THESE PRECIOUS HOURS (CONCERT)

Purcell’s Dido & Aeneas Reimagined

Canberra Qwire

Ellery String Quartet

Llewellyn Hall, June 28

 

Reviewed by Len Power

 

In an unexpected and bold move, the proudly LGBTIQA+ Canberra Qwire joined forces with the Ellery String Quartet and soloists to present Henry Purcell’s 17^th century opera re-imagined in concert.

Inspired by certain lines in the text, the Qwire recast Dido as a male-identifying role, evoking Queer narrative exploration of the love of Dido, now King of Carthage, for Aeneas, Prince of Troy, with the Sorcerer plotting the destruction of Carthage and its king. The reimagination also placed the Sorcerer and his followers as metaphorical symbols of intolerance of the LGBTIQA+ community.

Oscar Balle-Bowness (Dido), Andrew Barrow (Aeneas) and Rachel Mink (Belinda)

Dido was sung by Oscar Balle-Bowness, Aeneas by Andrew Barrow, Belinda by Rachel Mink and the Sorcerer by Alasdair Stretch. The Qwire fulfilled the role of the chorus, providing additional characters and narrative throughout the opera. The music was played very well by the Ellery String Quartet with Hugo Temby, continuo, Lizzy Collier, double bass and Jack Holmes, percussion. The musical director was Callum Tolhurst-Close.

Callum Tolhurst-Close (musical director)

The simple story of the opera played very well in its reimagining. The confident and appealing vocal performances of all the soloists gave the story a passionate and touching conviction. The famous Dido’s Lament in the third act was given a moving performance by Oscar Balle-Bowness.

Canberra Qwire, soloists and musical director, Callum Tolhurst-Close

The highlight of the evening, though, was the powerful and disciplined performance of the choir. Entries were sharp and the parts were clearly and warmly sung. This was a big sing for the choir and their performance was admirable throughout.

As they took their bows at the end of the opera, the company was given ecstatic and much-deserved applause by the large audience.

The opera ran for only an hour and, after an interval, the Qwire returned with a set of six songs including Earth Song by Frank Ticheli, Seasons of Love by Jonathan Larsen and And So It Goes by Billy Joel. Members of the Qwire introduced the songs, explaining why each song had special meaning for them.

The presentation of these modern songs was a change of pace from the opera, but the Qwire gave them the same highly polished standard of performance.

 

Photos by Peter Hislop

 

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

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

 

  

METEOR SHOWER (PLAY)

Written by Steve Martin

Directed by Chris Baldock

Mockingbird Theatrics

Belconnen Arts Centre to July 5

 

Reviewed by Len Power 26 June 2025

 

How do meteors, homosexuality, the subconscious and eggplants come together with profound meaning in Steve Martin’s absurdist comedy?

While a meteor shower rages overhead, Corky and Norm host a dinner party for another couple, Gerald and Laura, at their home in the valley outside Los Angeles. The evening starts normally enough, but soon there is a suspicion that Gerald and Laura are not what they appear to be. Aggressively sexual and argumentative, their behaviour triggers an evening of increasing insanity.

On a stylish but normal household setting, director, Chris Baldock and his cast of four unleash a frenzied experience that confounds and intrigues while it entertains. Steve Martin’s incisive sense of humour takes the niceties of human social behaviour and turns them upside down in this very funny play.

Jess Beange as Corky and Sachin Nayak as Norm are the unsuspecting couple hosting the dinner party. Playing a normal, unexceptional couple at the beginning, they are put through an extraordinary emotional and behavioural experience in which the speed of their dialogue delivery and comic timing is very impressive.

Sachin Nayak (Norm) and Jess Beange (Corky)

As the strange couple invited to the dinner party, Maxine Eayr as Laura and Anto Hermida as Gerald play their colourful and intimidating characters with confidence, energy and skill, utilizing their body language particularly well.

Maxine Eayr (Laura) and Anto Hermida (Gerald)

Presented cinematically in short scenes where time and reality collide, there are echoes of Alan Resnais’ film, Last Year At Marienbad, Luis Bunuel’s The Exterminating Angel and even Edward Albee’s play, Who’s Afraid Of Virginia Woolf?

Meteor Shower takes you on a wild and hilarious rollercoaster ride through human emotions and behaviours with one of the cleverest endings you’re ever likely to see!

