MOVEMENT - STRINGS IN MOTION (CONCERT)

Musica Da Camera

Holy Covenant Anglican Church, Cook June 27

 

Reviewed by Len Power

It was difficult to sit still at this Musica Da Camera concert with its infectious exploration of rhythm, dance and groove.

Directed by Brad Tham, the four works presented could not have been more different, ranging from Stomp & Slide by Holly Harrison, Five Greek Dances by Nikos Skalkottas, Triptyque for String Orchestra by Yasushi Akutagawa and St Paul’s Suite by Gustav Holst.

Jumping in at the deep end with Stomp & Slide from 2024 by young Australian, Holly Harrison, the chamber string orchestra was not fazed by the demands of this extraordinary composition.  Quirky, unpredictable and intense, it created a world of its own with raw emotion, underlying humour and driving rhythms. This complex work was given a dynamic and confident performance by the orchestra.

Musica Da Camera, conductor Brad Tham

Five Greek Dances by Nikos Skalkottas were composed in the early 1930s. These distinctive dances, depicting musical textures from various parts of Greece, varied from folksy to passionate, melodic and jaunty.  Each dance had intense driving rhythms and the orchestra’s fine performance brought out all the colour and drama in this work.

First performed in 1953, Triptyque for String Orchestra by Japan’s Yasushi Akutagawa, had three distinct movements that were linked by the repeated use of the opening rhythmic figure. The dramatic and driving first movement contrasted with the lyrical and gentle second movement – a lullaby – in which the rhythmic presence was highlighted by the cello and viola players knocking on the body of their instruments. The busy third movement brought back the rhythmic figure in its reversed form, leading to a grand finale. It was well played by the orchestra.

The final work of the concert was Gustav Holst’s St Paul’s Suite. This work in four movements, composed in 1912, combined lively rhythms, rich harmonies and English folk influences. The haunting violin solo of the third movement, Intermezzo, was given a beautiful performance by Jocelyn James and the orchestra gave this popular work a sensitive performance.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 28 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. 

TIME AND ITS PASSING - CANBERRA QWIRE (CONCERT)

 

Llewellyn Hall June 20

 

Reviewed by Len Power

 

Time means many things. It can relate to personal experiences, change memories over a long period, even appear to speed up or slow down. Only one thing is constant - it is unstoppable.

Canberra Qwire’s latest concert honoured time while exploring music that is historical, music that asked questions and music that honoured memory.

The wide-ranging program commenced with Hildegard von Bingen’s 12^th century O Virtus Sapientiae. This atmospheric work took us back in time as the singers gave it a beautiful performance. Leaping forward in time, the Qwire sang Jennifer Lucy Cook’s Time from 2022. This dazzling, intricate work showed the Qwire’s skill to sing accurately as well as enjoyably.

The rest of the first half of the program consisted of fine performances of contemporary works from composers as wide-ranging as Bob Dylan, Enya, Cyndi Lauper, k.d. Lang and John Taverner. Please Stay by Jake Runestad, an anthem for hope and an attempt to destigmatise mental illness, finished with Qwire members’ spoken personal memories of people lost in time. Movingly sung, it was a highlight of the concert.

Canberra Qwire

A string orchestra consisting of members of the National Capital Orchestra opened the second half of the program with the Larghetto from Serenade For Strings Op. 20 by Edward Elgar. This beautiful 1892 work was given a warm, sensitive performance by the orchestra, conducted by Callum Tolhurst-Close.

The final work on the program was Sunrise Mass: Symphonic Mass for Choir and String Orchestra. This 2007 work in four movements by Norwegian composer, Ola Gjeilo, was wide-ranging in its scope. Intimate and gentle one moment and epic in scale at others, this haunting work gave the Qwire the opportunity to show their impressive ability to sing with discipline, clarity and confidence.

Musical director of the Qwire and conductor of most of the works, Callum Tolhurst-Close, had prepared the Qwire very well. Assistant musical director, Lenore Studdert, also conducted some of the works with skill. Hugo Temby was the principal accompanist with Sharwei Lei, assistant accompanist. All made a major contribution to this moving and impressive concert.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 21 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.

