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.

 

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE (MUSICAL)

Book& Lyrics by Joe Di Pietro

Music by Jimmy Roberts

Directed by Janie Lawson

Free Rain Theatre at the ACT Hub Theatre, Kingston to 5 September

 

Reviewed by Len Power 21 August 2026

 

In ‘I Love You, You’re Perfect, Now Change’, a chessboard full of strategies, wins and loses is peopled with colourful characters trying to get through the rocky road of relationships and life in general. The show is composed of separate and unconnected vignettes with titles like ‘Men Who Talk and Women Who Pretend They are Listening’, ‘And Now the Parents’ and ‘Sex and the Married Couple’. The ensemble cast of six play all of the various characters.

Written in 1996, this musical has the distinction of being the second longest-running Off-Broadway show ever with over 5,000 performances. It’s bright, funny and perceptive.

There were some standout moments by Amelia Andersson-Nickson in ‘Always a Bridesmaid Never a Bride’, Deborah O’Toole with ‘I Will Be Loved Tonight’, Sam Thomson in ‘The Baby Song’, David Pearson with ‘Shouldn’t I be Less in Love With You’ and Sarah Copley in ‘The Very First Dating Video of Rose Ritz’. These were particularly strong because the performers made these people very real.

From left: Deborah O'Toole, Amelia Andersson-Nickson, Sarah Copley, Sam Thomson, Connor McNaught and David Pearson

Unfortunately, some scenes were overplayed like TV sitcoms with exaggerated characters. The over-amplified sound, particularly in the first half of the show, added to the problem.

The striking chessboard-themed set design by Cate Clelland worked very well and Leo Amadeus and Laura Kay provided an appealing musical accompaniment on keyboard and violin respectively.

Janie Lawson, the director, solved the potential problem of many scene changes with her set design concept. While stronger control was needed on some of the scenes, the successful ones showed her ability to obtain fine, realistic performances from her cast.

 

Photos by Janelle McMenamin

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

 

  

ANU - LUNCHTIME FACULTY RECITAL (CONCERT)

Edward Neeman, piano

Larry Sitsky Recital Room August 11

 

Reviewed by Len Power

 

It was a lunchtime recital with a bit of everything – melody, drama, emotion and a hint of greatness.

The centrepiece of the recital was the Sonata in F minor by Australian composer, Frederick Septimus Kelly. Incomplete, it was his last work before his death in the Battle of the Somme in 1916 in World War I. Pianist, Edward Neeman, played two complete movements and the fragment of a third movement which had been sketched out prior to Kelly’s final return to the war.

The first movement was highly dramatic, even heroic. Hints of war and other colourful moments were quite breathtaking in their complexity. The second movement was beautifully, almost painfully melodic and the fragment of the third movement showed the potential so cruelly interrupted. Neeman gave it a sensitive and highly satisfying performance, leaving us wondering about the work Kelly might have done had he lived.

Edward Neeman

Also on the program was the Piano Piece No. 6 in F sharp minor by Elisabeth von Herzogenberg. A student and close friend of Johannes Brahms, a small amount of her work was only published by her husband after her untimely death at age 45. This richly melodic work again showed the composer’s potential, especially at a time where women had little opportunity to have their work acknowledged.

Two works by Brahms followed - the Capriccio in F sharp minor, Op. 76, No. 1 and the Intermezzo in A minor, Op. 76, No. 6. Neeman brought out the sublime melodies and emotion of these works, and it was interesting to compare them with Herzogenberg’s work.

Also played was Robert Schumann’s Variations on the name “ABEGG”, Op. 1 which was based on the musical notes spelled out by the name Abegg. Keeping track of the ingenious variations was fun and Neeman gave it a performance of great clarity.

The recital finished with Etude No. 12 in D minor by FS Kelly. This highly dramatic work full of tumbling emotions was well played by Neeman and reminded us yet again of the untimely loss of this composer.

