GYPSY: A MUSICAL FABLE (MUSICAL)

Book by Arthur Laurents

Music by Jule Styne

Lyrics by Stephen Sondheim

Directed by Jude Colquhoun

Queanbeyan Players production

The Q, Queanbeyan to 8 November

 

Reviewed by Len Power 30 October 2026

 

Considered one of the best musicals of all time, Gypsy opened on Broadway in 1959 and has had numerous revivals ever since.

A fiercely determined stage mother struggles to make stars of her children in vaudeville in the 1930s at a time when vaudeville was giving way to talking pictures. In real life, one daughter, June, had a long career on stage and in movies as June Havoc. The other daughter, Louise, became a star in burlesque as the stripper, Gypsy Rose Lee. The musical was suggested by her 1957 published memoirs.

The focus of the show is squarely on the mother, Rose, providing one of the dream roles in musicals. To quote from the prologue of Gypsy’s memoir, “Mama had been many things, but she had never been nice. She was, in her words, a jungle mother”.

In this production, Emma White as Rose was too much the warm mother when she needed to be a formidable presence getting her way with family as well as others. Only in an argument about a whether to accept a stage contract, did the real Rose come through. A more than capable singer, White performed her songs well, but her final cathartic song, Rose’s Turn, would have been more enlightening about her character if she had been hard as nails throughout the show.

Emma White as Rose

A highlight of the show was the staging of the vaudeville numbers by Baby June and her Newsboys and the growing Dainty June and Her Farmboys. Young Matilda Hutchinson was a standout with her performance of Baby June and Paris Ellis was also delightful as the older Dainty June.  Belinda Hassall’s choreography for these songs captured the essence of vaudeville.

Matilda Hutchinson as Baby June

Emily Pogson as Louise and, later, Gypsy, was particularly effective with her singing of Little Lamb and in her transition to Gypsy, the stripper. Her performance showed a deep understanding of her role.

Emily Pogson as Gypsy Rose Lee

There were also good performances by Steven Galinec as Herbie, Ash Syme as Tulsa, Alissa Pearson as the harried Miss Cratchet and Aleisha Croxford in her very funny characterisation of the stripper, Tessie Tura.

Croxford, Pearson and Sarah Hull brought the house down with their courageous and hilarious performances as the strippers in You Gotta Get A Gimmick.

The large orchestra, conducted by Brigid Cummins had a bit of a wobbly start with the Overture but played well thereafter. The decision to have the orchestra seen through much of the show behind the performers was often distracting.

The sound design by Telia Jansen was well-balanced and Zac Harvey provided some impressive lighting effects. Suzan Cooper designed the many colourful and dazzling costumes.

While more attention needed to be given by the director to the pace and energy of the show, it was a rare and entertaining opportunity to see this famous musical.

 

Photos by Janelle McMenamin

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

 

  

FRENCH BAROQUE CANTATAS (CONCERT)

Limestone Consort

St. Paul’s Anglican Church, Manuka, October 25

 

Reviewed by Len Power

 

There may have been a storm raging outside, but the calming program of secular works by Nicolas Bernier and André Campra proved to be the perfect way to spend a rainy afternoon.

Limestone Consort’s program consisted of four baroque era works with love as a dominant theme. Greta Claringbould, soprano, Maartje Sevenster, alto, and Andrew Fysh, bass, were accompanied by Aaron Reichelt, oboe, Lauren Davis, violin, Clara Teniswood, cello, Sean Ng, theorbo, and Ariana Odermatt, harpsichord. The three singers each introduced the works they were about to sing.

The first work, Coffee, showed an unexpectedly lighter side of composer, Nicolas Bernier (born 1664). His cantata extravagantly praised coffee as if it was a divine and seductive potion that even the Gods favoured. Greta Claringbould sang it delightfully with a nicely humorous edge.

Great Claringbould, Maartje Sevenster and Andrew Fysh

André Campra (born 1660) composed the amusing cantata, The Quarrel Between Cupid and Hymen. Almost a mini-opera, this argument between Cupid, God of Love, and Hymen, God of Marriage, was given a colourful and dramatic performance by alto, Maartje Sevenster.

Maartje Sevenster and the musicians

Andrew Fysh, bass, then presented Campra’s cantata, The Women, which detailed his exasperation with women and the wiles they employ to snare the opposite sex. Fysh gave it a fine, world-weary performance. His reflective singing of the passage, Ah, how wretched is a heart entangled in your chains, was particularly memorable.