THE GOOD BOY GAME (PLAY)

Written by Patrick Vermillion

Directed by Caitlin Baker

Q The Locals production

The Q, Queanbeyan to 20 June

 

Reviewed by Len Power 18 June 2026

 

A New Jersey, USA teenage boy plans to conduct a mass school shooting, followed by killing his parents. His plan unravels when his parents find out and hold him captive in the attic, trying to de-radicalise him with a therapist’s points-based reward system. That bit is kind of sane, but what follows is a furious and very black comedy that shows that his parents’ definition of good behaviour is just as crazy as the act planned by him.

The four actors deal with the over-the-top script more than competently, using a heightened style of acting, rather than trying to perform this for real. Particularly impressive is Giuliana Baggoley in the marathon role of the mother, who moves deftly from mother to monster to cartoon and back again. Bruce Hardie makes his mark early as the father even though he comes to a sticky end halfway through and Elaine Noon excels as the addled therapist.  Alastair McKenzie is truly frightening with the level of hate he achieves. The director keeps it all surging along at a breath-taking pace on a substantial and well-designed set.

Alastair McKenzie and Giuliana Baggoley

It took a while for the audience to get on the right wavelength and they responded with mostly nervous laughter throughout, almost as if they thought they shouldn’t find this funny. What’s not to like about school shootings, misogyny, sex, abuse, murder, suicide, incest, pornography, physical violence, gun violence and graphic and explicit language?

If any of those things turn you on, then this is the play for you!

 

Photo by Caitlin Baker

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

  

TRAVELLING NORTH (PLAY)

 

Written by David Williamson

Directed by Cate Clelland

Canberra REP production

Canberra REP Theatre, Acton to 27 June

 

Reviewed by Len Power 13 June 2026

 

David Williamson’s Travelling North tackles questions around ageing and its impact on relationships, families and love. Although it was written in 1979, and the world has changed a lot since then, those same questions are still valid today.

When newly retired engineer, Frank, and his somewhat younger girlfriend, Frances, decide to move to and live together in the tropical north, their adult children from previous marriages express concerns. Frank has always been a bit of a bully and Frances needs to learn to take charge of her own life. They have to find new ways to deal with issues that arise between them in their new relationship and when ageing and ill-health overtake Frank, difficult decisions must be made by both of them.

The director, Cate Clelland, has achieved fine results with the actors’ characters. Pat Gallagher gives a colourful performance as Frank, a man with a bluff exterior who is quite vulnerable underneath. Gallagher creates a complex man who is immediately recognizable and his love for Frances, underneath all the bluster, is touching and nicely played.

Danielle Spiller (Frances) and Pat Gallagher (Frank)

As Frances, Danielle Spiller portrays a woman with many self-doubts and guilt feelings from the past. Her luminous performance captures all aspects of this quiet, good woman who, through her relationship with Frank, becomes a person able to be true to herself and her needs.

Margeaux Arundel Williams (Sophie), Danielle Spiller (Frances) and Matilda Millar-Carton (Helen)

Matilda Millar-Carton gives a strong performance as Helen, the forthright and bitter daughter of Frances. Margeaux Arundel Williams, as the more conciliatory and balanced of Frances’s daughters, Sophie, gives an equally fine performance.

Adrian Breen (Saul), Pat Gallagher (Frank), Danielle Spiller( Frances) and Steven Kennedy (Freddy)

Steven Kennedy deftly makes Freddy, the lonely and over-helpful next door neighbour of Frank and Frances up north, funny and a little sad. Adrian Breen is very funny as Frank’s long-suffering doctor, Saul Morgenstein, and Stephanie van Lieshout gives a fine knowing and accepting performance as Frank’s daughter, Joan. In addition, there are nice, quirky cameo performances by Kumar Kartikey Gupta as the wedding celebrant and Grace Cassidy as the gallery attendant.

The play presents a difficulty in its staging with 33 small scenes. While the set design clearly delineated scenes taking place in the north and south, it created problems with the frequent changes necessary for props and furniture. While it was done as efficiently as possible, it became annoying especially towards the end of the play, breaking involvement in the story.

 

Photos by Ross Gould

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

 

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.