 

Photos by Chris Baldock

 

This review was first published by Canberra CityNews digital edition on 27 June 2025.

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

 

 

THE BEAUTY QUEEN OF LEENANE (PLAY)

 

Written by Martin McDonagh

Directed by Cate Clelland

Free Rain Theatre production

ACT HUB Theatre to 5 July

 

Reviewed by Len Power 25 June 2025

 

Probably more recently known for his screenplays of the films, “The Banshees of Inisheren”, “Three Billboards Outside Ebbing, Missouri” and “In Bruges”, Martin McDonagh got his start with the play, “The Beauty Queen of Leenane” in 1996.

Set in Galway, Ireland, the play focuses on two women – plain, middle-aged Maureen and her ageing, manipulative mother, Mag. Living an isolated existence, Maureen finds a chance for someone to love her, but her mother does everything she can to sabotage the relationship.

This often funny play explores the dark side of human nature. Loneliness, family conflict and a sense of hopelessness lead to violence with devastating results.

McDonagh’s play gives the performers four colourful and richly detailed characters to play. The Irish accents used by all four actors are very convincing.

As the grasping, whining mother, Mag, Alice Ferguson plays her character’s fear of loneliness, her quiet and cunning malevolence as well as her calculated undermining of her daughter’s chance for happiness with a level of reality that is confronting as well as truthful.

Janie Lawson (Maureen) and Alice Ferguson (Mag)

Janie Lawson is superb as the daughter, Maureen. The tediousness of her day-to-day existence caring for an irritating, elderly mother is skilfully portrayed. While reaching out for a chance to love someone, her desperate longing is so well-played, the pain she feels is quite touching.

Pato Dooley is the man Maureen falls in love with. Played with a masculine warmth and confidence by Bruce Hardie, his performance is particularly notable in a scene where he reads out a letter he is sending to Maureen.

Bruce Hardie (Pato), Alice Ferguson (Mag) and Janie Lawson (Maureen)

As the brother of Pato, Robbie Haltiner gives a colourful and very real performance as Ray Dooley, a man who seems accepting of his limited world.

Cate Clelland directs the play with assurance, guiding her actors with skill on an atmospheric and detailed set designed by her and realized by Ron Abrahams.

There is violence in this story that is quite disturbing, but the performances of the actors make this a memorable experience from start to finish.

 

Photos by Olivia Wenholz

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

 

 

MOZART'S SALZBURG & LINZ (CONCERT)

Australian Haydn Ensemble

Erin Helyard, pianoforte

Gandel Hall, National Library of Australia June 20

 

Reviewed by Len Power

 

Spanning Mozart’s youth in Salzburg to his maturity in Vienna – with a brief detour to Linz –the latest concert by the Australian Haydn Ensemble (AHE) comprised four of Mozart’s works, painting a vivid portrait of a precocious talent as well as a master composer.

Playing the pianoforte for two of the works was Erin Helyard.

The first work played by the AHE was Mozart’s String Quintet in B Flat major, K. 174, composed in Salzburg when he was just 17 years old. Played in the bright key of B flat, this was busy work full of youthful spirit and charm. In four movements, the Adagio was especially memorable with its expressive instrumental solos.

Erin Helyard, pianoforte, with the augmented Australian Haydn Ensemble

The quintet of Skye McIntosh, Artistic Director and violin, Anna McMichael, violin, Karina Schmitz, viola, Nicole Divall, viola and Daniel Yeadon, cello, were joined by Pippa Macmillan, double bass, Melissa Farrow, flute and Erin Helyard, pianoforte, for Mozart’s Piano Concert No. 11 in F major K. 413 in an arrangement by Helyard. This work in three movements, first performed in 1783, was beautifully played, especially the sublime slow second movement.

Erin Helyard

After interval, Helyard played Mozart’s Piano Sonata in B flat major K.333 (Linz). It has been suggested that Mozart composed this work during a stopover in Linz on the way home to Vienna from Salzburg. This charming work in three movements was given a superb performance by Helyard. As well as showing his technical mastery of the instrument, Helyard’s body language drew you deeply into the performance. With sudden smiles to himself, a cocked eyebrow or a quick look to the audience, he underlined moments in the music that he seemed to particularly enjoy playing, sharing that joy with us.

The AHE group of seven then returned to the stage for the final work of the program, Mozart’s Symphony No. 36 in C major K. 425 (Linz). Written in Linz in just four days, this work in four movements is bright, majestic and inventive. It was given a rousing performance by the AHE, the romantic second movement being a standout.