The final work on the program was the Chorus of Mariners by Jean-Philippe Rameau (born 1683). Together, the three singers gave this invitation to dance and sing a sparkling performance.

The musical accompaniment throughout was excellent. It was a well-chosen and enjoyable program of cantatas with unexpected looks at love.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 26 October 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.

AROUND THE WORLD IN EIGHTY DAYS (PLAY)

 

Adapted by Mark Brown from the novel by Jules Verne

Directed by James Scott

Honest Puck production at the Perform Australia Theatre, Tuggeranong to October 31

 

Reviewed by Len Power 24 October 2026

 

Jules Verne’s, Around the World in Eighty Days, is a novel teeming with many colourful characters from around the world. In Mark Brown’s 2001 adaptation for the stage, a cast of only five play them all.

To win a bet, English aristocrat, Phileas Fogg, with his newly employed French valet, Jean Passepartout, attempts to prove that you can go around the world in eighty days in 1872. Mistaken for a bank robber, Fogg is followed by the wily Detective Fix who wants to arrest him at the first opportunity.

In this Honest Puck production, Brendan Kelly is Phileas Fogg, the still-upper-lip English gentleman who remains calm no matter what happens. His hapless French servant, Jean Passepartout, is played by Jack Morton. Both actors give skilful performances, deftly giving their characters a strong human touch that endears them to the audience.

Brendan Kelly (Phileas Fogg), Pema Yogini Yuphel (Aouda) and Jack Morton (Jean Passepartout)

James Scott is a delight as the plodding but determined Detective Fix. He also plays other characters encountered as the play progresses. Pema Yogini Yuphel is a charming Aouda, rescued from a ritual burning in India.

James Scott (Detective Fix) ad Jack Morton (Jean Passepartout)

Leo Amadeus busily plays most of the other characters. Each swift character sketch is well done with minimal costuming and a sly knowing wink to the audience. He must be exhausted by the end of the show.

The fact that the show is done on a miniscule budget works in its favour. Ange Fewtrell has provided the many bits of period costumes, hats and even wigs that add colour to the show. With a multitude of simple props and some deft shadow puppeteering by Deni Dominguez, this journey around the world is highly enjoyable theatre.

Director, James Scott, ensures that the show moves at a cracking pace and it’s often very funny. The cast are working hard but you sense they’re enjoying it all as much as the audience. They even have an elephant!

 

Photos by James Scott

This review was first published by Canberra CityNews digital edition on 25 October 2026.

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

 

PICNIC AT HANGING ROCK (PLAY)

Adapted by Tom Wright

From the book by Joan Lindsay

Directed by Caitlin Baker

Chaika Theatre Production

ACT Hub Theatre to 7 November

 

Reviewed by Len Power 23 October 2026

 

Since Joan Lindsay wrote her novel ‘Picnic At Hanging Rock’ in 1967 and the popular 1975 film was released, this story became a part of Australian folklore. Now it’s adapted as a play by Tom Wright.

On a sweltering Valentine’s Day in 1900, a group of schoolgirls have a picnic at mysterious Hanging Rock. Several girls and a teacher climb the rock, although forbidden to do so, and vanish without a trace.

This intriguing mystery is part ghost story as well as a study in repression, desire, twisted and faulty memories and an inability of a society to adapt to Australian conditions.

Tom Wright’s stage adaptation has five actors playing all of the roles in the story. As the cast rapidly move from character to character, we are quickly disorientated and drawn into the mystery that is told in possibly unreliable memories and fantasies.

Foreground: Jessi Gooding, Breanna Kelly.  Background: Karina Hudson, Thea Jade.

Caitlin Baker’s set evokes a schoolroom with the blackboard and its chalk writings as well as the dusty, dirty Australian bush underfoot. The clever sound, designed by Paris Scharkie, and the lighting, designed by Disa Swifte, add to the enveloping atmosphere.

Paris Scharkie, Thea Jade

The cast of five – Jessi Gooding, Karina Hudson, Thea Jade, Breanna Kelly and Paris Scharkie – capture the claustrophobic world of a group of boarding schoolgirls very well. With the style of the play, there’s little opportunity for deep character studies and this keeps us at a distance as the story unfolds. Only Karina Hudson has an opportunity to provide a strong character study when she appears as Miss Appleyard, the school’s harsh Principal.

