THE DEEP BLUE SEA (PLAY)

 

Written by Terence Rattigan

Directed by Tony Knight

Chaika Theatre

At ACT HUB Theatre, Kingston to 27 June

 

Reviewed by Len Power 12 June 2026

 

When you’re caught between the Devil and the deep blue sea, finding the strength to keep on living may prove to be impossible.

In Terence Rattigan’s play, set in the post-war austerity of 1950s London, Hester Collyer is found barely alive after a suicide attempt in her cheap apartment. What prompted her action, and her continuing struggle with emotional isolation, is at the heart of this play about human relationships.

There are outstanding, highly believable performances by the whole cast of eight in this production.

Jenna Roberts gives a terrifying vulnerability to the central role of Hester Collyer. The pain this woman is feeling is profound. Her playing of this woman’s emotional crisis and her reactions to the other characters shines with clarity and honesty. She has achieved a very real, raw and courageous performance.

Sol Mason plays Hester’s lover, Freddie Page, a man who is unable to move on from the 1940s in his views on life, work and relationships. There is pain, an outdated sense of bravado and a lack of understanding portrayed in Mason’s nicely tuned performance.

As Miller, the ex-doctor with a possibly shady past, Karen Vickery gives a no-nonsense performance with a hint of warmth and vulnerability under the surface. Her multi-layered characterization is very well-played.

Michael Sparks plays Hester’s ex-husband, Sir William Collyer, as a man who clearly wants her back but lacks the understanding of her emotional needs. His performance is finely nuanced, and especially impressive in his non-verbal reactions.

There is fine work, too, from Kate Blackhurst as the brisk landlady, Mrs Elton, Blue Hyslop as Freddie’s war-time friend who hasn’t changed either and Meaghan Stewart and Jack Shanahan as the nosy but kind-hearted neighbours, Ann and Philip.

Tony Knight’s expert direction of this production has ensured that the interaction of these colourful characters stays very real throughout. Presented on a set with the audience on two sides, he has achieved a notable intimacy between cast and audience. Rattigan’s play, written in 1952, is literate and emotionally involving in this excellent production.

 

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

 

 

HARMONIC CURVES - RESONANCE (CONCERT)

Alice Giles, harp, Timothy Kain, guitar

Wesley Music Centre June 7

 

Reviewed by Len Power

 

Resonance was the focus of the latest Harmonic Curves concert. The harp and guitar proved to be the perfect match, showcasing a range of music from the 16^th century to the present day in the hands of two excellent players, Alice Giles (harp) and Timothy Kain (guitar).

Initially inspired by popular music and flamenco to start playing the guitar, Kain’s first classical guitar lessons were with Sadie Bishop at the Canberra School of Music.

After graduating, he studied in Spain and England, winning prizes in Europe for his playing. His performing and teaching activities have taken him all over the world, building an international reputation both as a soloist and chamber musician.

Giles has had a wide-ranging career and has appeared as guest artist at international chamber music festivals.

For the first half of the program, Alice Giles played two solo works composed between 1916 and 1918 by French harpist, Carlos Salzedo – Five Preludes for Harp Alone and Five Studies For Harp Alone. Giles explained that she would be using gestures developed by the composer as part of his Salzedo Method for the harp.

With subtitles such as Iridescence, Introspection, Whirlwind, Mirage and Communion, each part presented a different mood or colour and demonstrated the versatility of the harp as well as the skill of the player. The gestures added an extra stylistic layer to the music and Giles performed both all parts of the two works superbly.

Timothy Kain (guitar) and Alice Giles (harp)

Guitarist, Timothy Kain, joined Alice Giles to present the second half of the program. First, they played Three pieces by Irish composer, Turlough O’Carolan, born 1670, arranged for duo by G. Garcia. These melodic works were delightfully played, and both performers clearly enjoyed playing them.

The duo next played A View From The Eagle’s Nest by Canberra composer Marián Budoš. This Canberra premiere of a 2023 work created a grand atmosphere both melodic and introspective. It proved to be a highlight of the program and the composer, who was in the audience, signalled his appreciation of the duo’s performance.