 

Photos by Peter Hislop

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

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

 

  

THE QUEEN'S NANNY (PLAY)

 

Written by Melanie Tait

Directed by Priscilla Jackman

Presented by Ensemble Theatre

The Playhouse, Canberra Theatre Centre to 21 June

 

Reviewed by Len Power 19 June 2025

 

A thriving industry has grown up to feed the public’s fascination with the lives and activities of the Royal Family. The play tells the story of Marion Crawford, a young Scottish woman, who became nanny to the young princesses Elizabeth and Margaret in the 1930s.

She worked for the Royal Family until 1949, building an intimate and trusted relationship with the princesses and the Queen Mother. For her long and faithful service, she was given a grace and favour house in London.

Upon her departure from her job, she agreed to author The Little Princesses, a book which told the story of her time with the family. Although she had been given tentative approval by the Royal Family to publish her story, the family ostracised her after the book appeared under her own name. No member of the family ever spoke to her again.

Australian playwright, Melanie Tait, imagines the details of the relationship of Crawford with the Royal Family showing how they depended on her to raise the princesses well. The family’s later actions and lack of feeling for this woman who had devoted the best years of her life to them, gives the play a poignant edge. Much of the humour of the play is at the expense of the royal characters. It could be argued that Tait is a bit tough on them, but it is certainly entertaining and funny.

The play has been given an excellent production by the Ensemble Theatre. It has been directed with imagination and flair by Priscilla Jackman. Of the cast of three, Matthew Backer darts in an out of character playing 8 roles, including the young Princess Elizabeth, Bertie, the later King George VI, and Crawford’s husband, George Buthlay. Backer’s performance in all of these roles is outstanding.

Matthew Backer (various roles) and Briallen Clarke (Marion Crawford)

Briallen Clarke makes Marion Crawford instantly likeable with her direct and down-to-earth Scottishness. Her strong performance in this large role is at time humorous as well as touching and finally memorable.

Sharon Millerchip (Queen Mother)

Sharon Millerchip’s great sense of timing gives her character of the Queen Mother both a formidable, steely presence as well as some of the best funny moments of the play.

While Tait’s play succeeds in the telling of this woman’s story, the play ends with a discussion about Australia’s place in the Commonwealth. While it’s a point continually argued about, it feels awkwardly placed in this play.

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.

 

INSPIRATIONS (CONCERT)

Zachary Connor, cello

Edward Neeman, piano

David Pereira, cello

Australian Centre for Christianity and Culture, Barton June 14

 

Reviewed by Len Power

 

What inspires music, what does the new draw from the old, and how do we keep making music? These were the questions Zachary Connor, cellist, had in mind when designing the program for this concert.

The result was a program of 2 works from past masters and premieres of 2 new works composed by himself with echoes of those earlier inspirational works.

Joining him on the stage were two other superb artists, Edward Neeman, piano and David Pereira, cello.

Zachary Connor

Introduced by Connor in a relaxed, down-to-earth manner, the concert began with a short work, Improv. Connor explained after playing it that the work really was an improvisation of the moment. Beautifully played, it demonstrated his mastery of the cello.

Zachary Connor and Edward Neeman

Connor and Neeman then performed the Cello Sonata in D minor by Shostakovich. Written in 1934, this emotionally turbulent work embodied the composer’s early style and was greatly drawn upon for his 5^th Symphony. Sitting close to the performers in this intimate venue, the drama in this work and the clarity of the playing was especially pleasing.

Connor then played the Suite for Solo Cello by Gaspar Cassadó. Inspired by Catalonian folk music and the Spanish highlands, it was composed in the early 1920s. This highly dynamic and complex work, filled with fire and passion, was given a superb performance.

Edward Neeman, David Pereira and Zachary Connor

David Pereira joined Connor and Neeman onstage for the two works composed by Connor – Martyr and A Suite from the Afterlife. Connor invited the audience to listen for echoes of Cassadó and Shostakovich in the works.

Martyr was written for the short film of the same name and embodies the mind, and external pressures of a boy witness to a violent crime. Making use of microtones, which gave the work an unfamiliar, edgy quality, all three performers played this complex, emotional work with great skill and feeling.

A Suite from the Afterlife was written for the stage play of the same name. This delicate, melancholy work evoked memories of the past and was a nicely tender ending to this inspirational concert.