Karina Hudson, Jessi Gooding, Breanna Kelly

The mystery of this story, and the conditions that enabled it to happen, are presented in a kaleidoscopic fashion so that it is difficult to know what is real or imagined. The result is a dream-like production full of unresolved mystery.

Played without a break for 70 minutes, the edginess of the story, the depiction of life in a private school in 1900 and the all-encompassing mystery of the disappearance are very well presented by director, Caitlin Baker, and her cast.

 

Photos by Jane Duong

 

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

  

BRAHMS AND THE OPPOSITE OF BRAHMS (CONCERT)

Ronan Apcar

Ronan Apcar, piano

Wesley Music Centre, October 17

 

Reviewed by Len Power

 

When beautifully tender piano pieces by Romantic composer, Johannes Brahms, were contrasted with modern works by Australian and American composers, the result was an exciting musical whiplash.

Performed non-stop by pianist, Ronan Apcar, four of Brahms’ Fantasies alternated with three works that could not have been more different. Suddenly the Brahms works seemed even more delicate and fragile than usual, while the modern pieces became even more exciting, violent and explosive.

Apcar introduced the concert, giving us an insight into his enthusiasm for the music he would be playing. With his humorous and relaxed manner, he warned us to be ready for something out of the ordinary.

Beginning with the fourth Brahms Fantasy, adagio, his sensitive playing was immediately captivating, bringing out the beauty in Brahms’ music. At the gentle conclusion, he launched into American Leo Ornstein’s Suicide in an Airplane. This distinctive work, with its insistent sound of airplane engines, could not have been more different to the Brahms work. The contrast was fascinating and Apcar’s playing of this complex work was excellent.

Without a break, Apcar performed the fifth Brahms Fantasy, andante. After the Ornstein work, the gentleness and sentimentality seemed even more apparent. Again, without a break, he then launched into Australian, Gerard Brophy’s Abraço. This stormy and exciting work sounded like five noisy, but thrilling dance parties going on at the same time. Apcar played it superbly.

Brahms’ Fantasy No. 6, andantino, was next. The emotion in the music was again delicately played. Immediately afterwards, there was the contrasting and wild Winnsboro Cotton Mill Blues by the American composer, Frederic Rzewski. If the earlier modern pieces seemed unusually complex, nothing prepared you for this one. Ranging across the whole keyboard, this furious work was the most exciting of all. The technique required to play it was astounding. At times, Apcar was playing passages with his whole forearm. When the blues section of the work was reached, Apcar sang the lyrics as well. It was an extraordinary performance.

Ronan Apcar

The final work on the program was Brahms’ Fantasy No. 7, allegro. Again, this work was beautifully played and was such a contrast to the Rzewski before it.

Apcar finished the concert with an encore, The Spritely One by jazz musician, Judy Bailey. The applause at the end of the concert was explosive and sustained. Apcar richly deserved it for devising this daring program and performing it with so much skill.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 18 October 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.

 

  

ARCHDUKE TRIO (CONCERT)

Canberra Symphony Orchestra Chamber Series

Amalia Hall, violin

Edward Neeman, piano

Patrick Suthers, cello

Gandel Hall, NGA 11 October

 

Reviewed by Len Power

 

A rare musical gem was followed in this concert by a monumental classic.

In the 19^th century, Emilie Mayer composed eight symphonies, a piano concerto, at least 15 concert overtures and as many as 14 string quartets.

A review of one of her works in 1878 described her as a “rare phenomenon” but an exception to the rule that writing orchestral works was “the domain of the creative male intellect”. No wonder her music was largely forgotten! It’s good to see that her work has received renewed attention during the 21^st century.

Introduced by New Zealand violinist, Amalia Hall, Mayer’s Notturno for violin and piano in D minor, Op.48, andante, proved to be a lyrical, sensitive work with a peacefully flowing narrative from the basic theme, presenting new angles of vision in its development.

It was given a finely sensitive performance of great beauty by Hall and Edward Neeman, piano. It made you wish that more unknown works of quality by women of that era could be discovered.

Amalia Hall, violin, Edward Neeman, piano and Patrick Suthers, cello

Beethoven’s monumental Archduke, the piano trio in B Flat major, Op. 97, followed with Patrick Suthers, cello, joining Hall and Neeman. Suthers gave a very entertaining introduction to the work, noting that Beethoven must have been in a surprisingly good mood when he composed it.

In four movements, the trio commenced with a sunny piano melody soon taken up and embellished by the violin and the cello. It was playful, dramatic, and melodic but also with a sense of grandeur.