The final work on the program was the Suite Magica from 2015 by Argentinian composer, Maximo Diego Pujol. This popular work in 4 parts was given a fine performance by Giles and Kain, bringing this excellent concert to a close.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 8 June 2026.

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

Len Power also presents the weekly Concert Hall program on Artsound FM, playing recordings of some of the best concerts from in and around Canberra. Concert Hall can be heard on Sundays at 8pm and is repeated on Wednesdays at 2pm.

 

DIAL M FOR MURDER (PLAY)

Chloe Smith (Margot Wendice)

Written by Frederick Knott

Directed by Jon Elphick

Tempo Theatre Inc production

Belconnen Community Theatre to June 6

 

Reviewed by Len Power 29 May 2026

 

Frederick Knott’s play, Dial M For Murder, is now best known from the 1954 Alfred Hitchcock movie of the same name, but it was a big success on both sides of the Atlantic before Hitchcock got his hands on it.

Elements of the plot keep it firmly in the period that it was written and, in their new production, Tempo Theatre at the Belconnen Community Theatre, have wisely honoured that. This play is not a Whodunnit, rather it is a Will-He-Get-Away-With-It?

All five cast members give fine performances. Chloe Smith, as the intended murder victim turned major suspect, Margot Wendice, gives a natural, increasingly emotional performance as the legal system slowly closes around her.

Sachin Nayak as the crime-fiction writer, Max Halliday, who is also in love with Margot, gives a well-balanced performance of an amusing character who, through his determination, eventually solves the mystery but does not realize he has.

Chris McGrane, as the investigating officer, Chief Inspector Hubbard, quickly shows that he is a force to be reckoned with. McGrane plays him with strength and skill. His character’s highly complex dialogue has tripped up many an actor in the past, but McGrane handles this aspect with great confidence.

Guyren Howe plays the contract killer, Captain Lesgate, with a nicely seedy sense of a man reduced to being a criminal.

Bradley Jones is the evil Tony Wendice who instigates the plot to murder his wife. As elements of his plot change, he adds an extra level of suspense to the play with his fine performance full of unrelenting confidence, charm and dangerous intelligence.

The director, Jon Elphick keeps this heavily plotted play moving at a fine pace and has given us an entertaining and compelling production of this clever and suspenseful play.

 

Photo supplied by the production

This review was first published by Canberra CityNews digital edition on 30 May 2026.

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

 

 

LES MISERABLES (MUSICAL)

 

Music by Claude-Michel Schönberg, lyrics by Alain Boublil and Jean-Marc Natel

Book by Boublil and Schönberg

Based on the novel by Victor Hugo

Directed by Dale Rheynolds

Musical Director: Brigid Cummins

Conductor: Jen Hinton

Movement director: Belinda Hassall

Queanbeyan Players production

The Q, Queanbeyan to 6 June

 

 

Reviewed by Len Power 22 May 2026

 

The world-wide phenomenon that is the musical ‘Les Miserables’ is back! Queanbeyan Players have mounted a production that shows why this epic sung-through musical is so popular and admired.

Victor Hugo’s story, written in 1862, is set in early 19^th Century in France. Jean Valjean, who spent 19 years in prison for stealing a loaf of bread, breaks his parole and disappears. He strives to seek redemption over the following decades by living a blameless life and helping others while being pursued by an obsessive police inspector, Javert, who asserts that Valjean’s re-capture is a necessary ‘justice’. The characters are swept up in a revolutionary period where a group of young idealists attempt to overthrow the Government at a street barricade in Paris.

This production has been very well-directed by Dale Rheynolds. Particular attention has been given to ensure that each of the many characters are real people with emotions and motivations that we can relate to.

Dave Smith (Jean Valjean)

Outstanding in the cast is Dave Smith in the huge role of Jean Valjean, the ex-convict. Smith plays him with a moving strength and emotion that is always valid and believable. He owns this role with his performance and fine singing. His performances of the songs, ‘What Have I Done?’, ‘Who Am I?’ and ‘Bring Home Home’ are expertly sung.