 

Photos by Dalice Trost

This review was first published by Canberra CityNews digital edition on 15 June 2025.

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

 

A DOLL'S HOUSE, PART 2 (PLAY)

 

Written by Lucas Hnath

Directed by Joel Horwood

A Canberra REP production

Canberra REP Theatre, Acton to 28 June

 

Reviewed by Len Power 13 June 2025

 

When Nora famously slammed that door at the end of Henrik Ibsen’s acclaimed play, ‘A Doll’s House’, we were left wondering about Nora’s fate in such an inhibiting and disapproving society of the time.

The action in Lucas Hnath’s 2017 play, set 15 years later, gives us an opportunity to revisit Nora as she suddenly returns to the house of her husband, Torvald. Assuming she has been long divorced, she was shocked to find that her husband never filed the divorce papers officially, leaving her open to legal action for signing contracts, something a married woman was not allowed to do in that era. She has only returned to persuade her husband to file those papers.

This one act play in four parts focusses on each of the four characters in the play – Nora, her husband Torvald, the maid, Anne Marie, and Nora’s now grown-up daughter, Emmy.

The role of Nora, one that most actresses would aspire to play, is given a fine, multi-layered performance by Lainie Hart. Presenting as a strong, confidant woman determined to live her own way, her delivery of the dialogue and body language give hints that life has been a struggle. We know that attitudes will not change in her lifetime and Hart shows glimpses of the pain involved in her brave struggle. It’s a thoughtful and believable performance throughout.

Rhys Robinson gives a finely detailed performance of Torvald as an inhibited, emotionally damaged man who clearly has never moved on from his marriage to Nora or changed any of his attitudes that contributed to Nora’s leaving.

Emmy is played by Anna Lorenz as a young woman who seems to have her mother’s emotional strength but surprises both us and Nora with her determination to be married and live by the rules of society that Nora long ago rejected. Lorenz gives a strong performance in the role.

Elaine Noon is very effective as the long-serving maid of the household who finds herself torn between the demands of her job and her own feelings.

The suitably austere set was designed by Tom Berger and has a fine lighting design by Lachlan Houen. Helen Drum has provided attractive period costumes.

Director, Joel Horwood, has produced a tight show where the character work is highly detailed. Keeping the language contemporary added to the accessibility of this production which works on all levels.

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

 

 

LOVE'S FOUR SEASONS (CONCERT)

The Song Company

Eamonn Dougan, guest director

Wesley Uniting Church, Forrest June 8

 

Reviewed by Len Power

 

From indescribable bliss to unbearable torment, the romantic experience has created strong emotions that have long been explored in music and the arts. In the Song Company’s latest concert, the enduring power of love was traced against the four seasons of the year.

In a cleverly devised program, madrigals from the late Renaissance and early Baroque periods were juxtaposed with works by five British composers of the 20^th and 21^st centuries.

The early composers – Claudio Monteverdi, Carlo Gesualdo and Barbara Strozzi – were distinct figures whose works reflected the evolution and diversity of the madrigal tradition.

The differing styles of the five contemporary composers – Howard Skempton, Healey Willan, Jonathan Dove, Kim Porter and Bernard Hughes – added a broader expression of love’s emotions against the changing seasons of the year.

For Spring, there were songs of longing and courtship. Summer was represented by songs of passion and fulfillment. The songs of Autumn focussed on doubt and separation and Winter’s loss and mourning brought the program to an end.

Internationally acclaimed guest conductor and baritone, Eamonn Dougan, is renowned for his work with The Sixteen, I Fagiolini and Britten Sinfonia Voices. He is music director of the Thomas Tallis Society and Chief Conductor for Jersey Chamber Orchestra.

 

From left: Amy Moore (soprano), Susannah Lawergren (soprano), Eleanor Adeney (soprano), Tom Herring (bass), Tim Reynolds (tenor) and Eamonn Dougan (baritone and guest director)

His rich baritone complemented the Song Company performers, Susannah Lawergren, soprano, Amy Moore, soprano, Eleanor Adeney, soprano, Tim Reynolds, tenor and Tom Herring, bass. Accompanying several of the songs was guest artist, Tommie Andersson, on the Theorbo.

