha and Huldey, who live with their brooding brother, a maid and a big dog in a gloomy old mansion on the moors. When a mysterious governess arrives, dark tensions and strange passions threaten to engulf them all.

Andrea Close  (Agatha)

Andrea Close plays the formidable sister, Agatha, a severe, miserable woman who rules the household. Her sister, Huldey, is played by Rachel Howard. Denied a social life and dominated by her sister, this sensitive young woman details her fantasies in a diary. Both Close and Howard give strong performances full of detail of these types of women found in novels from this time.

Rachel Howard (Huldey) and Steph Roberts (Marjory)

The slovenly and bitter maid, Marjory, a woman who has dark secrets of her own, is played by Steph Roberts. She gives a delightfully devilish depiction of this woman with attitude, dark eyes and birds nest hair. Sarah Nathan-Truesdale is a fine, Jane Eyre-like governess, Emilie. It’s a nicely controlled performance of a mysterious woman with a past.

Steph Roberts (Marjory) and Sarah Nathan-Truesdale (Emilie)

The young, star-crossed lovers are played by Petronella van Tiernan and Chris Zuber. While she may be a flighty moorhen and he may be the large and lonely household dog craving affection, their innocence and growing love for each other is portrayed by both performers with a touching sensitivity.

Director, Joel Horwood, has obtained excellent performances from his cast, keeping them all effectively within period even though the humour and satire in the script take them into unexpected territories.

Production designer, Aloma Barnes has created a creepy setting with a towering background and a German Expressionist doorway. There is the constant sound of a chilly wind sweeping over the moors outside. Sound designer, Damien Ashcroft, and lighting designer, Stefan Wronski, have complemented this setting with perfect atmosphere.

This is a ferociously enjoyable evening of gothic madness and mayhem. Expect the unexpected.

 

Photos by Daniel Abroguena

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

 

  

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (PLAY)

Based on the novel by Mark Haddon

Adapted by Simon Stephens

Directed by Chris Baldock

Mockingbird Theatre Company

Belconnen Arts Centre to April 5

 

Reviewed by Len Power 20 March 2025

 

For their first official production as the theatre-company-in-residence at the Belconnen Arts Centre, Mockingbird Theatre Company has chosen a famous, award-winning play that is a huge challenge to stage successfully.

Young, autistic Christopher Boone, investigates the mystery surrounding the death of a neighbour’s dog. His determination to solve the puzzle brings him into conflict with his father, renewed contact with his mother and enables us to see the world through his eyes as he struggles with relationships and situations that challenge him.

‘The Curious Incident Of The Dog In The Night-Time’, adapted by Simon Stephens from Mark Haddon’s 2003 novel, was first staged by the National Theatre in London in 2012. The play won a record number of Olivier Awards and its subsequent Broadway production won the Tony Award for Best Play.

Those who saw this original production would remember the extraordinary, expensive-looking set design for this play-within-a-play and wonder how a local company with limited resources could find a way to successfully stage it. Mockingbird’s director, Chris Baldock, has made it a fully immersive experience with clever projections, designed by Matt Kizer, on the walls and the floor of the theatre-in-the-round. It works superbly, giving us a more direct and clearer experience of the world as seen by this autistic young man.

Wajanoah Donohoe as Christopher

On opening night, the marathon central role of Christopher was played by Wajanoah Donohoe. It was a performance of skill, warmth and great sensitivity, making us care deeply for this young man as he struggles in a world that is difficult for him. Ethan Wiggin will share the role of Christopher at other performances during the season.

Richard Manning (centre) as Ed, Christopher's father

There were also notably fine performances by Richard Manning as Christopher’s father, Claire White as his mother and Leah Peel Griffiths as Siobhan, his school mentor and the play’s narrator.

Left to right: Callum Doherty, Travis Beardsley, Meg Hyam, Leah Peel Griffiths (Siobhan), Anthony Mayne, Tracy Noble and Peter Fock

The six other cast members, Callum Doherty, Travis Beardsley, Meg Hyam, Anthony Mayne, Tracy Noble and Peter Fock play multiple roles successfully, giving often quick, but effective, character sketches and impressing with their sense of timing.

Rhiley Winnett was responsible for the projection realisation and operation as well as the lighting design with Chris Baldock. His contribution to the success of this production is immense.

Director, Chris Baldock has created an imaginative production of this entertaining and important play that, because of its immersive design, was even more effective than the original production.

Photos by Chris Baldock

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

 

 

THE HOUSE OF BERNARDA ALBA (PLAY)

Written by Federico García Lorca

Adapted by Karen Vickery, Assisted by Andrea Garcia

Directed by Karen Vickery

Chaika Theatre at the ACT HUB Theatre, Kingston to 29 March

 

Reviewed by Len Power 19 March 2025

 

Described in the play’s subtitle as ‘a drama of women in the villages of Spain’, poet and playwright, Federico García Lorca’s last play was first performed in 1945 in Buenos Aires, Argentina. García Lorca, who wrote the play in 1936, was assassinated shortly after, in the Spanish Civil War.

