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.