ROMEO & JULIET (PLAY)

Written by William Shakespeare

Directed by Joe Woodward

Daramalan Theatre Company

Joe Woodward Theatre, Dickson to 3 May

 

Reviewed by Len Power 26 April 2025

 

One of Shakespeare’s most well-known and accessible plays, ‘Romeo & Juliet’ encourages us to think about our own personal relationships and the decisions we make that affect others. But is there more to this story of the ‘star-crossed lovers’? In Joe Woodward’s new production, there is an examination of ancient and shadowy revelations that may have more bearing on the decisions we make. It’s a challenging and fascinating way to consider this most moving of Shakespeare’s tragedies. It applies to our world and our current actions, too, not just to the world of those young lovers.

Using a circular thrust stage, background projections and the considerable height of the theatre, director, Woodward, who also designed the production, creates a haunting, shadowy atmosphere for the play that is often startlingly effective. The careful use of music, including the love theme by Nino Rota of Zeffirelli’s 1968 film of ‘Romeo & Juliet’ and the Flower Duet from Delibes’ opera, ‘Lakme’, adds a great deal of atmosphere to this production. The singers, Ruby Gifford and Ruby Holden, give a fine performance of the Delibes aria.

Oscar Lee (Romeo) and Evie Nicholls (Juliet)

As Juliet, Evie Nicholls gives a performance full of fire in the early scenes and, as Juliet falls in love, she gives the role an increasing tenderness that is quite touching. Oscar Lee plays Romeo with a toughness that contrasts nicely with his later romantic scenes with Juliet. The sudden change in his emotions during the balcony scene is quite effective, making Romeo’s discovery of the power of love quite believable.

Oscar Lee (Romeo) and Zac Olsen (Tybalt)

Performances from the large cast show a good understanding of the vision of this production. Vocal delivery is often uneven with a lack of projection in some cases and a tendency to speak too fast, so that the meaning and poetry of the words are lost. However, it takes years to perfect this and, for a student cast starting their journey in the world of theatre performance, they do very well overall.

The finale of the play, with the lovers’ deaths staged and performed simply, is especially touching. This is a fine and clear production with a thoughtful perspective that adds new depth to this great 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.

 

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.

 

  

SHOSTAKOVITCH (CONCERT)

National Capital Orchestra

Louis Sharpe, music director

Ben Hoadley, bassoon

Snow Concert Hall, Red Hill April 6

 

Reviewed by Len Power

 

Centred around the theme of Harmony, the Symphony No. 5 by Dimitri Shostakovich was an impressive choice for the National Capital Orchestra’s first concert of the 2025 season. The program also included Sydney composer Ella Macens’ beautiful work, The Space Between The Stars, and Carl Maria von Weber’s bassoon Concerto Op. 75 with solo bassoonist, Ben Hoadley.

The Space Between the Stars was nominated for the Sydney Symphony Orchestra’s first ever People’s Choice Concert and was premiered in Sydney in 2018. This beautiful work was the perfect choice for the start of the concert, conveying the energy and magic of the night sky and its bright shining stars. The orchestra gave it a performance of great visual clarity, bringing out moments of delicate sensitivity as well as a sense of the overwhelming vastness of space.

National Capital Orchestra

Carl Maria von Weber’s bassoon concerto is widely performed around the world and is often regarded as only second in importance to the Mozart bassoon concerto. Composed in 1811, it’s a charming work, dramatic, lyrical and joyful. Bassoon soloist, Ben Hoadley, and the orchestra gave a delightful performance of this famous work. The lyrical slow movement was particularly well played.

Ben Hoadley, bassoon, Louis Sharpe, conductor

The Symphony No. 5 by Shostakovich was first performed in 1937 at a time when the composer was out of favour with the Soviet regime. The success of the symphony is said to have saved the lives of the composer and his family. On the surface, it is lyrical and leads to a joyous finale, which pleased the regime at the time, but recent scholars point to cleverly hidden darker aspects, making it a work of exceptional depth.

Louis Sharpe, conductor

The orchestra, under the baton of Louis Sharpe, gave it a thrilling performance, bringing out the extraordinary depth of emotion in the work. The beautiful largo movement was particularly sensitively played, and the orchestra played the powerful, triumphant finale superbly.

 

Photos by Peter Hislop

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

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.