Max Gambale, as Javert, the police inspector, gives an equally fine performance. Gambale uses his commanding presence and strong vocal gifts to give a truly threatening performance. His performance of ‘Stars’ and his final song in the show are two of the many highlights in this production.

Sophie Hope-White (Cosette) and Alexander Unikowski (Marius)

There are so many excellent performances in this show, all with strong characterizations and fine singing. Particularly memorable are Alexander Unikowski as Marius with his song, ‘Empty Chairs and Empty Tables’ and ‘A Heart Fall of Love’, his duet with a luminous Sophie Hope-White as Cosette, Jess Waterhouse as Fantine with a heart-breaking ‘I Dreamed A Dream’, India Cornwell’s touching Eponine with ‘On My Own’ and her death scene with Marius, Greg Sollis and Tina Robinson as the evil and oily Thenardiers with ‘Master Of the House’ and William Allington as the revolutionary Enjolras leading the rousing ‘One Day More’.

William Allington (Enjolras)

There are also fine performances, full of character, by Matilda Hutchison as the young Cosette, Hanna O’Keeffe as the young Eponine, Harlan Blazeski as the young Gavroche and Ricky Best as the Urchin. These roles demand a lot from young performers but all four shone in their roles.  They will alternate with other young performers in subsequent performances of the show.

The large chorus sang magnificently and displayed individual characterizations that added considerable depth to the show. The scenes involving movement were well-designed by choreographer, Belinda Hassall.

The musical direction by Brigid Cummins has prepared the cast very well for the huge amount of singing in the show. Conductor, Jen Hinton, and her orchestra performed the epic score superbly.

 The cleverly devised set was designed by David Abbie, the well-balanced sound design was by Telia Jansen and the lighting design was especially imaginatively designed by Zac Harvey.

 Costume designer, Helen McIntyre, and her large team produced the huge number of period costumes that suited all members of the cast.

This is a huge production involving many people onstage and off. Bringing it all together is director, Dale Rheynolds, who has done an excellent job recreating this much-loved story. It’s a long show, but highly rewarding, and Queanbeyan Players can be justly proud of this one.

 

Photos by Ben Appleton - Photox

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

 

VANYA AND SONIA AND MASHA AND SPIKE (PLAY)

 

Written by Christopher Durang

Directed by Steph Evans

Mockingbird Theatrics

Belconnen Arts Centre to 23 May

 

 

Reviewed by Len Power 15 May 2026

 

When playwright Christopher Durang decides to have some fun with the characters and themes of Anton Chekhov, his play, ‘Vanya, Sonia, Masha and Spike’, is the result. It’s wildly and outrageously funny but underneath all the exaggeration and absurdity, real characters emerge with their pains, hopes and disappointments of life. You don’t need to know anything about Chekhov’s plays to enjoy this, but it adds extra depth if you do.

It’s 2013 in Bucks County, Pennsylvania. Gay brother and adopted sister, Vanya and Sonia, live in a country house with a small orchard. They feel that life has passed them by. Their sister, Masha, a famous, ageing, yet troubled movie star, who owns the house, arrives with her young and handsome boyfriend, Spike. When Masha announces she wants to sell the house, Vanya and Sonia are plunged into turmoil about their future.  Spike begins to show interest in a pretty young neighbour and aspiring actress, Nina, upsetting Masha, and the housekeeper, Cassandra, adds to the drama with her dire warnings and prophesies of disaster.

Tracy Noble (Sonia), Helen McFarlane (Masha) and Chris Baldock (Vanya)

The cast of six – Chris Baldock (Vanya), Tracy Noble (Sonia), Helen McFarlane (Masha), Darcy Worthy (Spike), Lily Welling (Nina) and India Kazakoff (Cassandra) – give their characters real life while playing the humour for all its worth. There are many delicious moments to enjoy including the characters’ monologues, an awful play reading and a voodoo doll sequence. The actors all display excellent comic timing and maintain a frantic pace throughout.

