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.

  

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.

 

THE WIND IN THE WILLOWS (LIVE RADIO PLAY)

Adapted as a live radio play by Bart Meehan

from the Kenneth Grahame novel

Directed by Lexi Sekuless

Mill Theatre on Dairy Road, Fyshwick to 1 August

 

Reviewed by Len Power 25 July 2026

 

First published in 1908, Kenneth Grahame’s children’s novel has captivated young and old alike ever since. Bart Meehan’s adaptation as a live radio play maintains the freshness and essential Englishness of the novel, while sound effects performed live add a fun dimension to this joyful tale.

 Telling the story of Mole, Ratty and Badger as they try to help Mr. Toad after he becomes obsessed with motorcars and gets into trouble are an ensemble of seven performers who also perform the sound effects.

Narration is provided by Graeme Rhodes as the Radio Host and Maddie Lee as Mole, Helen McFarlane as Rat, Mark Lee as Toad, Chipz Jin as Otter, Richard Manning as Badger and Aleksis Andreitchenko as Daughter all give colourful, extroverted performances and match our memories of the characters from the novel.

Because it’s devised as a radio broadcast, the actors’ voices are the most important aspect of their performances. There is no costuming and each performer has their script in hand and works before a microphone, surrounded by an array of eccentric-looking props used for sound effects. How those seemingly useless objects are used during the play becomes one of the highlights of the show.

Cleverly directed with imagination by Lexi Sekuless, this show is pure entertainment throughout its one hour running time. While members of the audience of a certain age may remember the art of listening to radio plays before television arrived, it was interesting to note that young members of the audience were thoroughly engaged throughout this cleverly realized production.

 

Photo by Maddie and Mark

 

This review was first published by Canberra CityNews digital edition on 26 July 2026.

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

THE GLASS MENAGERIE (PLAY)

 

Written by Tennessee Williams

Directed by Geoffrey Borny

Canberra REP production

Canberra REP Theatre, Acton to 8 August.

 

Reviewed by Len Power 24 July 2026

Originally produced in 1944, this first play by Tennessee Williams has many autobiographical elements. Pressured to remove non-realistic staging devices from that first production, Williams clearly preferred his original version, eventually publishing it in his Collected Works. This new Canberra REP production provides the opportunity to see Williams’ original vision of the play.

During the Depression in the 1930s, Amanda Wingfield lives in a romanticized past. Her son, Tom, yearns for adventure while her shy, slightly handicapped daughter retreats into a comforting world of glass animals. Conflict arises with Amanda’s unrealistic and overbearing dreams for her children. The story is presented as emotionally charged memories by Tom, who warns the audience at the outset that it is “not realistic”.

A strong cast of four bring Williams’ characters triumphantly to life. As Amanda, Victoria Tyrell Dixon gives a touching portrait of this fading Southern belle. Yearning for an era that will never return, she achieves the unique style of this woman through a believable delivery of her dialogue and portrayal of her physical attitudes. Her Jonquils soliloquy is particularly memorable.

John Whinfield (Jim), Victoria Tyrell Dixon (Amanda) and Rob de Fries (Tom)

 

As the son, Tom Wingfield, Rob de Fries shows a deep and appealing understanding of this dreamer remembering his past. Jamie Johnston gives a sweetly touching performance as the fragile daughter, Laura, and John Whinfield is cooly confident as the Gentleman Caller, Jim O’Connor.

John Whinfield (Jim) and Jamie Johnston (Laura)

The meticulous direction by Geoffrey Borny has achieved a fine level of realistic performances from his cast. His use of lighting and sound to enforce the memory aspects of the play is particularly successful. Anna Senior’s fine period costumes help to bring the characters to life.

 

Photos by Ross Gould

 

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

5 LESBIANS EATING A QUICHE (PLAY)

Written by Evan Linder and Andrew Hobgood

Directed by Jarrad West

Everyman Theatre production, at ACT Hub Theatre, Kingston to 1 August

 

Reviewed by Len Power 17 July 2026

 

What do quiches, lesbians and the Cold War have in common?