During a period of mourning for her dead husband, Bernarda Alba wields total control over her five adult unmarried daughters whose ages range between 20 and 39. A housekeeper, a servant and Bernarda’s elderly mother also suffer from the repressive behaviour of Bernarda. No males appear during the play and its study of female repression, passion and conformity in a strongly male culture leads to a devastating tragedy.

Karen Vickery and Andrea Garcia have produced an adaptation of this play that is highly accessible, retaining the full power and poetry of García Lorca’s original.

As director, Vickery has assembled an expert cast of performers who each give their characters an individual and believable life. As Bernarda, Zsuzsi Soboslay, dominates the stage with a ferocity that hides the fear, pain and sorrow beneath the surface. It is a performance of impressive depth.

Zsuzsi Soboslay (Bernarda)

All five daughters, played by Karina Hudson, Sophie Benassi, Yanina Clifton, Amy Kowalczuk and Maxine Beaumont, clearly show their relationships with each other as well as their own hopes and dreams. Particularly impressive is their playing of a disturbing innocence of life, due to their repression. The ensemble playing by these performers rings true every moment they are on stage.

Sisters, grandmother and housekeeper in  'The House Of Bernarda Alba'

Also giving fine, in-depth performances as the servants are Diana Caban Velez (Lucia) and Christina Falsone (Poncia) and Andrea Garcia as the neighbour, Prudencia. Alice Ferguson as Maria Josefa, Bernarda’s mother, gives a strong and believable portrait of an elderly woman losing touch with reality but still displaying signs of the strength of the woman she once was.

Alice Ferguson (Maria Josefa)

It was a clever touch having the voices of men singing distantly, but near enough to show that the male influence of this society was ever-present.

The play is staged in the round, effectively drawing the surrounding audience into this closed and repressed world.

This is a fine production of a famous play with excellent performances by the entire cast. Vickery’s and Garcia’s adaption of the original play, Vickery’s direction and the performances make this a compelling evening in the theatre.

Photos by Jane Duong 

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

  

PENTA HARP ENSEMBLE (CONCERT)

 

Alice Giles

Rowan Phemister

William Nichols

Kate Moloney

Melina van Leeuwen

Wesley Music Centre March 16

 

Reviewed by Len Power

 

With five harps onstage, Penta Harp Ensemble, in their debut concert, certainly made a big impression.

Penta Harp Ensemble is a new Australian harp quintet formed to showcase the full range of sound that the modern concert harp has to offer. Led by Alice Giles, the ensemble includes Rowan Phemister, William Nichols, Kate Moloney and Melina van Leeuwen. Alice Giles announced, proudly, that the four harpists sharing the stage with her had formerly been her students. Each of the ensemble now performs nationally with Australia’s foremost orchestras and chamber ensembles.

The program featured works by Australian composers Mary Doumany, Elena Kats-Chernin and Ross Edwards as well as works by Debussy, Ravel, Richter, Lecuona and Salzedo. The concert also included a premiere of a new work by emerging composer Katia Mestrovic.

The concert commenced with three works by Claude Debussy, Pour invoquer Pan, dieu du vent d'été (To invoke Pan, god of the summer wind), The Drowned Cathedral and Clair de Lune. These three very different works showed the versatility of the harp to create atmosphere. The deep resonance in the harp playing of The Drowned Cathedral could be physically felt as well as heard.

The second work presented was the premiere of Elektra by Katia Mestrovic. Inspired by the 1962 film, Electra was originally a Greek Tragedy by Euripides. In the first of four sections, the performers sang Ancient Greek text as they played, creating a tense atmosphere to reflect Electra’s suffering and anger. The following sections took us musically deeper into the emotional turmoil of this dark tragedy. It was a fascinating and very effective work and the strong applause from the audience at the conclusion was well-deserved. Mestrovic was in the audience and looked delighted as she took a bow.

The other works in the program clearly showed how versatile the harp can be. There was Kats-Chernin’s visually sparkling Dance of the Paper Umbrellas, Mary Doumani’s unexpectedly jazzy Kali, the fiery Alborado del Gracioso by Ravel and the wonderfully calming Mercy by Max Richter. Carlos Salzedo’s Rumba and Ernesto Lecuona’s Malaguena, both well-known melodic works, brought this thrilling and inspiring concert to a close.

