ALMOST, MAINE (PLAY)

Written by John Cariani

Directed by Zac Bridgman

Mockingbird Theatrics production

Belconnen Arts Centre to 28 March

 

Reviewed by Len Power 18 March 2026

 

In the play, Almost, Maine, identification is easy with the emotions of a group of young people quietly getting on with the business of love. Declarations of love are made at the wrong times, peoples’ jumbled emotions suddenly work in their favour and others experience lasting hurt. The small, almost town of Almost, Maine - we’ve been there or we’re going there.

John Cariani’s American play, first produced in Maine in 2004, explores love and loss in 9 short stories happening at the same time in a mythical town in northern Maine in the depths of a cold winter. The emotional journeys in the situations presented are universal.

Alexander Wilson and Wendy Wakwella

At the beginning of the play, a warmly dressed young couple are together on a park bench in a wintry and icy outdoor set under the stars. The setting, designed by Chris Baldock, is so effective, I began to wish I’d brought a jumper with me.

Alastair McKenzie & Wendy Wakwella

The cast of four, Alexander Wilson, Wendy Wakwella, Jayde Dowhy and Alastair McKenzie each play multiple personalities in these short stories. Their performances are very effective as each character they portray has to be established quickly. They handle overlapping dialogue skilfully, giving their characters an emotional honesty. They display fine comic timing and an exceptional ability to play non-verbal moments that are charged with meaning.

Alexander Wilson & Jayde Dowhy

Director, Zac Bridgman, has guided his cast through the various stories with great skill. He ensures the characterizations are well-balanced emotionally, and each story is visually effective and naturally paced.

The lighting and sound designs by Rhiley Winnett and Zac Bridgman are particularly atmospheric.

This play is a charmer. It’s both funny and painful but each of the characters are recognizable people, maybe even ourselves.

 

Photos by Chris Baldock and Zac Bridgman

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

  

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE (MUSICAL)

 

Book by Rachel Sheinkin

Music and Lyrics by William Finn

Conceived by Rebecca Feldman

Directed by Nathan Patrech

Canberra Philharmonic Society (Philo) production

Act Hub Theatre, Kingston to 18 March

 

 

Reviewed by Len Power 12 March 2026

 

Using the ACTHub Theatre for this smaller scale musical was a clever move by Philo. The 100 year old Causeway Hall at Kingston provided the perfect atmosphere for the plot of the show.

A bunch of quirky students from various American elementary schools come together at Putnam County school to compete in a spelling competition (the ‘Bee’), which is run by three equally quirky adults.

The show might be quirky, but it needs a strong cast who can bring these colourful characters to life as well as handle the vocally demanding score. Everyone in this cast is more than up to the challenge and make the most of their individual moments to shine.

The ensemble performances of Amelia Andesson-Nickson, Dave Collins, Meaghan Stewart, Joe Mansell, Ella Colquhoun, Sterling Notley, Hannah Miller and Lachlan Nicholls as the students were excellent.

Director, Nathan Patrech, has staged the show simply. He allows the actors to have a lot of fun as adults playing adolescents, but the show is disciplined and fast-paced.

Of the adult characters running the Bee, Amy Kowalczuk is outstanding as Rona Peretti. It was good to hear this accomplished actress singing in a musical again. Tim Stiles gave a fine performance as the strong, but sensitive ex-convict and now Comfort Councillor, Mitch Mahony. Michael Cooper was very funny as Douglas Panch, the Vice Principal, with his officious and edgy performance as the word pronouncer.

Music director, Samara Marinelli, has obtained fine vocal performances from everyone in the cast. Lachlan Ruffy provided strong choreography that suited the individual characters. Jennie Norbury’s costumes looked very funny and somehow were worn just right by the students. The adults’ costumes were well chosen for a school function.

This is a funny, very noisy show with memorable characters. Before the show, audience members are given the opportunity to put their names down to participate onstage in the spelling competition. The three people selected on opening night clearly had a lot of fun and were pretty good spellers, too.

 

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

 

MY BRILLIANT CAREER (MUSICAL)

Book by Sheridan Harbridge & Dean Bryant

Music by Mathew Frank, Lyrics by Dean Bryant

Directed by Anne-Louise Sarks

Melbourne Theatre Company production

Canberra Theatre Centre, Canberra Theatre to 15 March

 

Reviewed by Len Power 8 March 2026

 

Miles Franklin’s much-loved 1901 book, My Brilliant Career, became a deserved success as a movie in 1979. Could lightning strike twice with this new musical staging of the story? The answer is a resounding ‘Yes’!

