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.