 

Photo by Peter Hislop

 

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

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

 

HAYDN'S SUNRISE - AUSTRALIAN HAYDN ENSEMBLE (CONCERT)

Haydn’s Sunrise

The Australian Haydn Ensemble

Wesley Uniting Church March 13

 

Reviewed by Len Power

 

With the Australian Haydn Ensemble performing three linked works of Franz Joseph Haydn, Ludwig van Beethoven and Fanny Mendelssohn (Hensel), the result was a concert of musical brilliance and some revelation.

Founded in 2012, the Australian Haydn Ensemble quickly established itself as one of Australia’s leading period-instrument groups, specialising in the repertoire of the late Baroque and early Classical eras. The performers – Skye McIntosh, artistic director and violin, Matthew Greco, violin, Karina Schmitz, viola, and Daniel Yeadon, cello – all have a formidable list of academic and performance credits here and internationally.

The concert commenced with Haydn’s String Quartet Op.76 No. 4 in B Flat major, Sunrise.  Its radiant opening, like dawn breaking over the horizon, drew us immediately into a serene musical world. Through the poignant Adagio and an appealing Menuet, the work hurried on to a bright, robust finale, full of inventiveness. The ensemble’s sensitive playing of this work brought out all the colour and cleverness in Haydn’s music.

Beethoven was Haydn’s student in Vienna from 1792. His String Quartet in F major Op. 18 No. 1 from 1800 has an intensity of feeling that gives the work an emotional edge. Taking the tomb scene from Shakespeare’s Romeo and Juliet as his inspiration, the Adagio, particularly, throbs with tragedy and turbulent emotion. This emotion was evident in the ensemble’s fine playing of the work.

The final work presented was Fanny Mendelssohn’s String Quartet in E Flat major. Mendelssohn was the brother of composer, Felix Mendelssohn. She composed a large amount of music but not all of it was published before her early death in 1847.

In 1834, she had been immersed in Beethoven’s work at the time she composed her string quartet and her brother’s work was probably also an influence. However, her approach in her string quartet was entirely unique. From the lyrical first movement, through the emotional harmonies of the Romanze and the bustling finale, the work was a revelation with its unexpected individuality. The ensemble gave it an excellent performance, making it the unexpected highlight of this highly entertaining concert.

 

Photo by Peter Hislop

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

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

  

CHAMBER PHILHARMONIA COLOGNE (CONCERT)

Sergey Didorenko, solo violin

Dimitrij Gornowskij, solo cello

St. Christopher’s Cathedral, February 28

 

Reviewed by Len Power

 

With their motto, Classical Music Around the World, Chamber Philharmonia Cologne presented a charming program of works by the much-loved composers, Antonio Vivaldi, Wolfgang Amadeus Mozart, Peter Tchaikovsky, Johannes Brahms and Niccoló Paganini.

Solos in the works were played by the German virtuosos, Sergey Didorenko, violin and Dmitrij Gornowskij, cello.

Didorenko was born in Ukraine and after training in Moscow, he moved to Germany where he is now a German citizen and permanent soloist with the Chamber Philharmonia Cologne. He has also published two books on philosophy.

Sergey Didorenko, violin

Gornowskij was born and trained in Kazakhstan, winning many prizes for his playing. He has lived in Germany since 1997 and is now a German citizen. He performs as a soloist and in orchestras and chamber ensembles. He is one of the founding members of Chamber Philharmonia Cologne.

Dmitrij Gornowskij 

The group commenced with Vivaldi’s well-known Winter from his Four Seasons concerto.  Sergey Didorenko played the solo violin part. It was a vibrant, highly atmospheric performance that evoked strong, clear images of that most dramatic of seasons.

This was followed by a second Vivaldi work, Concerto in A minor for violoncello and strings. In three movements, the solo parts were played by Dmitrij Gornowskij, cello.

The bright, melodic Allegro was followed by a deeply reflective Largo with the sensitive solo playing of Gornowskij. The final Allegro movement was given a busy and exciting performance.

Mozart’s well-known and much-loved A Little Night Music (Serenade in G major for string orchestra), was then played in a colourful performance of great clarity.

Chamber Philharmonia Cologne

After interval, cello soloist, Gornowskij, led the group with a fine performance of Tchaikovsky’s Pezzo Capriccioso. Their playing brought out all of the expressiveness and varying moods of this work. They followed it with a scherzo from Brahms’ F-A-E Sonata. The F-A-E stands for Frei Aber Einsam (free but lonely) and their atmospheric playing of this piece was very enjoyable.

The final work on the program was Paganini’s Capriccio in an arrangement for violin and string orchestra. Paganini, of course, was well-known for his virtuoso playing of the violin and Didorenko showed his ability with the instrument in fiery solos that were breathlessly exciting.

With an encore performance of Edward Elgar’s Salut D’Amour, this dreamy work brought the concert by these excellent musicians to a close.

 

Photos by Dalice Trost

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

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

 

 

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/.