When the Susan B. Anthony Society for the Sisters of Gertrude Stein convenes for their annual quiche breakfast in 1956, the women find that the sudden end of the world gives them the opportunity to be who they really are.

This delightfully absurd comedy is satirical, poking fun at Cold War paranoia, the joys of quiche as well as American society and attitudes of the 1950s. You don’t have to think too hard. If there’s a message here it might just as well be Lesbians Are Fun!

Director, Jarrad West, has cooked up a crazy and highly entertaining show with a cast of five who attack the comedy with all stops out and clearly have a great time doing it.

West’s set design is a beauty with the ACT Hub theatre re-designed as a very colourful American community meeting place complete with patriotic bunting. Fiona Leech has excelled herself with striking 1950s costumes for the five women.

The cast of the show.

The ensemble cast of Crystal Mahon, Steph Roberts, Sian Harrington, Ylaria Rogers and Meaghan Stewart all give hilarious performances with their clearly defined characterizations. It’s all skilfully played at a breathless pace with excellent comic timing.

The audience is involved in the fun as members of the Society attending the meeting. You have the opportunity to declare your real self along with the other members as the meeting proceeds.

Jarrad West and his cast will ensure you never look at quiche the same way again!

 

Photos by Janelle McMenamin

 

This review was first published by Canberra CityNews digital edition on 18 July 2026.

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

kerosene (Play)

 

Written by Benjamin Nichol

Directed by Lachlan Houen

Performed by Winsome Ogilvie

Off The Ledge Theatre production

The Courtyard Studio, Canberra Theatre Centre to 18 July

 

Reviewed by Len Power 16 July 2026

 

Award-winning Melbourne playwright, Benjamin Nichol’s first play, “kerosene”, is as inflammatory as its title. A study of rage and loneliness in a time where we’re told we are more connected than ever, it is repellent and ugly but also touching in its cry for help and understanding.

Millie, a rough-talking and acting young teenager, revels in her friendship with Annie as they grow up. Annie leaves Millie behind as she starts dating a boy, but Millie clings to her friendship with Annie and cannot understand why things have to change at all. When Annie returns after some time, a victim of domestic violence, Millie takes out a shocking and remorseless revenge on Annie’s attacker.

This one person play is told from the point of view of the young teenager, Millie. As the years go on, we see her unable to change and grow emotionally, making her feel rejected and lonely. The underlying rage in her personality together with her isolation is the trigger for an explosive act.

Playing Millie would take a lot of courage. Canberra actor, Winsome Ogilvie, alone on stage for the whole play, gives a high energy, intense performance, showing a strong depth of understanding of this character. In the intimate space of the Courtyard Theatre, she’s confronting and like a caged animal prowling around looking for escape.

Winsome Ogilvie (Millie)

Ogilvie gave a memorably fine performance of this tough character, but it needed more light and shade in her delivery. Starting at, and maintaining, such a high pitch, there was a feeling that she had nowhere else to go, when the story demanded an even higher level of intensity.

The stark production of the play with just lighting and minimal sound added to the realism and confronting nature of the show. It was certainly powerful.

 

Promotional photo by Liah Naidoo

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

 

 

MIDDLE RAGED, A MUSICAL MELTDOWN (PLAY)

 

Written by Queenie van de Zandt and Tiffany Noack

Directed by Priscilla Jackman

Produced by Women with Pockets and Andrew Kay & Associates

The Playhouse, Canberra Theatre Centre to 11 July

 

Reviewed by Len Power 9 July 2026

 

Part comedy, part concert and part midlife awakening, Middle Raged celebrates the good and the bad aspects of that time when women hit midlife. It’s raw and doesn’t pull any punches but it’s also fiercely funny as four women share personal experiences during an ultimate night out together.

Created from hundreds of comments collected from women across Australia about this important time in their lives, the show shines a wide spotlight on the riotous chaos of aging, raging and changing. The clever, witty script is by Queenie van de Zandt and Tiffany Noack. While there’s plenty of rage, there’s also a surprising and feel-good optimism in the show.

Queenie van de Zandt, Valerie Bader, Zuleika Khan and Carita Farrer Spencer

The cast of four - Valerie Bader, Carita Farrer Spencer, Zuleika Khan and Queenie van de Zandt – give highly polished and individually appealing performances that range from high comedy to intense drama.