 

The Song Company with Eamonn Dougan (2nd right) and Tommie Andersson (far right) on theorbo

The differing styles of the songs on the same themes provided a fascinating contrast between the early and contemporary composers. There was powerful as well as sensitive singing by the whole group as well as smaller group and solo songs that showcased the individual fine voices of this company.

The choice of songs and composers, as well as the theme of the program and the excellent performances by the singers, made this a memorable and enjoyable experience.

 

 Photos by Dalice Trost

This review was first published by Canberra CityNews digital edition on 9 June 2025.

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

 

  

PRESENT LAUGHTER (PLAY)

Written by Noël Coward

Directed by Karen Vickery

ACT Hub Theatre, Kingston to 14 June

 

Reviewed by Len Power 5 June 2025

 

‘Present Laughter’ by Noël Coward was first staged in 1942 in England. The title comes from a line – ‘present mirth hath present laughter’ - in a song from Shakespeare’s ‘Twelfth Night’. The line is a warning and applies perfectly to the chaotic self-absorbed people and their interactions in Coward’s play.

Matinee idol of the theatre, Garry Essendine, is preparing for a touring commitment in Australia. Used to cleverly balancing numerous affairs and infatuations, he suddenly finds himself in mid-life crisis in a whirlpool of broken promises, demands and unrealistic expectations. Coward has acknowledged that his central character of Essendine is a self-caricature.

Karen Vickery’s production, on Michael Sparks’ nicely designed art deco setting, keeps the characters nicely in period, ensuring they display the colourfully English eccentricities, manners and morals of the time. She allows the play time to build steadily towards the frenetic climax and she has achieved finely detailed performances from her entire cast of ten.

Jarrad West (Garry Essendine)

As Garry Essendine, Jarrad West achieves a highly mannered portrait of an egocentric actor of the period. He’s selfish, paranoid and expects adulation from everybody as his divine right. West’s energetic, high-speed performance succeeds on all levels, giving us a memorable character to love and loathe at the same time.

His long-suffering staff are well-played by Jenna Roberts as the Scandinavian housekeeper, Miss Erikson, Tracy Noble as Monica, his secretary, and Leonidis Katsanis as Fred, his valet.

Essendine’s wife, Liz, is skilfully played by Crystal Mahon as a highly capable woman who can manage his tantrums and there are fine and very funny characterisations of his manager, played by Joe Dinn and his producer, Henrietta, by Amy Kowalczuk.

Amy Kowalczuk (Henrietta) and Michael Cooper (Roland Maule)

Michael Cooper is impressive as the obsessive, manic author, Roland Maule, and Karina Hudson deftly plays the scheming, seductive actress, Joanna.

Karina Hudson (Joanna)

Callum Doherty is very funny and nicely rather sad as David, a bright young thing pathetically obsessed with Essendine.

Changes have been made, making Essendine clearly bisexual and a couple of the other characters fitting in with that change. These changes all follow through logically and successfully, giving this production an extra dimension that works very well.

This is an opportunity to see one of Coward’s plays performed with style and assurance. It’s a long play but you certainly get your money’s worth!

 

Photos by Jane Duong

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

 

  

A UKRAINIAN MUSICAL JOURNEY (CONCERT)

Larissa Kovalchuk, soprano and bandura

Anna Dove, piano

Wesley Music Centre Forrest May 31

 

Reviewed by Len Power

 

Ukrainian musicians, Larissa Kovalchuk, a virtuoso bandura player and soprano, and Anna Dove, pianist, presented a program of Ukrainian classical and traditional pieces as well as works by Puccini, Gershwin and others.

Kovalchuk studied voice, bandura and conducting at Ukraine’s leading Kyiv Conservatorium of Music. In 1993 she was awarded the national laureate in performing arts of Ukraine and soon became one of the nation’s leading performers with international concert performances in France, Germany, Latvia and Estonia.

Since moving to Australia, she has performed widely at festivals, recorded with SBS and the ABC, and has played in concerts with the Australian Brandenburg Orchestra. She is currently teaching voice and musicianship at the Riverina Conservatorium of Music in Wagga Wagga, NSW.

The informal tone of the concert was set immediately with Kovalchuk’s warm and charming style, humour and interaction with audience members. At one point in the concert, while about to play the bandura (Ukrainian harp) she asked audience members to decide if they wanted to hear a happy or sad piece of Ukrainian music. The vote was for happy and Kovalchuk obliged with a piece of great beauty.

