GOD OF CARNAGE (PLAY)

Arran McKenna, Jenna Roberts, Lainie Hart and Jim Adamik

Written by Jasmina Reza

Translated by Christopher Hampton

Directed by Jordan Best

Echo Theatre production

Q Theatre, Queanbeyan to 31 August

 

Reviewed by Len Power 29 August 2025

 

Two couples meet to discuss a playground fight in which their eleven year old boys were involved. The incident was serious enough for one of the boys to have had teeth broken. The meeting starts nicely with both sets of adults prepared to discuss and resolve the matter reasonably. However, their discussion soon deteriorates into an extraordinary battle full of rage and recriminations as each person’s beliefs, fears, jealousies and judgments clash with everybody else’s.

From the comfortable position of audience member, it’s very funny to observe these people as they battle furiously, but how sure are we that we wouldn’t react in a similar manner given the right circumstances? It’s an unsettling thought.

Jasmina Reza’s 2008 French play, translated into English by Christopher Hampton, has the setting changed to Canberra for this production. Director, Jordan Best has given the show a stylish set design of a square living room that, as the play progresses, virtually becomes a boxing ring.

Jim Adamik is a self-centred lawyer who quickly shows his aggressive and sadistic side. Always on his mobile phone, his conversations give us an uncomfortable insight into the type of man he is.  Lainie Hart plays his downtrodden wife who is struggling to contain her own frustrations.

Both performers memorably played these roles in a 2022 production and have found impressive new depths in their characterizations.

New cast members for this production, Arran McKenna and Jenna Roberts, both well-known performers in Canberra, prove to be strong matches for the other couple. He is smarmy and passively resistant while she displays a reasonableness that is anything but reasonable.

Given four deeply flawed characters to play, the skill and energy of these four performers as they change from humans to animals is breathtaking.

Director, Jordan Best, has ensured that the frenzied movement in this confined setting remains naturalistic and that all elements of the production are finely tuned.

If you missed this play in 2022, don’t make the same mistake this time.

 

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

 

  

THE ADDAMS FAMILY (MUSICAL)

 

Book by Marshall Brickman and Rick Elice

Music and Lyrics by Andrew Lippa

Based on characters created by Charles Addams

Directed by Alexander Unikowski

Musical Director: Darcy Kinsela

Choreographer: Caitlin Shilg

Canberra Philharmonic Society

Erindale Theatre to 13 September

 

Reviewed by Len Power 28 August 2025

 

First appearing in a series of cartoons in the New Yorker magazine in 1938 by Charles Addams, the 1964 television series brought international fame to the fictitious and eccentric Addams family with their weird interest in all things macabre and grotesque. The musical comedy opened on Broadway in 2010, running for over 700 performances. While the show has an original score by Andrew Lippa, it retains the very recognizable signature music of the TV series in its opening and closing moments.

The plot centres around the Addams’ teenage daughter, Wednesday, who wants to marry a normal young man, Lucas Beineke, to the consternation of her parents. The rather familiar storyline is spiced up with the macabre attitudes and characters of the family and the chorus of their dead ancestors.

There are some nice performances amongst the leading players, especially Leah Peel Griffiths as the Addams’ daughter, Wednesday, who deftly captures the rebellious spirit of a troubled teenager wanting, abnormally, to be normal. She sings her role with a pleasing strength and confidence.

Leah Peel Griffiths (Wednesday)

The delightfully grotesque character of Uncle Fester is a gift for any actor who plays him. Tim Stiles gives a very warm and funny performance in the role and his singing of ‘The Moon and Me’, the best song in the show, is outstanding.

Giuliana Baggoley plays and sings the role of the mother, Morticia Addams, very well but some of her funniest lines lacked energy and timing in their delivery. Quintin Gravatt as the father, Gomez Addams, sang well and gave a straight-forward performance as the worried father, but might have been funnier if he’d played the over-the-top latin lover that the script and songs hinted at. The couples’ shining moment was the Tango de Amor late in the second act.

There were fine performances, too, from Lauren Nihill as Grandma, Benjamin Martin as Lurch, Andrew Finnegan as Mal Beineke, Amelia Andersson-Nickson as Alice Beineke and Callan James Clarke as Lucas Beineke.

 

The Addams family (left) and the Beineke family (right)

The large chorus of Ancestors were suitably grotesque and funny with fine costuming by Helen Wojtas. They sang and danced Caitlin Shilg’s choreography very well.

Director, Alexander Unikowski, kept the action moving at a good pace and ensured that the macabre visuals and surprises were well-presented and colourful. The music was played with gusto by the orchestra, conducted by Darcy Kinsela.