The story focuses on a young woman, Sybylla Melvin, in rural Australia in the late 19^th century whose aspiration to become a writer is at odds with society’s expectations of a woman at that time.

The cast of 10 create a series of vivid country characters and, when they’re not acting, they’re the musicians as well! With the band onstage throughout and part of the action, it’s like being at a bush concert with a story. Marg Horwell’s clever set design suggests the time and locations and her costume design adds period colour to the actors’ characterizations.

 

Kala Gare (Sybylla) and cast members

Outstanding in the Melbourne Theatre Company cast is Kala Gare in the central role of Sybylla. From the beginning, Gare draws the audience in with her energetic, brash, funny and deeply sensitive performance as this young woman. She sings superbly and dances like a whirlwind.

Kala Gare (Sybylla)

The other cast members play multiple roles. There is particularly fine work by Raj Labade as Harry, the man who wants to marry Sybylla, Drew Livingstone as Father and Jay-Jay, Ana Mitsikas as Grannie and Christina O’Neill as Mother and Helen. Melanie Bird, Lincoln Elliott, Cameron Bajraktarevic-Hayward, Victoria Falconer and Jarrad Payne also give vivid characterizations.

Mathew Frank, music, and Dean Bryant, lyrics, have produced a rousing score that blends contemporary pop, bush ballad and raucous pub rock. There are several memorable songs including, This Piano, Turn Away From The Mirror, I Will Wait With You and Someone Like Me. The whole cast play and sing this appealing musical score very well.

Kala Gare (Sybylla)

Expertly directed by Anne-Louise Sarks, this is a magical show that offers everything that a good musical should. The music lifts the story to another level emotionally, while the cast offer striking performances in this strong, well-presented story with an atmospheric setting.

 

Photos by Pia Johnson

This review was first published by Canberra CityNews digital edition on 9 March 2026.

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

  

VISSI D'ARTE - ITALIAN SONGS AND ARIAS IN RECITAL (CONCERT)

Eleanor Greenwood, soprano

Bradley Gilchrist, piano

Wesley Music Centre, Forrest, March 7

 

Reviewed by Len Power

 

In their recital, soprano, Eleanor Greenwood, and pianist, Bradley Gilcrist, demonstrated a rich tradition of Italian vocal expression. Song and aria alike were driven by drama, intensity, and emotional truth and the works gave voice to themes of love, longing, devotion and despair.

Greenwood is a graduate of the ANU School of Music and Royal Academy of Music Opera Studio. In 2023, she won the Opera Awards prize in Sydney, and she has performed across Australia, the UK, Europe and China. Recent role debuts include Tosca in Germany and Turandot in London.

Eleanor Greenwood (soprano)

Bradley Gilchrist completed a Bachelor of Music at the WA Conservatorium of Music, and post-graduate studies in accompaniment and piano performance in Sydney and Madrid. He has given solo and chamber music recitals across Australia and overseas and he has been repetiteur for many of Sydney’s chamber opera companies.

Bradley Gilcrist (piano) and Eleanor Greenwood (soprano)

Commencing with three love songs, Se tu m’ami (If you love me) by Giovanni Pergolesi, Amarilli by Giulio Caccini and Caro mio ben (Dearest my beloved) by Giuseppe Giordani, Greenwood sang with great sensitivity. Her rich soprano and clear diction made the songs an engaging opening to the recital.

Moving to opera, she performed a wide-ranging set of songs by Scarlatti, Gluck, Bellini, Verdi and Puccini. Singing with great control, her powerful voice seemed to make even the most difficult passages seem effortless. Her fine singing of O del mio dolce ardor (Oh, of my sweet ardor) from the opera, Paris and Helen, by Gluck, was one of the highlights of this recital. Gilcrist’s accompaniment for this song was particularly notable.

Her singing of the well-known Casta diva from Bellini’s Norma was another highlight, especially her unaccompanied singing towards the end of the song. The emotion displayed in her performance was impressive.

We were expecting the recital to finish with Vissi d’arte from Puccini’s Tosca, but after giving a superb performance of this difficult aria, we were treated to a fine Climb Ev’ry Mountain, then an aria from the Ring Cycle by Wagner and, finally, O Mio babbino caro (O my dear papa), also by Puccini.