The second movement, unexpectedly a Scherzo, was darker and a good contrast to the first movement. The tranquil third movement started reverently and then quietly proceeded with several delicate variations. It led directly into the joyous fourth movement, a rondo, returning to the sunny main theme and bringing the work to a triumphant close.

The artists met the challenges of the work superbly. Their highly sensitive performance of the third movement was the highlight of this memorable concert.

Photo by Arianne Schlumpp

 

This review was first published by Canberra CityNews digital edition on 12 October 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.

 

  

FACE TO FACE (PLAY)

 

Written by David Williamson

Directed by Céline Oudin

Mockingbird Theatre Company

Belconnen Arts Centre to 17 October

 

Reviewed by Len Power 7 October 2026

 

Whether you think restorative justice has a place alongside conventional justice or not, the process as it unfolds can bring to light hidden truths, motivations, personal judgements and shameful practices that may have a bearing on the reason the accused committed the crime.

In David Williamson’s stark play, a young man with a quick temper has been charged with rear-ending his boss’s Mercedes causing injury as well as damage after being sacked. The deed is not disputed by the accused, and in conventional justice his actions would likely see him gaoled.

Ten people, a room, some chairs, a conversation.

In Céline Oudin’s production we observe nine people who were all connected to this case. There are no other scenery or props, but there is a facilitator, Jack Manning. We are even aware of traffic passing in the street outside. Our concentration is, therefore, completely on the restorative justice meeting that takes place.

It was just a joke.

Immediately we are drawn into a picture of a toxic workplace where bored and bitter workers take out their frustrations on others with hurtful practical jokes. The accused with his quick temper and naivety quickly becomes a target. The facilitator, Jack Manning, unearths how all nine people played their part in a situation that exploded into violence.

Sachin Nayak (Jack Manning)

 

Sachin Nayak as Jack Manning and Joshua Nicholls as the accused, Glen Tregaskis, stand out with their prominence in the script, but everyone onstage gives a fine performance, too, creating believable and recognizable characters.

Joshua Nicholls (Glen Tregaskis)

The director, Céline Oudin, keeps the action moving at a well-measured pace. The ninety minutes running time without a break feels considerably shorter, a sure sign that we have been drawn successfully into the drama of the play.

At times, Williamson’s script felt contrived. It was hard to believe that some characters would be as forgiving as they were in so short a time and be hugging and handshaking. His discussion of the issues arising sounded more like a man on a soapbox than good drama. However, his observation of Australian characters and their strengths and weaknesses is as strong as ever.

 

Photos by Chris Baldock

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

 

DANZA & DEBUSSY (CONCERT)

Grevillea Quartet

Generator Gallery, Belconnen Arts Centre, September 23

 

Reviewed by Len Power

 

This concert was an evening of contrasts.

The first part of the program was dedicated to vibrant Spanish dances and was followed by a masterpiece of French Impressionism, the groundbreaking String Quartet in G minor by Claude Debussy.

Introduced by violinist, Shilong Ye, the concert commenced with three works from the Suite Española by Isaac Albéniz – Cádiz, Granada and Asturias. Spanish rhythms filled with drama and passion evoked the distinctive sound of strumming guitars and nighttime serenades. The quartet played the strong, sensual and emotional music with clarity, colour and great appeal.

Shilong Ye then drily suggested that if the audience felt the music made them want to dance, no judgements would be made. Many audience members were, understandably, seen to be at least swaying to the infectious dance music as the program continued.

 

Grevillea Quartet

The quartet next played Danzas Españolas, Op. 37: No. 2 ‘Oriental’ by Enrique Granados. This dance with its seductive rhythms and melodies had a haunting melancholic restraint and was beautifully played.

Three well-known works followed – Spanish Dance No. 1 from the opera, La Vida Breve, by Manuel de Falla, La Paloma by Sebastián Iradier and Danse Espanole (from Swan Lake, Op. 20) by Tchaikovsky. Hearing them played live gave them another pleasing dimension and all were given superb performances.

Shilong Ye

The final work on the program was Claude Debussy’s String Quartet in G minor, Op. 10. Shilong Ye informed the audience that this one would probably not be danceable, but he was prepared to be surprised.

Their playing of this extraordinary work, rich with shimmering textures, unexpected rhythms and unique harmonies, was masterly. The third movement, Andantino, was given a particularly sublime performance.