‘The Addams’ Family’ may not be the most memorable musical of recent years, but Philo’s new production is bright and breezy, and the enthusiasm and hard work of the large cast makes the show an enjoyable entertainment.

Photos by Ben Appleton 

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

 

 

THE DRAWER BOY (PLAY)

Written by Michael Healey

Directed by Zac Bridgman

A Mockingbird Theatre Company production

Belconnen Arts Centre to 30 August

 

Reviewed by Len Power 26 August 2025

 

The power of storytelling is at the heart of Michael Healey’s 1999 award-winning Canadian play.

About two ageing farmers and the young city actor who comes to stay with them while he does research for a new theatre work, this life-affirming play is surprising and ultimately deeply touching. Ignorant of all aspects of farmwork, the young man struggles to be part of the farmers’ lives. Overhearing a story told by one of the middle-aged farmers, Morgan, to calm the other brain-damaged man, Angus, the young actor, Miles, uses the story in his research material, unwittingly impacting on the fragility of the farmers’ existence together.

All three actors in this production give finely nuanced performances. As the young actor from the city, Callum Doherty impresses with his portrayal of a young man out of his depth but trying hard to fit in. His flamboyance as an actor as well as his awkwardness and eagerness to please are carefully balanced in his thoughtful and emotional performance.

Callum Doherty (Miles)

As the farmer, Morgan, Richard Manning gives a strong, realistic performance as a man of few words who has struggled through years of life on the land. His telling of the calming story at the centre of the play is one of the high points of this production. Manning’s finely tuned performance of it is outstanding.

Richard Manning (Morgan)

Chris Baldock gives a superb performance as the brain-damaged farmer, Angus. He achieves a child-like quality in the grown man that is both appealing and tragic. There is a depth to his performance, both verbally and non-verbally, that shows a true understanding of the conflicting emotions of this man.

Chris Baldock (Angus)

The detailed setting for the play, designed by Chris Baldock, gives a vivid impression of the wide-open space surrounding this farm while the interior décor reflects the practical lives of two bachelors sharing.

Zac Bridgman, the director, keeps the emotional heart of this play at the right level throughout. How the art of storytelling has the power to change lives is at the centre of this emotionally charged play. It’s a rewarding and memorable experience.

 

Photos by Zac Bridgman

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

 

  

HAYDN'S MIRACLE (CONCERT)

Mikaela Oberg, flute

Australian Haydn Ensemble

Skye McIntosh, violin

Matthew Greco, violin

Karina Schmitz, viola

Daniel Yeadon, cello

Mikaela Oberg, flute

Wesley Uniting Church, Forrest 21 August

 

 

Reviewed by Len Power

 

 

With their playing of a thoughtfully selected program of works by Haydn, Schubert and Purcell, the Australian Haydn Ensemble showed once again that they are one of Australia’s leading period instrument groups.

The quartet of two violins, viola and cello began with Haydn’s String Quartet Op. 76 No. 6 in E flat major Fantasia. In four movements, their performance of Haydn’s inventiveness and playfulness impressed throughout. The quiet, dreamlike Adagio second movement, the Fantasia, was beautifully played, allowing your imagination to float along with the music. The finale was wonderfully unpredictable. Just when you thought you knew where it was going, it constantly surprised you.

The second work played was Schubert’s String Quartet Op. 29 in A minor D. 804 Rosamunde. The melodies and emotions in this work were achingly beautiful and superbly played and the edginess under the surface gave the work an extra dimension.

After interval, the quartet began with Purcell’s Fantasia in four parts No. 8 in D minor Z. 739. This calming, reflective work was well played, clearly showing the beauty and atmosphere in Purcell’s music.

The final work of the program was Haydn’s Symphony No.96 in D major Miracle in the arrangement by Johann Salomon. The Miracle refers to a Phantom of the Opera type incident where a chandelier crashed down in the theatre while this symphony was being played, miraculously missing audience members. The chandelier incident is true, but it happened four years after this No. 96 symphony premiered when another of Haydn’s symphonies, No. 102, was being played. Somehow the story stuck to the No. 96 and it has been known as the Miracle symphony ever since.

Flautist, Mikaela Oberg, joined the quartet and, together, they gave a brilliant performance, bringing out all the energy and joy of this charming work. The graceful Andante second movement was particularly well played with the flute soaring above the other instruments and the finale was joyous and exciting.

You could tell from the performers’ expressions that they clearly enjoyed playing these works and they were rewarded with thunderous applause at the end of the concert.