Anna Dove (piano) and Larissa Kovalchuk (bandura)

As well as playing the bandura, Kovalchuk sang various Ukrainian prayers, folk songs and anthems, accompanied by pianist, Anna Dove. She has a beautiful voice of great clarity and power. Her performances of O Mio Babbino Caro from Puccini’s opera, Gianni Schicchi, and Summertime from Gershwin’s Porgy and Bess were particularly sensitive.

Anna Dove played a number of solo piano works, both Ukrainian and works by other composers. Her playing of these works was excellent.

This was a delightful concert with many haunting, beautiful pieces of music. Unfortunately, there was no program, and it was not possible to catch the names of the Ukrainian pieces and composers as they were announced from the stage.

 

Photos by Dalice Trost

 

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

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

 

 

THE LOVEBIRDS (PLAY)

Written by Basil Thomas

Directed by Jon Elphick

Tempo Theatre Inc.

Belconnen Community Theatre to June 7

 

Reviewed by Len Power 30 May 2025

 

When a newly married couple are given a budgie as a wedding present, what happens when the bird is found to be possessed by the spirit of the bride’s late first husband?

This delightfully silly comedy, first produced in the UK in 1957, is the work of prolific author, Basil Thomas. Tempo successfully staged another of his plays, Book Of The Month, in 2023.

The complex plot gives the cast of 11 (plus budgie) the opportunity to present a group of colourful characters struggling with ever wilder and funnier situations.

Eloise Willis (Julie Skidmore) and Bradley Jones (Bertie Skidmore)

Bradley Jones and Eloise Willis play Bertie and Julie Skidmore, the newly married couple. Both performers display good comic timing as well as clear characterizations of a couple in love. Their struggle to regain control over the havoc caused by the budgie is very amusing. George Bellibassakis gives voice to the budgie with great expression from offstage.

The rest of the large cast shine in their individual roles. There are two small roles that proved to be particularly memorable and a gift to the actors playing them. Kim Wilson is a hilarious French professor, Gaston Cheval, and Eilis French is a standout as the very funny Russian, Natasha. She was given a well-deserved round of applause after her brief appearance.

Director, Jon Elphick, ensures that the show is lively throughout. The staging of the chaos at the end of the show is particularly well done.

These types of comedy plays mostly disappeared from London stages and moved to television with the arrival of realistic dramas like Look Back In Anger in the 1950s. The nearly full opening night of The Lovebirds showed that there is an audience in Canberra for this type of play and Tempo Theatre is giving it to them.

 

Photo by Pete Butz

This review was first published by Canberra CityNews digital edition on 31 May 2025.

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

 

 

SEVEN NECESSARY SINS (CONCERT)

Sally Whitwell, composer and pianist

Rachel Mink, soprano

Art Song Canberra

Wesley Music Centre, Forrest May 25

 

Reviewed by Len Power

 

A concert in two parts, the first part celebrated four female composers who made it in a man’s world and the second part was the premiere of a new work by Canberra composer and pianist, Sally Whitwell.

Whitwell is known particularly for her interpretations of the piano works of American minimalist Philip Glass. Her five solo albums on ABC Classic have garnered between them with ARIA nominations and three wins. She has been commissioned to compose for many vocal ensembles around Australia.

Whitwell, in her relaxed, engaging manner, gave us brief but interesting backgrounds to four female composers of the 19^th and 20^th centuries – Amy Beach, Clara Schumann, Germaine Tailleferre and Cécile Chaminade.

Sally Whitwell

Expertly playing one work of each of these composers, it was an enjoyable set of contrasts from the vivid imagery of Beach to the romanticism of Schumann, the tonal colours of Tailleferre and the technical wizardry of Chaminade.

After interval, Rachel Mink joined Whitwell on stage for the new work, Seven Necessary Sins. Mink, who moved to Canberra from Peabody Conservatory in Baltimore USA during COVID, is a freelance soprano and an ensemble member of Luminescence Chamber Singers. She is at home on the opera stage as well as performing as a soloist

Rachel Mink

Inspired by Kurt Weill’s Seven Deadly Sins, the work was based on Mona Eltahawy’s 2019 book, The Seven Necessary Sins for Women and Girls. According to Eltahawy, the seven necessary sins that women and girls are not supposed to commit but need to if they are to harness their power are anger, ambition, profanity, violence, attention-seeking, lust and power.