 

Photo by Stephanie Neeman

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

  

THE JUNGLE AND THE SEA (PLAY)

Written and directed by Shakthidharan and

Eamon Flack

A Belvoir St Theatre Production

Co-Produced with Kurinji and Lingalayam Dance Company

The Playhouse, Canberra Theatre Centre to 9 August

 

Reviewed by Len Power 7 August.

 

We’re so used to seeing images of war nightly on the TV news that we easily become de-sensitized. The Jungle and the Sea brings home the human impact and horror of war in a way that is impossible to ignore.

Focussing on one family’s epic journey to survive Sri Lanka’s decades-long civil war, a woman, Gowrie, takes a vow of defiance. She blindfolds herself and refuses to see the world again until her loved ones are reunited. As the war progresses, the family try to retain their dignity and safety amid the devastation around them.

This deeply human work is grand in scale and honours those people who endured unimaginable loss. Love and pride in family shines through despite horrific events that occur.

 The epic production plays out over three acts. A starkly simple setting makes effective use of a constantly turning revolve and the onstage musicians Hari Sivanesan and Aswin Selvanathan provide a constant and atmospheric underscore to the action with Carnatic music.

Anandavalli

Bharathanatyam dancer, Anandavalli, leads the ensemble cast of Prakash Belawadi, Emma Harvie, Nadie Kammallaweera, Shiv Palekar, Dushan Philips, Kalieaswari Srinivasan and Rajan Velu. Several play multiple roles and all give heart-felt and moving performances, making these people and their culture come vividly alive.

Cast members of The Jungle and the Sea

The directors and writers, Shakthidharan and Eamon Flack, have produced a highly imaginative and very busy production that is built out of real-life testimonies from the war. It clarifies the issues of this war while keeping the focus on the impact on the family.

Our attention is so cleverly invested in the events this family experiences that this long play seems much shorter than it is. The final scene is intensely moving and memorably demonstrates the power of love and family.

Photos by Brett Boardman

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

  

THE GIRL ON THE TRAIN (PLAY)

By Paula Hawkins & Dreamwork Film

Adapted by Rachel Wagstaff & Duncan Abel

Directed by Chris Baldock

Mockingbird Theatre Company

Belconnen Arts Theatre to 22 August

 

Reviewed by Len Power 5 August 2026

 

A psychological thriller on stage needs to keep you guessing right up to the end. It should be fun sorting through the information being offered to decide who is telling the truth and who isn’t so that you can, hopefully, guess who the murderer is.

This thriller adds disturbing elements of grief, motherhood, addiction and violence against women, leaving us with an uncomfortable feeling that not every situation is black and white. We find ourselves making quick judgements based on our reactions to the people before us and, when we do learn the whole story, we’re left with that uncomfortable feeling that we’re not good judges of character after all.

A commuter train, stopping at a signal every morning, gives a girl on the train the opportunity to observe a woman in her nearby home. When that woman mysteriously disappears, the girl on the train finds herself linked to a murder and, as a suspect herself, she struggles to either solve the mystery or deflect suspicion from herself.

Morgan HeathWilliams (Rachel - The girl on the train)

 

The cast of seven all give fine performances. As Rachel, the girl on the train at the centre of the action, Morgan HeathWilliams is outstanding with her intense, charismatic character study of an emotionally disturbed woman struggling to get through her life the best way she can. Her performance is believable throughout the play.

Susie Todd (Megan) and Timothy Cusack (Scott)

Robert Wearden, Timothy Cusack, Susie Todd, Ankjush Singh Khanchi, Paul Sweeney and Sabrina Fu all get their moments to shine with nicely judged performances. Susie Todd as the murdered woman, Megan Hipwell, is particularly fine in a deeply emotional flashback scene with her therapist and Paul Sweeney as the investigating policeman, D.I. Gaskill, gives an especially strong performance that is multi-layered when it could have been a cliché.

Director, Chris Baldock, has ensured that his cast achieve the right levels of emotion throughout the play and his unique, immersive set design, works brilliantly.

 

Photos by Chris Baldock

 

This review was first published by Canberra CityNews digital edition on 6 August 2026.