 

Photo by Helen White

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

 

 

GREATER LOVE (CONCERT)

Flowers of Peace

Second World War Memorial Concert

Directed by Christopher Latham

Llewellyn Hall, August 15

 

Reviewed by Len Power

 

Heroism comes in many forms. Inspired by the many acts of heroism and sacrifice by those who fought in the Second World War, the concert, Greater Love, honoured those heroes through the power of music.

The concert was a massive undertaking. It featured an extraordinary lineup of performers including esteemed actor, John Bell (narrator), musicians Simon Tedeschi (piano), Edward Neeman (piano), Helen Ayres (violin), Alice Giles (harp), Dong Ma (erhu), Callum G’Froerer (trumpet) and William Barton (didgeridoo) as well as singers Andrew Goodwin (tenor) and Rachel Mink (soprano). The Canberra Symphony Orchestra, ADF musicians and guest musicians made up the huge orchestra.

Also performing were the Flowers of Peace Chorus, Brisbane Chamber Choir and the Luminescence Children’s Choir. It was directed and conducted by Chris Latham with guest conductors SQNLDR Daniel Phillips, MAj Doug Hall and CMDR Cassandra Mohapp.

Chris Latham, director and conductor

There were newly commissioned works by William Barton, Paul Carr, Elena Kats-Chernin, Graeme Koehne, Peggy Polias, Cyrus Meurant, Andrew Schultz, Karen Tanaka and Julian Yu. There were also recovered and arranged works by Albert Arlen, Isador Goodman, Miriam Hyde, Margaret Dryburgh, Horace Perkins and many others.

As the concert progressed, a projected slideshow enhanced the narration and the music with photographs, art and statistics showing the appalling human cost of the war. These words, statistics and music produced an intense emotional impact as the concert progressed.

John Bell, narrator

There were many musical highlights including Miriam Hyde’s Faith in Darkness, the first item of the concert, Isadore Goodman’s New Guinea Fantasy, Margaret Dryburgh’s arrangement of Dvořák’s Largo from his New World Symphony, Graeme Koehne’s Caring, William Barton’s Love of Country, Love of Land, Elena Kats-Chernan’s To Hold The World, Andrew Schultz’s De Profundis and Paul Carr’s The Arms of Love.

Karen Tanaka’s achingly beautiful Eternity, a memorial to the Pacific War was another highlight. In addition, her The Birth of Peace, signifying the birth of the United Nations, was sung superbly by the Luminescence Children’s Choir holding lit candles. The final work, Buddha Symphony by Kōishi Kishi, a Prayer for Peace, brought this memorable concert to a quietly optimistic close.

 

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 16 August 2025.

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

 

  

MARROW (DANCE)

 

Concept and Direction by Daniel Reilly

Choreography by Daniel Reilly with Australian Dance Theatre’s Company Artists

Composition and Sound Design by James Howard (Jaadwa)

Australian Dance Theatre

The Playhouse, Canberra Theatre Centre to 1 August

 

Reviewed by Len Power 31 July 2025

 

“What if we all went home, to Country, unplugged from social media and took a break from the political news cycle for an extended period of time?” First Nations journalist, Stan Grant’s words were the inspiration for this bold new work by Daniel Reilly and the Australian Dance Theatre company.

Composer, James Howard, set the mood with a driving electronic soundscape, like the heartbeat of the nation, that you could feel as well as hear.

On a cavernous, dark setting, designed by Matthew Adey of House of Vnholy, the dancers swirled around the space, their individual lives caught up with the same pressures and emotions. With a return to Country, there was peace and time to heal, gather strength and contemplate the future. Moments of high emotion, deep discussions, feelings strongly expressed, and the influences of the past gave hope to moving forward with a renewed and shared optimism.

Australian Dance Theatre's company of dancers

Daniel Reilly’s vision for this work was superbly realized in this haunting and fascinating work. His six dancers - Joshua Doctor, Yilin Kong, Zachary Lopez, Karra Nam, Patrick O’Luanaigh and Zoe Wozniak – gave a clarity to the emotional aspects of Reilly’s choreography while dancing with precision, individually and in groupings.

Australian Dance Theatre's company of dancers

As well as the music, there was an excellent lighting design by Matthew Adey that added a strong atmosphere to the work. The clever and imaginative use of smoke effects by the dancers gave the work a supernatural feel at times.

Australian Dance Theatre is Australia’s oldest continuing contemporary dance company. Founded in Adelaide in 1965 by Elizabeth Cameron Dalman, it was established with the aspiration of “expanding the boundaries of dance”. It was good to see Dalman in the audience at this performance of “Marrow”.

Daniel Reilly and the Australian Dance Theatre have produced a thoughtful, haunting and memorable work with a strong and appealing message.

 

Photos by Morgan Sette

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