The concert finished with a perfect, sensual encore of Libertango by Astor Piazzolla.

The Grevillea Quartet was celebrating a milestone anniversary of eight years with this concert. Violinists, Vanessa Driver and Shilong Ye, violist Julia Horneman, and cellist Samuel Payne certainly provided a memorable and enjoyable celebration concert. It was delightful to see their surprise as unexpected presents were delivered to fellow ensemble members by Shilong Ye.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 24 September 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.

  

PRIDE AND PREJUDICE* (*sort of) (PLAY)

 

Written by Isobel McArthur

Directed by Simon Harvey

Based on the novel by Jane Austin

Canberra Theatre at the Canberra Theatre Centre to 27 September

 

Reviewed by Len Power 18 September 2026

 

If obvious humour is your thing, this might be the show for you. The classic Pride and Prejudice story by Jane Austen and the Regency period is sent up with TV sitcom humour, a tough modern-speaking all woman cast, a few recognizable recent songs and a liberal sprinkling of the F-word for cheap laughs. There might be a bit of a feminist political statement in there as well.

With the show covering nearly the entire original story, it certainly is a very long evening. Anyone who sees this without a knowledge of the plot would be hard-pressed to know what is going on amongst all the jokes and hijinks. At the opening night performance, the audience seemed to warm to the humour only in the second act. They probably realized by then that they should just concentrate on the jokes and forget trying to follow the story.

On the plus side, the five women performers give expert high energy performances and all sing very well. They play the male characters of the story as well and at times it’s hard to keep up with who they’re playing now. Not that it really matters. However, Kaori Maeda-Judge is a standout with her characterization of Lady Catherine De Bourgh.

This touring production has an impressive set with a huge staircase and towering bookcase. There is a clever lighting design by Jason Bovaird and some good theatrical tricks are staged very well. It all moves along at a fast pace. Where some moments seem laboured and obvious in their delivery, it’s a fault of the material and the direction, not the performer.

Recognizing things out of period is a major part of the humour in this show. There is the character struggling to open a tin of Pringles, a box of Kellogg’s Frosties lying on the sofa, cast members chasing each other with plastic spray bottles, the stack of drink cans on a table at the Merryton Ball and the wheelie bin name-stamped with Jane Aust-Bin (groan).

This play won the Olivier Award in London for Best Entertainment or Comedy Play. It makes you wonder about the competition that year.

 

Photos by Matthew Chen

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

 

 

FROZEN (MUSICAL)

 

Book by Jennifer Lee

Music and lyrics by Kristen Anderson-Lopez and Robert Lopez

Directed by James Tolhurst-Close

Musical Director: Callum Tolhurst-Close

Free Rain Theatre Company production

The Q, Queanbeyan to 11 October

 

Reviewed by Len Power 17 September 2026

 

Based on the 2013 Disney animated film, a stage musical version played successfully on Broadway from 2018 and cost $35 million to mount. The spectacular local production by Free Rain Theatre looks like it cost that much, too.

The musical’s story is expanded from the film with new songs and there is a deeper exploration of the relationship between two sisters, Elsa and Anna, who are princesses, one with magical powers to create snow and ice which she does not know how to control. After inheriting the throne, Elsa has to flee, which causes the kingdom to become frozen in an eternal winter. Sacrifice and true love ultimately save the day.

Chloe Stevenson (Anna)

Amongst the large cast, there are some standout performances. Chloe Stevenson is a hugely appealing Anna. Her beautifully sung ‘For The First Time In Forever’ wins her over to the audience early in the show. Charlotte Morphett as Elsa has the best song in the show, ‘Let It Go’. Her strong, emotional performance of the song and her icy presence throughout the show are truly memorable. Both actors also impress with their believable relationship as sisters.

Charlotte Morphett (Elsa)

With his song, ‘In Summer’, Joe Dinn is delightful as Olaf, the snowman. Cameron Taylor as Oaken, performs his song ‘Hygge’ with gusto. Jackson Gibbs as Kristoff sings an appealing ‘Rheindeers Are Better Than People’ and Graeme Fennamore steals the show as Sven, the rheindeer. There are also fine performances by Joshua Kirk as Hans, Mele Tuli as Young Anna and Zahra Zulkapli as Young Elsa. The roles of Young Anna and Young Elsa will alternate with Millicent Fitzgerald and Meadow Kuske during the season. Everybody on stage impresses in this show and the enthusiastic and hard-working chorus sing and dance very well.

