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.