Whitwell’s new work focused on each of those sins with an additional introduction and epilogue, Defy, Disobey, Disrupt.

Sally Whitwell and Rachel Mink

Whitwell’s music for this work showed that she is an excellent composer. One song in particular, Ambition: Sky Map soared with superb lyrics, beautifully sung by Mink.

 While the music was excellent throughout and the songs were well sung by Mink, there was a sameness about the stream of consciousness lyrics that became progressively less interesting. While the audience could follow the lyrics in the program, the piano playing was often too strong, making the singer hard to hear.

The idea for this show was a good basis for a cabaret, but it would have been more effective if it had been presented in a more creative way. The readings introducing the songs seemed like sermons and the use of salty language to give the show an edge was tedious, not shocking.

Nevertheless, it was good to see Art Song Canberra present something new, adventurous and local.

 

Photos by Peter Hislop 

This review was first published by Canberra CityNews digital edition on 26 May 2025.

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

  

THE MAIDS (PLAY)

Written by Jean Genet & Translated by Martin Crimp

Directed by Caroline Stacey

A Street Produced Professional Theatre Production

The Street Theatre to 8 June

 

Reviewed by Len Power 24 May 2025

 

Considered one of the great plays of the 20^th century, ‘The Maids’ has a daunting reputation. Loosely based on a double murder by two sisters in France, 1933 of their employer and her daughter, it was first performed in Paris in 1947. It has been revived many times and was filmed in 1974. It has even been adapted as an opera.

Two sisters, Solange and Claire, are maids to a wealthy, glamorous mistress in a big city apartment. While the mistress is absent, the sisters indulge in an obsessive game of roleplaying ‘servant and mistress’.

Their game is meant to end with the ‘killing’ of their mistress, but their devotion to detail in the game means that they always fail to reach that climax before the mistress returns. The fantasy of their game and the reality of their situation becomes blurred to an increasingly dangerous degree.

Jean Genet’s play explores and challenges the complexities of social roles, class and identity. It’s highly stylised, ritualistic and provocatively theatrical in its depiction of the maids’ rebellion against authority and their own self-disgust at their perceived position in society. The struggle between outcasts, the lower classes and their oppressors is a constant theme through Genet’s plays.

Christina Falsone (Solange) and Sophia Marzano (Claire)

Caroline Stacey’s production moves at a cracking pace, aided by strong performances by her cast of three. It helps that the sisters are played by actresses who are physically believable as sisters. Christina Falsone as Solange and Sophia Marzano as Claire play their roles with an intensity that never lets up, clearly showing every facet of their personalities and beliefs in their fiercely detailed performances.

Natasha Vickery (The Mistress)

As The Mistress, Natasha Vickery presents a highly believable portrait of an upper class woman who knows her position in society and wields her power accordingly. She has achieved an impressive subtlety in her performance of this woman that displays the entitlement and attitudes of her class.

The elegant production design by Kathleen Kershaw and the lighting design by Neil Simpson that continually highlights various aspects of the set and performers in the play are very impressive. Kimmo Vennonen has produced an excellent soundscape for the production.

The translation of the play by British playwright, Martin Crimp, has a refreshing directness that helped in understanding these characters. With the fine performances by the cast and strong direction by Caroline Stacey, this is a production of a famous play that satisfies on all levels.

 

Photos by Nathan Smith Photography

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

  

RIVERSONG (CONCERT)

The Resonants choir

Helen Swan, conductor

Gandel Atrium National Museum of Australia May 17

 

Reviewed by Len Power

 

The fate of rivers and the fate of people are inseparable. In a tribute to the spirit and strength of our rivers, Canberra choir, The Resonants, performed a program of songs that captured the story of our rivers.

Organised by the Australian River Restoration Centre, a charity restoring rivers and empowering others to do the same, this was a fund-raising concert for the long-term future of our rivers.

The Resonants choir, an independent, non-profit ensemble of young professionals and university students, was formed in 1990 by music director, Helen Swan. They have been crowned ABC Choir of the Year, recorded four CDs, participated in multiple Australian National Eisteddfods and the Canberra International Music Festival. Conductor, Helen Swan, is a well-known Canberra choral conductor, musician, music educator and opera singer.

Resonants choir

Introduced by award-winning ABC journalist, Alex Sloan, the evening commenced with a Welcome to Country by Aunty Violet Sheridan, a Ngunnawal Elder. She gave a passionate, sincere and down-to-earth welcome that was especially meaningful for the occasion.