The cast of 'Frozen'

For this show to work it needs a spectacular icy setting. The set design by John Nicholls and Ethan Henderson is atmospheric, practical and a feast for the eye. Fiona Leach’s many costumes are colourful and finely detailed. The music, conducted by Callum Tolhurst-Close, is played very well by the orchestra.

Both the lighting design by Jono Gerdes and well-balanced sound design by Chris Neal are imaginative and brilliantly executed. They bring so much extra depth to the production.

Mounting this show must be a mammoth undertaking. Full credit goes to the director, James Tolhurst-Close, for creating such a memorable and enjoyable entertainment.

Photos by Photox, Ben Appleton

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

 

 

ECHOES OF HUMANITY - NCO (CONCERT)

 

National Capital Orchestra

Louis Sharpe, conductor

Lucas Krupinski, solo piano

Llewellyn Hall, September 12

 

Reviewed by Len Power

 

Joining forces with the St Vincent de Paul Society, Canberra/Goulburn, the National Capital Orchestra presented a charity concert to help support people in our region experiencing hardship.

Echoes of Humanity described perfectly the emotive and famous works presented. That they were also a formidable challenge to perform created quite a sense of anticipation before the concert began.

Conducted by Louis Sharpe, the program commenced with the much-loved Piano Concerto No. 2 by Sergei Rachmaninov.

The piano was played by Lucas Krupinski. This British-Polish pianist made his Carnegie Hall debut in 2018 and has appeared with major orchestras across Asia, Europe and North America. He has also won many competitions. He performed at the Canberra International Music Festival in 2022.

Lucas Krupinski

From the outset, Krupinski’s playing was notable for its sensitivity, bringing out the richness in the melodies while stirring heightened emotions. The orchestra, guided by Sharpe, played confidently and with great clarity. Together, Krupinski and the orchestra gave this work an excellent performance, showing why this work’s fame has endured since its first full performance in 1901. It was thrilling to have the opportunity to experience it live.

National Capital Orchestra

After interval, Louis Sharpe and the orchestra returned to play another possibly even more formidable work – Gustav Mahler’s Symphony No. 1 (Titan). Premiered in 1889, this deeply personal work is also highly emotional. It required a large orchestra to play, and Louis Sharpe advised the audience that the orchestra on stage was the largest ever for the company.

Lucas Krupinski, piano, and Louis Sharpe, conductor

From its quiet beginning, the orchestra showed great control. Through the various melodies and dramatic passages, they brought out all the shifting emotions of the work with enormous clarity and strength. There was particularly fine work by the French horns and the bassoons, and every part of the orchestra gave Mahler’s work a rousing performance of which they should all feel proud.

This was an exhilarating concert of two highly challenging works. Louis Sharpe, the orchestra and Lucas Krupinski made this an event to remember.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 13 September 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.

DAISY PULLS IT OFF (PLAY)

 

Written by Denise Deegan

Directed by Kate Blackhurst

Canberra REP production at the Canberra REP Theatre, Acton to 26 September

 

 

Reviewed by Len Power 11 September 2026

 

It’s a rare play that gives 13 women, no men, a chance to play a set of colourful characters in a parody of a ‘Girls Own’ adventure in the style of the much-loved fiction of Angela Brazil, Ellinor Brent-Dyer and Enid Blyton.

 

Set in 1927 England in the elite Grangewood School for Young Ladies, Daisy Meredith, the first scholarship student, has to deal with practical jokes, snobbery and hockey while pluckily managing to solve a mystery at the same time.

 

This mystery story is performed as a play probably written by the school’s students themselves. As expected in a school play, props are minimal. The passing scenery outside a train window and the framed school portraits are particularly imaginative and amusing.

 

The characters are mostly schoolgirls with a couple of staff members, and they are played by actors of all ages. As part of the play, a couple of “male” characters turn up with false beards and moustaches to add to the fun.

Ashleigh Butler (Daisy) and Alex McPherson (Sybil)

This play is a golden opportunity for actors to play the characters encountered in this type of period fiction. Everyone has their moment and there are some outstanding performances. Ashleigh Butler as Daisy is a fine heroine filled with determination and moral courage. Alex McPherson plays Sybil Burlington, the nasty snob, with relish and the best performance in the show is Elaine Noon as the eccentric best friend, Trixie Martin. Noon shows a true understanding of the style required with her particularly uninhibited and delightful playing.