The wide-ranging program of songs gave Greenwood the opportunity to show her vocal versatility and, with the fine accompaniment by Gilcrist throughout, the result was a highly memorable recital.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on March 8.

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

 

  

I SWEAR (FILM)

Written and Directed by Kirk Jones

Transmission Films

In cinemas from March 26

 

Reviewed by Len Power 5 March 2026

 

Based on the life of John Davidson, a Scottish man with severe Tourette Syndrome, “I Swear” is often fiercely funny but also warm-hearted.

Once regarded as a rare and bizarre syndrome, Tourette’s has been associated with the utterance of obscene words or socially inappropriate and derogatory remarks. It is no longer considered rare.

 John Davidson first displays Tourette’s in adolescence in the early 1980s. Society’s ignorance of the condition at the time causes conflict at home as well as punishment by teachers and the police. Only a local mental health nurse, Dottie, seems prepared to offer help and solace, while an elderly caretaker at a community centre, Tommy, provides John with a job.

While there are setbacks, John is eventually able to offer Tourette’s workshops, giving talks to schools and to the police. His work is ultimately recognized with an MBE award presented by Queen Elizabeth II in 2019.

Director and writer of the screenplay, Kirk Jones, bluntly presents the issues faced by Davidson from youth to manhood without resorting to sentiment. He is aided by an excellent cast of actors. Robert Aramayo plays the elder John Davidson in a standout performance that won him a 2025 BAFTA Award. Scott Ellis Watson plays the younger Davidson in an impressive debut performance. There is strong support from Maxine Peake as the mental nurse, Dottie, and Peter Mullan as the elderly caretaker, Tommy.

In the film, it is made clear that people do not know enough about Tourette’s. It ultimately shows that education, understanding and acceptance are essential to enable people living with the condition to have normal lives.

The journey taken with John Davidson is at times horrifying and confronting but it is also unexpectedly funny. This is a strongly moving and optimistic film. “I Swear” is likely be one of the most memorable films of the year.

Trailer: https://youtu.be/zhRgPCUKFiw

  

STRAVINSKY, SCHUBERT AND BEETHOVEN - MASTERPIECES FOR VIOLIN AND PIANO (CONCERT)

Jimmy Park, violin

Alexander Yau, piano

Wesley Music Centre, Forrest, February 28

 

Reviewed by Len Power

Showcasing masterpieces that embody the notion of a duo proved to be a very good idea for this pair of musicians, one on piano and the other on violin. They showed beyond doubt that they can play as one with three distinctive works by Stravinsky, Schubert and Beethoven.

Returning home for this special performance, Jimmy Park (violin) is currently undertaking post-master’s studies at the Mozarteum University in Salzburg. Alexander Yau, a Juilliard School graduate, is currently Associate Lecturer at the Sydney Conservatorium of Music.

They commenced their program with Igor Stravinsky’s Divertimento, originally written for the ballet in 1928 and arranged for violin and piano in 1932. This work is colourful, rhythmic and playful with an underlying tension. Yau and Park gave it a fine performance, clearly bringing out all the distinct characteristics of Stravinsky’s work.

The next item was Franz Schubert’s 1826 Rondo in B minor. This work is both highly energetic as well as lyrical, challenging players both technically and interpretively. Their performance was exciting and well-controlled throughout.

Jimmy Park, violin and Alexander Yau, piano

The final work of the program was Ludwig van Beethoven’s 1803 Sonata No. 9 in A – the Kreuzer.  This major work in three movements has a reputation for technical difficulty in performance, requiring the ability to achieve a wide range of emotion in the music. The performers met that challenge superbly, especially with their electrifying playing of the exuberant third movement.

These works may have tested the performers, but both appeared relaxed and you could sense that they were thoroughly enjoying playing together.

To end this concert of highly emotional music, the performers gave a calming encore of the sweetly romantic Liebeslied by Fritz Kreisler.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 1 March 2026.

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

  

CANBERRA CABARET FESTIVAL (CABARET)

 

DNA The Cabaret performed by Janie Lawson

Dave 101 performed by Dave Collins

ACT Hub Theatre, Kingston 21 February

 

Reviewed by Len Power

 

There was a huge buzz of anticipation in the full house at the ACT Hub Theatre for the two performers on the evening’s bill for the Canberra Cabaret Festival. Both performers exceeded their audience’s expectations, providing a highly entertaining evening of personal revelations and good music.