Director, Steph Evans, has obtained a fine balance between the truth in the characters and the frenzied humour. It might all be crazy fun but the humour is grounded with a logic and truth, nicely realized by the director and the cast.

With a running time of 150 minutes, including interval, the play did seem a bit overlong, but, overall, this is a very funny play expertly done.

 

Photos by Zac Bridgman

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

 

 

LOSE TO WIN (PLAY)

Written and performed by Mandela Mathia

Directed by Jessica Arthur

Belvoir Street production at The Q, Queanbeyan May 2

 

Reviewed by Len Power

 

A young man surviving a childhood in war-torn South Sudan and becoming an actor in Australia sounds like an impossible dream, but that young man, Mandela Mathia, tells all in his compelling and moving one man show.

Mandela Mathia grew up in South Sudan. He barely knew his father who died in the war there and lost his mother who drowned during a search for food. He and his older brother survived and, with a second foster mother, left South Sudan for Egypt. Eventually – and luckily – they made their way to Australia. Against all the odds as a young refugee, he pursued a dream to become an actor and succeeded.

Mandela Mathia

Mathia is a charismatic young man with a commanding presence and a fascinating story to tell. His show gives him the opportunity to tell his personal story as well as showcase his skills as an actor and singer. Trained as an actor at NIDA, he gives a strong, confident performance that connects immediately with the audience. His story is an emotional one but his personal resilience shines through his telling. Momentary flashes of humour in his story succeed because of his excellent comic timing and he is also a fine singer.

Yacou Mbaye

He is accompanied on stage by musician Yacou Mbaye, one of Australia’s leading West African drummers and dancers. Mbaye also engages personally and skilfully with the audience. He and Mathia work very well together presenting this story in words and music.

Director, Jessica Arthur, has created a fine production around Mathia. Her sensitive staging heightens moments of drama as well as making the show entertaining. Set and costume designer, Keerthi Subramanyam, lighting designer Kate Baldwin and sound designer and composer Brendan Boney have all contributed very effectively to give this show its unique look and sound.

At the end of the show, Mathia proudly announces that he is now as much Australian as South Sudanese. His story of resilience, self-acceptance, perseverance and hope is moving and uplifting.

 

Photos by Brett Boardman

This review was first published by Canberra CityNews digital edition on 3 May 2026.

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

 

  

LES LIAISONS DANGEREUSES (PLAY)

 

Written by Christopher Hampton

from the novel by Choderlos De Laclos

Directed By Lainie Hart

Canberra REP production

Canberra REP Theatre to 9 May

 

Reviewed by Len Power 29 April 2026

 

Playwright Christopher Hampton’s literate 1985 play, Les Liaisons Dangereuses, is based on the famous and scandalous at the time French novel by Pierre Choderlos de Laclos, written in 1782. People of a certain age will know it from the excellent film made in 1988 of Hampton’s play. It was powerful stuff then, and it remains just as powerful nearly 40 years later in this fine stage production by Canberra REP.

Two aristocrats, the Marquise de Merteuil and the Vicomte de Valmont, enjoy using sex as a weapon of humiliation and degradation. It’s all a game to them but they devastate the lives of their targets, married woman, Madame de Tourvel, and the young and innocent, Cécile de Volanges. Fate ultimately takes its revenge on the pair of schemers.

Jordan Best (Marquise de Merteuil) and Jim Adamik (Vicomte de Valmont)

There are some outstanding performances in this production. Jordan Best is a formidable and evil Marquise de Merteuil and Jim Adamik is a powerful Vicomte de Valmont. They both present highly believable characters throughout the play and are particularly effective as their characters realize they have become victims of their own vile games. In their many scenes together, they are skilful in their timing of the dialogue and in their non-verbal interaction.

Yanina Clifton as Madame de Tourvel and Jamie Johnston as the young Cecile de Volanges, the two victims, give strong, emotional performances and Ros Engledow, Desiree Bandle, Isaiah Pritchard and Jack Shanahan are also very effective in their characterizations.