The first act of the concert, sub-titled The Spirit Of The River, commenced with the choir singing The Spheres by Norwegian composer, Ola Gjelio. This haunting work evoked a sense of timelessness. The cavernous Gandel Atrium, with its resonant acoustic, was the perfect place to hear it.

Helen Swan, conductor

Six other works were presented in the first act including a dramatic This Is Our Home by Paul Stanhope, The River by Coco Love Alcorn in a beautiful arrangement by Rachel Hore, and a memorable arrangement by Ruth Kilpatrick of Waltzing Matilda which took the familiar melody and added rich harmonies with an Aboriginal-inspired chant.

The second act of the concert, subtitled Renewal and Resilience, commenced with the premiere of The Whisper of the Dying Stream, a new work by Sydney-based composer, Sophie Van Dijk. It was conducted by Kylie Van Dijk. It was a sombre, melodious and appealing work that was given a fine performance by the choir.

Other works presented included Weathermakers, composed in 2016 by Kirsten Duncan, a member of The Resonants choir, Hope There Is, a sublime setting by Clare MacLean of Oodgeroo Nunuccal’s poem, Hope, a haunting arrangement by James Erb of the American folk song, Shenandoah, and Steve Zegree’s arrangement of Henry Mancini’s Moon River. The concert concluded with Andy Beck’s Riversong.

 

This impressively skilful choir sang mostly a capella and were accompanied on various songs by pianist, Emily Luong, Ben O’Loughlin, double bass and Tom Chalker, percussionist.

The video projections that accompanied each song were particularly well-chosen and the atrium was illuminated with changing light patterns that added to the atmosphere of this fine concert given in aid of a worthy cause.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 18 May 2025.

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

 

 

THE DICTIONARY OF LOST WORDS (PLAY)

 

Adapted by Verity Laughton from the book by Pip Williams

Directed by Jessica Arthur

The Playhouse, Canberra Theatre Centre to May 24

 

Reviewed by Len Power 16 May 2025

 

Travelling through time, The Dictionary of Lost Words tells the story of the girl who stole the word ‘bondmaid’, which was found to be missing from the Oxford English Dictionary in 1901.

Young and motherless Esme Nicholls spends her childhood in the Scriptorium, a converted garden shed in Oxford, where her father and a team of lexicographers are gathering words for the first Oxford English Dictionary.

Hiding under the sorting table, she catches a word, ‘bondmaid’, on a card as it falls. Finding other words that have been neglected by the men, Esme begins a collection of her own - the Dictionary of Lost Words.

Growing up, Esme realizes that the recording by men of words and meanings related to women’s experiences have been given little importance. Through the power of the words she has gathered, she effectively gives voice to the many silenced people she has come to know over the years – the actresses, suffragettes, market traders and workers.

South Australian novelist Pip Williams’ internationally best-selling book, in a stage adaptation by Verity Laughton, has been given a sumptuous co-production by the State Theatre Company South Australia and the Sydney Theatre Company.

Directed with great imagination by Jessica Arthur, it has a superbly designed split-level set by Jonathon Oxlade that incorporates clever projections with a fine lighting design by Trent Suidgeest. It really is a feast for the eyes.

 

Johnny Nasser (Harry Nicholls) and Shannen Alyce Quan (young Esme Nicholls) 

The cast of eight, some of whom play multiple roles, all give nicely etched characterizations. Shannen Alyce Quan plays the huge role of Esme Nicholls with great skill and charm, ageing from young girl to woman as the play progresses. Johnny Nasser gives a strong, appealing performance as her father. Both performers play their changes in age with notable subtlety, aided by the detailed costume designs of Alisa Paterson.

Kathryn Adams (Lizzie) and Shannen Alyce Quan (grownup Esme Nicholls)

Amongst the performers playing multiple roles, Angela Nica Sullen is a standout as actress and suffragist, Tilda, giving her a formidable strength as well as warmth. Kathryn Adams is a delight as Lizzie, the maid in the Nicholls’ household, and Ksenja Logos is memorable as Mabel, a market worker who teaches Esme about certain words not heard in polite society.

The play is a subtle lesson in the power of words and how they can silence certain sectors of society, particularly women, as they struggle to be heard in a man’s world. Its message is effectively and beautifully told in this very enjoyable production.

 

Photos by Prudence Upton

 

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

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