The first performer, Janie Lawson, presented DNA The Cabaret: A journey of identity, discovery, and new beginnings. Accompanied by Callum Tolhurst-Close on keyboard, Lawson began her show with a fine version of The Skye Boat Song. This journey song set the scene for her story of an unexpected discovery about her family background.

Janie Lawson

Choosing popular, theatre and film songs that provided emotional highlights for her story, Lawson provided intimate insights into her character as she related this compelling journey of discovery. Concluding with a rousing version of I Am What I Am from the musical La Cage Aux Folles, Lawson made the song a triumphant and emotional climax for both her personal journey and her show.

Lawson has been entertaining audiences for more than 30 years, having performed in musicals, plays, cabarets, and corporate events locally, interstate and in the USA. She has most recently appeared as Maureen in Free Rain’s Beauty Queen of Leenane, Marion Woolnough in The Boy From Oz and Mrs Wilkinson in Billy Elliot.

Dave Collins

For his show, Dave Collins presented Dave 101: An Introduction to Poor Life Choices. Choosing chapters from the book of his life so far, Collins provided a comedic look at incidents and missteps where hindsight has become a wonderful thing.

His very human and at times courageous insights were highlighted with a number of popular and theatre songs which displayed his powerful vocal ability. He was joined for well-chosen and performed individual duets by friends and guest performers Kara Murphy, Amelia Andersson-Nickson and Louiza Blomfield.

Collins is a Canberra and Sydney based singer/actor and musician, with a career spanning across television, stage, pantomime, big‑band leading, corporate events, and a broad range of musical theatre productions from local to international. He is currently the Lead Male Vocalist for Spectrum Big Band, performing at various corporate and public events across the Canberra region.

 

Photos by Photox – Ben Appleton

This review was first published by Canberra CityNews digital edition on 22 February 2026.

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

 

BEDROOM FARCE (PLAY)

 

Written by Alan Ayckbourn

Directed by Aarne Neeme

Canberra REP production

Canberra REP Theatre, Acton to 7 March

 

Reviewed by Len Power 20 February 2026

 

Alan Ayckbourn’s ‘Bedroom Farce’ was first performed in 1975 at the height of his most successful period of commercial success in England. He has written over 90 plays of which more than 40 have been produced in London’s West End.

In the play, three very different couples are seen in their bedrooms on a particular evening – an elderly couple preparing to go to their wedding anniversary dinner at a favourite restaurant, a couple who enjoy practical jokes preparing to host a party and a third couple who have been invited to that party but only the wife can attend because her husband is in bed with a bad back. A fourth unhappily married young couple also invited to the party will create a night of memorable chaos involving all three of those couples.

This play shows Ayckbourn at his best, commenting on the foibles of human behaviour and marriage in a very recognizable way. We all know people like this. Director, Aarne Neeme has ensured that the individual characters of the play are grounded in reality, allowing the humour to flow naturally.

Pat Gallagher (Ernest) and Sally Reinveld (Delia)

There is fine work from each of the performers. Pat Gallagher and Sally Rynveld are very effective as a couple who have been together for a long time and are aware of each other’s faults while managing to remain close. Rob de Fries and Azerie Cromhout are very funny as a couple where he is unwell and needy while she is not as sympathetic as he would like.

Rob de Fries (Nick) and James Grudnoff (Trevor)

Lachlan Abrahams and Antonia Kitzel deftly capture the fun of a practical joking couple as well as their growing frustration as their evening is ruined. James Grudnoff and Lara Connolly give fine characterizations of a warring married couple who go through life selfishly unaware of their impact on others.

Antonia Kitzel (Kate) and Lachlan Abrahams (Malcolm)

Andrew Kay’s striking set design of three bedrooms side by side cleverly shows aspects of each of the characters and the costume designs by Cate Clelland suit each of the characters perfectly.

This is a very funny play about recognizable married couples which has not dated at all. You might even see yourselves on that stage.