A feature of this production that involves many scene changes is the way they are smoothly handled by the actors playing the servants. The period set, very well designed by Kayla Ciceran, provides several acting areas for the different scenes and Nathan Sciberras’s lighting design is particularly effective in adding to the period atmosphere. The colourful period costumes by Helen Drum are attractive.

Director, Lainie Hart, clearly had a vision here. Her thoughtful and meticulous direction shows in every aspect of this production.

 

Photo by Ross Gould

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

 

CONSTELLATIONS (PLAY)

 

Written by Nick Payne

Directed by Kelly Somes

Free-Rain Theatre production

ACT Hub Theatre, Kingston to 25 April

 

Reviewed by Len Power 17 April 2026

 

On the surface, “Constellations” sounds like a simple romantic drama – a couple’s chance meeting, emotional involvement, a breakup and then reunion and marriage. But life is not as simple as that. Mix in theoretical physics and the chance to consider the number of choices we could make as we interact with others, and you have the structure for a fascinating and compelling play.

Written in 2012, Nick Payne’s play explores life through maths and science. Do we have free-will or are we just “particles governed by a series of very particular laws being knocked…around all over the place.”? Audiences should be allowed to discover the unique structure of this play for themselves.

The author, Nick Payne, has a finely tuned ear for natural dialogue and human interaction. We can easily identify with his characters and their stories.

Director, Kelly Somes, keeps the focus firmly on dialogue and character with a bare stage and three chairs. The audience is seated on all four sides of the action, giving an intense intimacy to this production.

Lucy Goleby (Marianne)

 Lucy Goleby plays Marianne, a theoretical physicist. James O’Connell plays beekeeper, Roland. Both give carefully nuanced performances of great depth and sensitivity. They meet the challenge of the multi-layered script with skill, making each moment highly believable. Their playing of the final sequence is touching and memorable.

James O'Connell (Roland)

Both performers and the director have personal connections to Canberra. The choice of “Constellations” for their return here is an excellent showcase for the trio and a gift for local audiences.

 

Photos by Janelle McMenamin.

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

 

JULIUS CAESAR (PLAY)

 

Written by William Shakespeare

Directed by Peter Evans

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 18 April

 

Reviewed by Len Power 11 April 2026

 

When you think over what you have just seen in Bell Shakespeare’s production of “Julius Caesar”, an uneasiness settles over you. There is the brutal murder of Caesar, of course, but then one of the killers, Brutus, convinces us in a speech that Caesar’s assassination was necessary. Mark Antony’s speech that follows quickly and easily moves us to the opposite view. We realize that we have been manipulated by both speakers with just the power of words.

Shakespeare is a master of rhetoric. From the start of the play characters are continually swayed by words that influence, appeal to the emotions and motivate. Peter Evans’ production stresses the effect of the power of words, showing us how easily we can be manipulated. The strong message of the play is easily applied to modern day life and world politics.

The play covers three years from Caesar’s triumphant return to Rome after a war with the sons of Pompey, to his assassination and then the defeat of the killers at the Battle of Philippi.

Brigid Zengeni (Brutus) and Leon Ford (Cassius)

Fine character studies are provided by every member of the cast. Septimus Caton is a strong but charming and charismatic Julius Caesar. Brutus is played by Brigid Zengeni with a warmth and humanity that clearly shows the conflict within the character. Her performance is highly convincing.

Mark Leonard Winter (Mark Antony)

As Mark Antony, Mark Leonard Winter gives a superb performance of his “Friends, Romans, Countryman” speech. That we view his character so differently before and after that moment shows the skill and thought that has gone into his performance.

Septimus Caton (Julius Caesar) and the assassins

There is fine work also by Leon Ford as Cassius who convinces as one of the conspirators, Peter Carroll in a subtle and clever portrayal of Casca and Jules Billington as a warm and caring Portia.

The excellent lighting design by Amelia Lever-Davidson is complex and adds considerable atmosphere to the simple but cleverly designed set by the director, Peter Evans. Simone Romaniuk’s costumes are nicely modern with a suggestion of the original period of the play.