 

The play seemed a bit long and wordy for what it is and the pace was a bit slow at times. However, this is a funny play and a nostalgic dive back into the literature that people of a certain age grew up with.

 

 

Photo by Alex Unikowski

 

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

 

ARCADIAN SPRING - MUSICA DA CAMERA (CONCERT)

 

Musica Da Camera String Orchestra

John Ma, musical director

Holy Covenant Church, Cook, September 5

 

Reviewed by Len Power

 

It might not have looked like spring outside, but Musica Da Camera ensured their concert showed us the promise and glory that the season can offer.

With a thoughtful and apt collection of music works by Bach, Fischer, Scarlatti, Telemann and Vivaldi, this spring concert, directed by Early Music specialist, John Ma, was a delight for the senses.

Violinist, John Ma, gave entertaining and educational information about the chosen works and he was really in fine form with this concert. He could make anyone love baroque music.

The program commenced with Alessandro Scarlatti’s Sinfonia suite from Clori, Dorino e Amore. With harpsichordist, Ariana Odermatt, Ma led the orchestra in a spirited playing of this work with its grand opening, elegant melodies and charming rhythms.

Ariana Odermatt, harpsichordist

Ouverture Burlesque by Georg Philipp Telemann was next. Burlesque in the 18^th century saw music provoke laughter through parody or cartoonish exaggeration. The work provided musical portraits of Commedia del Arte characters such as Scaramouches, Harlequinade, Colombine and Pierrot. Ma’s colourful descriptions of these characters provided a welcome and amusing depth to the music.

John Ma with Musica Da Camera orchestra members

The orchestra then played Bach’s sparkling Violin Concerto No. 1 in A minor. This was a wonderfully clear and graceful playing of this timeless work. In three movements, Ma and the orchestra excelled with a particularly beautiful and sensitive playing of the central Andante. It was the highlight of the concert.

The next work, Vivaldi’s Concerto for Strings in B-flat major (Conca) was inspired by the strings mimicking the resonant blasts of a conch shell. It was a good example of the Baroque era’s spirit of experimentation and everyone clearly had fun playing it.

Johann Fischer, a German composer, was a good choice for spring with his 3^rd Suite from Le Journal du Printemps. The elegance of the French Court style blended with the contrapuntal traditions of German music and this fine work was very well played.

Telemann’s Excerpts from Die Satyn in Arcadien was the final work on the program. The introduction was rhythmic and full of atmosphere and the dances in the second half were witty, colourful and rousing. They were played with gusto and skill by Ma and the orchestra. By the end, there was definitely a feeling of spring in the air.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 6 September 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.

 

 

ANIMAL FARM (PLAY)

 

By Elizabeth Brennan and James Jackson

From the novel by George Orwell

Created and Performed by Bloomshed

The Playhouse, Canberra Theatre Centre to 5 September

 

George Orwell’s Animal Farm, a fierce 1945 allegory for the Russian Revolution and satire on the Soviet Union and Leninism, proves to be an ideal vehicle for Bloomshed, a company who states that their work emerges primarily from the people who make it, not the other way around.

In Orwell’s original story, a rebellion by farm animals, who then create a self-governing farm built on equality, unravels as some animals see themselves as more equal than others.

Bloomshed sets the story in rural Australia, giving the animals a voice that sounds uncomfortably like the language of Australian labour politics. It may be your imagination, but some characters seem to be almost recognizable figures in the current political scene.

The second half of the show depicts the collapse of Animalism in a wildly satirical re-enactment of a Senate Select enquiry. While it’s broadly played and is very funny, it does feel uneasily close to the real thing.

Syd Brisbane and company

The ensemble cast of eight - Anna Louey, Edan Goodall, Elizabeth Brennan, James Malcher, Laura Aldous, Lauren Swain, Sam Nix and Syd Brisbane – give equally fine performances full of energy and deftly defined characters. Their sense of timing of the humorous elements of the script is particularly strong.

It’s an eye-catching production with a stylish and substantial set of wood and glass. As well as the fine performances, Justin Gardam’s sound design is a major element of the production as is the clever lighting design by John Collopy.

Running just 75 minutes without an interval, this production moves at a frenzied pace, honouring Orwell’s original story but making it a recognizable take on the current Australian political scene. It’s highly amusing even though it makes you squirm.

 

 

Photo by Sarah Walker

 

This review was first published by Canberra CityNews digital edition on 4 September 2026.