Photos by Cathy Breen

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

NEVER CLOSER (PLAY)

Written by Grace Chapple

Directed by Lachlan Houen

Off the Ledge Theatre production

Courtyard Studio, Canberra Theatre Centre to 28 February

 

Reviewed by Len Power 19 February 2026

 

Australian playwright, Grace Chapple, has set her debut play against the background of the sectarian conflict and violence of The Troubles in Northern Ireland. Observing a group of friends over a number of years, the impact of that conflict is ever-present in the decisions they make about their lives.

In 1987, Deidre’s old school friends meet in her kitchen for the first time in ten years. Their reunion soon shows the differences that have grown between them. Tensions rise, especially when one of them reveals that they brought an English fiancé with them.

From left: Breanna Kelly, Tash Lyall, Pippin Carroll, Joel Hrbek, Emily O'Mahoney

The six actors give fine ensemble performances, bringing their individual characters to life. The overlapping dialogue is skilfully presented, giving each character a convincing naturalness. Emily O’Mahoney is particularly strong as the fiery and conflicted Deidre while Joel Hrbek gives a quieter but effective performance as the sensitive Jimmy. Pippin Carroll as Harry excels as the Englishman alarmingly out of his depth and Nick Bisa is thoroughly convincing as the damaged Conor. Breanna Kelly is a fine, no-nonsense Mary and Tash Lyall gives a quiet but definite strength to her character, Niamh.

 

From left: Emily O'Mahoney, Tash Lyall, Pippin Carroll, Breanna Kelly

Director, Lachlan Houen, has obtained fine performances from his cast, subtly showing the depth of the changing relationships between them. His attention to detail is evident throughout this powerful play.

Nick Bisa and Tash Lyall

The first and last parts of the play are not as strong as the Christmas Eve centre section. The last section is momentarily confusing with the change of time and characters. It felt surprisingly tacked on and unnecessary after the strong ending of the middle part. It would be a much stronger and effective play if it focussed just on the reunion at Christmas.

 

Photos by Photox – Ben Appleton

This review was first published by Canberra CityNews digital edition on 20 February 2025.

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

 

 

 

SHAKESPEARE IN LOVE (PLAY)

 Adapted by Lee Hall from the screenplay by Tom Stoppard and Marc Norman

Directed by Chris Baldock

Mockingbird Theatre Company

Belconnen Arts Theatre to 28 February

 

Reviewed by Len Power 11 February 2026

 

Sometimes a stage adaptation of a much-loved movie can be a disappointment, but with Lee Hall’s adaptation and Chris Baldock’s inventive and fastidious direction, this production of ‘Shakespeare In Love’ is a colourful love letter to theatre, Shakespeare and the art of creation.

The wit and cleverness of the screenplay by Tom Stoppard and Marc Norman remain in this Elizabethan tale of an author desperately trying to overcome writers’ block with his fledgling play, Romeo and Ethel, the Pirate's Daughter. The colourful background of the theatre and its inhabitants of the time provide distraction and inspiration as well as an unexpected romance for the author.

On a simple but effective set that evokes the theatre of the period, Chris Baldock has assembled a large group of performers who bring this entertaining story skilfully to life. Although the major characters of the story dominate the action, everyone on that stage presents a fully developed and colourful character. It really is ensemble acting at its best.

Members of the company

Tom Cullen is a sensitive and appealing Shakespeare, while James Phillips gives playwright, Kit Marlowe, a sly and biting intelligence. There are also fine performances by Anto Hermida as Henslow, Asha Forno as Viola de Lesseps, Richard Manning as Richard Burbage, Bruce Hardie as Lord Wessex, Sachin Nayak as both Lord Edmund Tilney and Sir Robert de Lesseps, Sian Harrington as Nurse, Mia Dimovski as Mistress Quickly and Peter Fock as Fennyman.

Tom Cullen (Shakespeare) and James Phillips (Kit Marlowe)

Liz St Clair Long is a standout in her portrayal of Queen Elizabeth I. Making the most of her short appearances in the plot, she commands the stage with the Queen’s imperiousness as well as her underlying sense of humour.

Tom Cullen - Left (Shakespeare) and Asha Forno - Right (Viola de Lesseps) and members of the company

The costumes by Maya Hadfield, Sian Harrington and Liz St Clair Long are nicely detailed, colourful and correctly in period.

The director keeps the action fast and furious throughout, ensuring that everyone in this enthusiastic cast presents a strong characterization. This is theatre of a high standard, clever, funny and enormously entertaining.

 

Photos by Chris Baldock

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.