This Bell Shakespeare production succeeds with its clarity of the text, the fine performances of the cast and the convincing vision of the director.

 

Photos by Brett Boardman

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

 

 

& JULIET (MUSICAL)

Book by David West Read

Music and Lyrics by Max Martin and friends

Directors, Choreographers and Set Designers: Charlotte Morphett, James Tolhurst-Close

Musical Director: Callum Tolhurst-Close

A Free-Rain Theatre Company production

The Q Theatre, Queanbeyan to 26 April

 

Reviewed by Len Power 2 April 2026

 

What if Shakespeare’s wife, Anne Hathaway, talked her husband into changing his play ‘Romeo & Juliet’ so that Juliet did not die at the end? With its mid-2000s sensibility and characters and with changes continuing to be made by the couple as the play progresses, ‘& Juliet’ is a show that exists mainly for enjoyment. Some modern political or social issues arise along the way, but it really is just crazy and tuneful fun.

All eight of the principal cast give committed performances. They sing the many songs in the show with charm, skill and confidence. The characters they play are not written with a lot of depth, but it really doesn’t matter. The rest of the cast, totalling 23, sing very well and dance the energetic choreography with precision.

Chloe Stevenson (Juliet) and the company

At the centre of the story, Chloe Stevenson as Juliet gives a touching performance of a young woman wanting to make her own choices. Jackson Gibbs and Vanessa Valois give highly amusing performances as the bickering couple, Shakespeare and Anne Hathaway. Katie Lis scores with a humorous performance as Angelique, Juliet’s nurse, and Joshua Kirk and Tate Sissian are very effective as the sexually troubled May and Francois. David Santolin is a strong presence as May’s father, Lance, and Mackinley Brown impresses as an arrogant, yet charming Romeo.

Jackson Gibbs (Shakespeare) and Vanessa Valois (Anne Hathaway)

The lighting for this show is complex and spectacular. Jacob Aquilina has done a superb job with the design. Telia Jansen’s sound design ensures that Max Martin’s songs have the right production sound and the balance between cast members and the band works very well.

Chloe Stevenson (Juliet) and Mackinley Brown (Romeo)

Fiona Leach’s clever costumes suggest the Shakespearian period while managing to be modern at the same time. Musical director, Callum Tolhurst-Close, has obtained a fine sound in the singing and the band is hot!

This is a show designed to appeal especially to a younger audience. The directors, Charlotte Morphett and James Tolhurst-Close, have provided a colourful, enjoyable  show with fine singing and dancing. It’s quite an achievement.

 

Photos by Janelle McMenamin

 

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

 

 

 

ROMANCE SUBLIME! - ART SONG CANBERRA (CONCERT)

Lorina Gore, soprano

Anthony Smith, piano

Wesley Music Centre, Forrest, March 29

 

Reviewed by Len Power

 

It’s a great experience to see an artist performing at the top of their game. It’s even more thrilling when she’s one of ours.

Soprano, Lorina Gore, completed her postgraduate voice studies at the Australian National University in Canberra and at the National Opera Studio in London. After winning numerous competitions nationally and internationally, she joined Opera Australia as a principal artist in 2008 and has since performed many roles for the company. She also enjoys a busy recording career as well.

Her accompanist on piano, Anthony Smith, is also a graduate of the ANU School of Music. He is a Canberra-based pianist, composer and musicologist. He has performed nationally as well as internationally and is currently repetiteur for three major Canberra choirs. This was his tenth appearance for Art Song Canberra.

The program commenced with 8 Gedichte aus Blätter (8 Poems From Last Leaves) by Richard Strauss. Set to the poems by Hermann von Gilm zu Rosenegg, Strauss composed the songs when he was only 21 years old. Three of the songs have become classics in the Lied repertoire. It was a great opportunity to hear all 8 songs performed together.

Anthony Smith (piano) and Lorina Gore (soprano)

Gore gave fine performances of each of the songs. From the hymn-like melody of the first song, Dedication, through the haunting and ethereal, The Night, Gore impressed with her emotional readings of the songs. Other highlights included The Dahlia with its enchanting vocal melody, Autumn Crocus, with its undertones of death, and the beautiful All Souls Day, the final song.