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

 

 

GREASE (MUSICAL)

 

Book, Music and Lyrics by Jim Jacobs and Warren Casey

Directed by Bradley McDowell

Musical Director: Ella Ragless

Choreographer: Jordan Kelly

Canberra Philharmonic Society production

Erindale Theatre to 12 September

 

Reviewed by Len Power 27 August 2026

 

These days, audiences want Grease’ on stage to remind them of the popular 1978 film version of the show. Although the original stage show opened in 1971 and was a huge success on Broadway, the current stage version is less gritty and even includes the most-loved songs that were written especially for the film.

Director of this Philo production, Bradley McDowell, notes in the program that his concept is more of a rock show. Traditionalists might not be happy about this, but, as the show is now a hybrid and most people in the audience probably know all the songs and characters anyway, why not do something different with it? An entertaining, high energy, colourful (and loud) production with a wildly enthusiastic cast is the result.

While the set design is black-and-white with colourful mobile props (including a groovy Greased Lightning car), the clever and complex lighting design by Alex Clifford gives a colourful rock show atmosphere that is a highlight of the show.

Ashleigh Maynard (Sandy) and the girls

There are some standout performances from the large cast. Ashleigh Maynard does ‘sweet’ Sandy very well and her transformation to the ‘new’ Sandy at the end of the show remains a valid and fun character. Her singing of ‘Hopelessly Devoted To You’ was especially appealing. Samuel Whiter achieves the roughness of Danny who is really a nice-boy-underneath and the emotion he brings to his singing of ‘Sandy’ is a standout in the show.

Samuel Whiter (Danny)

There are also colourful performances from Georgia Motto (Rizzo), Joseph Mansell (Kenickie), Erin Hawker (Marty), Meaghan Stewart (Miss Lynch), Michael Cooper (Vince Fontaine) and Declan Pigram (Johnny Casino). Dave Collins sings Teen Angel well, but his makeup looks like he escaped from a zombie movie.

Chorus members of 'Grease'

Choreography by Jordan Kelly doesn’t have much to do with the 1950s but works fine with the rock show concept. His ability to make a cast look good with simple steps and gestures works very well here.

Musical director, Ella Ragless, has achieved a high standard with the singing of the cast and production of the music. Conductor, Craig Johnson, achieves a fine sound from the orchestra. Dialogue, though, is difficult to understand because of the amplification.

This production should please everybody who loves this show. If, by chance, you’re from another planet and have never seen it, you’ll have a great time.

 

Photos by Photox

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

 

 

ANU - CELLO AND PERIOD INSTRUMENTS RECITAL (CONCERT)

 

Zoltán Szabo, cello

Nicholas Kennedy, piano

Larry Sitsky Recital Room August 26

 

Reviewed by Len Power

 

Zoltán Szabo, cello, and Nicholas Kennedy, piano, presented a recital featuring rare instruments from the ANU Historical Keyboard Collection. This opportunity to experience a historically informed performance on period instruments was not to be missed.

Both performers are on the faculty of the Sydney Conservatorium of Music and provided down-to-earth, humorous and fascinating explanations about the instruments they were playing, as well as a description of the differences in sound we would hear.

Zoltán Szabó is a cellist and musicologist, educated in Budapest (Hungary) and Cincinnati (USA). He has also performed extensively at festivals and recitals in Europe, America and throughout Australia.

Nicholas Kennedy has performed throughout Australia and internationally as a concerto soloist, recitalist, and collaborative artist. He is also an active researcher specialising in nineteenth-century piano music and the relationship between analysis and performance.

The program commenced with Beethoven's G minor cello sonata Op. 5 No. 2, using a period cello with gut strings and the University's replica of an 1819 Graf fortepiano by Paul McNulty. The difference in tone of both instruments was immediately apparent and added a highly pleasing dimension to their fine performance of this dramatic sonata.

Nicholas Kennedy and Zoltán Szabó

The performers explained that expressive devices informed by past writings and old recordings were also employed during their playing, bringing the performance as close as possible to the sound of the period in which it was written.

The Sonata in G minor for cello and piano Op. 19 by Rachmaninoff was the second work on the program. It was played using a modern cello and a 1911 Blüthner piano, an instrument very similar to the Blüthner owned by Rachmaninoff himself. Their performance brought out all the emotion in the work and the sublime melodies in the third movement were a particular highlight of this excellent performance.

 

Photo by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 27 August 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.