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

  

DIVINE BOHEMIANS (CONCERT)

 

Australian Haydn Ensemble

Gandel Hall, National Gallery of Australia July 30

 

Reviewed by Len Power

 

Bohemian composer, Josef Mysliveček, so out-Italianed the Italians that they dubbed him il divino boemo – the divine Bohemian.

This concert showcased music by the relatively unknown Bohemian composers Mysliveček, and Paul Wranitzky as well as works by Beethoven and Haydn. A composer of note, Wranitsky was also a respected conductor in Vienna and premiered Beethoven’s 1^st Symphony. Mysliveček was a close friend and mentor of the young Mozart.

The Beethoven and Haydn works were both commissioned by the Bohemian arts patron, Prince Lobkowitz.

The Australian Haydn Ensemble of Skye McIntosh, artistic director and violin, Matthew Greco, violin, Rafael Font, viola, and Daniel Yeadon, cello, commenced with Haydn’s String Quartet Op. 77 No. 1 in G. Written late in life, this work, full of Haydn’s wit and unpredictability, was given a charming performance.

Skye McIntosh, Matthew Greco, violin, Rafael Font, viola, and Daniel Yeadon, cello.

The second movement, Adagio, is deeply expressive and emotional and the hint of the Hungarian countryside in the finale was a nice surprise. The ensemble played it with a freshness and sparkle that was delightful. They clearly enjoyed playing it.

The second work presented was Wranitzky’s String Quartet Op. 49 in D minor. The dramatic first movement led to an unusual Largo, played with mutes to create a dreamlike, misty sound. So sensitively played, it was one of the highlights of this concert.

Artistic Director Skye McIntosh, violin

The second half of the concert commenced with just the second movement, Larghetto, of Mysliveček’s String Quartet Op. 3 No. 6. This short, slow movement with its wistful melodies left you wanting to hear more of this composer’s works.

Finally, the ensemble played Beethoven’s String Quartet Op.18 No. 3 in D. This early work showed Beethoven’s maturing talent with its lyrical first movement leading to a pounding climax. The Andante second movement with the second violin prominent was nicely reflective and the playful finale was exciting and an uplifting end to this very enjoyable concert.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 31 July 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.

 

GUERRIERI ET AMOROSI (CONCERT)

 

Oriana Chorale and Apeiron Baroque

Directed by Dan Walker

Wesley Uniting Church, Forrest July 26

 

Reviewed by Len Power

 

Passion and warfare were the focus of this concert through the works of two 17^th Century composers, Claudio Monteverdi and Barbara Strozzi.

Monteverdi, of course, is very well-known compared to Strozzi, but she was the most prolific composer of printed secular vocal music in 17^th century Venice. That was an extraordinary achievement for a woman in that era.

Dan Walker conducting the Oriana Chorale and Apeiron Baroque

The Monteverdi works played and sung were from his Eighth Book of Madrigals published in 1638 when he was 70. The selection of Strozzi’s works was from her First Book of Madrigals, Opus 1, published when she was just 25.

Joined by early music specialists, Apeiron Baroque, the Oriana Chorale directed by Dan Walker presented a concert that captured the emotional range of the human condition of the time.

The concert began with the Monteverdi’s Let others sing of Cupid. This exciting work with its fiery passion and talk of war was followed by Strozzi’s The Nightingale, a sensitive work with a theme of underlying anger and hurt.

With titles such as Harmful silence, Prayer to Love and The Quarrel of the five senses (Strozzi) and I’m on fire, ablaze, Now that heaven and earth and Let others sing of Mars (Monteverdi), it was an exciting concert full of emotion and drama.

The choir gave each work a highly polished and pleasing performance. There were solo moments in the works that showcased the considerable skill of individual choir members.

Apeiron Baroque, led by John Ma, violin, provided a fine accompaniment for the choir and also played two instrumental works by Vitali and Scarlatti.

The concert provided a time-travelling opportunity to experience composers’ views of passion and warfare at a time of extraordinary music making.

 

Photos by Dalice Trost

 

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