The second half of the program consisted of songs in various genres that have been part of Gore’s life and career, starting with songs discovered in her student days. She began with the wistful Stephen Foster’s No-one to Love and followed it with Kashmiri Song by Amy Woodforde-Finden. This beautiful song full of longing was given a superb performance.

The program continued chronologically and included songs by Liza Lehmann, Roger Quilter, Lerner and Loewe, Leonard Bernstein and Stephen Sondheim. The distinctive styles of these songs were all given excellent performances. So Pretty, a song for Peace by Bernstein was movingly sung as was Before I Gaze At You Again from the musical Camelot by Lerner and Loewe.

Anthony Smith (piano) and Lorina Gore (soprano)

Gore also impressed with her down-to-earth and disarming commentaries about the songs. Her story about obtaining an audition for ‘My Fair Lady’ in Sydney just so she could meet the director, Julie Andrews, was particularly amusing.

Her final song on the program, Sondheim’s Could I Leave You? was brilliantly sung and showed Gore’s skill as an actress. Throughout the program, Anthony Smith played the various music styles with consummate skill.

For an encore, Gore performed the Habanera from Bizet’s Carmen, inviting the audience to sing the repeated chorus response in the song. It was an exhilarating end to a memorable concert.

 

Photos by Len Power

This review was first published by Canberra CityNews digital edition on 30 March 2026.

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

  

3 ON 3 - APEIRON BAROQUE (CONCERT)

3 On 3 – Apeiron Baroque

John Ma (violin), Marie Searles (harpsichord),

Guest artists: Jared Adams (violin), Isaiah Bondfield (violin), Anton Baba (cello/gamba) and George Wills (theorbo/guitar)

Wesley Uniting Church, Forrest, March 22

 

Reviewed by Len Power

 

Apeiron Baroque can always be relied upon to provide something different in their concerts and this one was no exception. With three violinists and a continuo section of three more players, this ensemble certainly made beautiful music together.

John Ma (violin) and Marie Searles (harpsichord) were joined by guest artists Jared Adams (violin), Isaiah Bondfield (violin), Anton Baba (cello/gamba) and George Wills (theorbo/guitar). All artists had a formidable list of credits nationally and internationally.

From left: John Ma (violin), Jared Adams (violin), Isaiah Bondfield (violin), Marie Searles (harpsichord), Anton Baba (cello/gamba) and George Wills (theorbo)

Another of the delights of an Apeiron Baroque concert is to hear the music of less familiar composers. In this case, they played short works by eleven composers from the Baroque period including Vierdanck, Krieger, Roncalli, Balbestre, Finger, d’Hervelois, Schmeltzer and Dornel as well as the more well-known Telemann and Pachelbel.

They commenced with all six artists playing the lively Capriccio No. 26 by Johann Vierdanck. The melodic Sonata No. 5 by Johann Krieger was next with John Ma the solo violinist with the continuo. George Wills on guitar played a beautifully reflective Preludio and Passacaglia by Ludovico Roncalli and Marie Searles, harpsichord, played another quietly reflective work by Claude Balbestre.

The concert continued with a variety of works that each demonstrated the richness of the music from this period. Each member of the ensemble was featured in certain works. Highlights included a jaunty gavotte by Telemann, which the ensemble clearly enjoyed playing, as well as exquisite works by Marais, Schmeltzer and Dornel.

Violinists John Ma, Jared Adams and Isaiah Bondfield

John Ma provided lively and often amusing anecdotes about many of the composers. Claude Balbestre, for example, was one of the most famous organists of his time. His fame was so great that he was eventually forbidden to play as the churches were always too crowded when he performed.

The full ensemble concluded this excellent concert with a fine performance of Johann Pachelbel’s possibly now too well-known Canon. Ma explained, humorously, that in the life of every Baroque ensemble there comes a time when it’s inevitable that this work be played.

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 23 March 2026.

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

  

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