All are fine singers, too, performing relevant songs by Missy Higgins, Gillian Cosgriff, Laura Murphy, Tim Minchin, Sia and P!nk. They are supported by an excellent onstage band comprising Jillian O’Dowd on drums, Sandy Klose on bass and Robyn Womersley on keyboard.

Queenie van de Zandt and the cast

 There is an impressive and colourful production design by Isabel Hudson and a clever use of multimedia designed with flair by Mark Bolotin. The striking lighting design by Trudy Dalgleish adds a fine atmosphere to the show.

This fast-paced production, performed without interval, works very well. Director, Priscilla Jackman, has ensured that all the elements of this highly imaginative show come together, giving the audience an explosive entertainment.

For proof that middle age and menopause can still be hugely entertaining, look no further than this delightful show.

 

Photos by Philip Erbacher

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

 

CALIGULA (PLAY)

 

Written by Albert Camus

Directed by Isaiah Prichard

Performative Theatre production

Act Hub Theatre, Kingston to 4 July

 

Reviewed by Len Power 2 July 2026

 

The human need to find meaning in a world that stays strangely silent and unhelpful is an absurd notion. Camus’ play uses the terror reign of the Roman emperor, Caligula, to show what crazy lengths a powerful man will go to when he is unable to find the answers to give reason to his life. When Caligula declares that he wants the moon, for the simple reason that he doesn’t have it yet, we’re in an uneasy place.

Director, Isaiah Prichard presented a clear vision with his production of this literate play. He is helped with a cleverly designed set by Kathleen Kershaw in which a cracked bust of Caligula loomed over the action and there were often startling but effective costume designs by Alex Ellwood.

Mischa Rippon as Caligula

The central role of Caligula is given an outstanding performance by Mischa Rippon. His commanding presence was balanced with a fine sense of the madness of the character. He displayed an especially strong sense of understanding of the man in his finely tuned vocal delivery, giving Caligula a humanity beneath the insanity.

Natasha Lyall (Caesonia) and Mischa Rippon (Caligula)

There were strong performances, too, from Natasha Lyall as Caesonia, Amy Gottschalk as Cherea, Alex Elwood as Scipio, Dan Fonn Prichard as Helicon and Paris Scharke as Mereia. Some other performances were a bit uneven but overall, the cast did a fine job bringing Camus’ characters to life.

This was a long play but, in this fine production, it was always compelling. Despite dealing with madness and absurdity, the director, Isaiah Prichard, maintained control throughout.

This production of Albert Camus’ rarely performed absurdist play, ‘Caligula’, by the youthful new Performative Theatre proved to be an exciting and memorable launching pad for the company.

 

Photos by Jack Dent

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

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.

 

DIAL M FOR MURDER (PLAY)

Chloe Smith (Margot Wendice)

Written by Frederick Knott

Directed by Jon Elphick

Tempo Theatre Inc production

Belconnen Community Theatre to June 6

 

Reviewed by Len Power 29 May 2026

 

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

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

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

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

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

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

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

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

 

Photo supplied by the production

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

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

 

 

LES MISERABLES (MUSICAL)

 

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

Book by Boublil and Schönberg

Based on the novel by Victor Hugo

Directed by Dale Rheynolds

Musical Director: Brigid Cummins

Conductor: Jen Hinton

Movement director: Belinda Hassall

Queanbeyan Players production

The Q, Queanbeyan to 6 June

 

 

Reviewed by Len Power 22 May 2026

 

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

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

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

Dave Smith (Jean Valjean)

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

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

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

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

William Allington (Enjolras)

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

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

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

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

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

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

 

Photos by Ben Appleton - Photox

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

 

VANYA AND SONIA AND MASHA AND SPIKE (PLAY)

 

Written by Christopher Durang

Directed by Steph Evans

Mockingbird Theatrics

Belconnen Arts Centre to 23 May

 

 

Reviewed by Len Power 15 May 2026

 

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

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

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

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

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

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

 

Photos by Zac Bridgman

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

 

 

LOSE TO WIN (PLAY)

Written and performed by Mandela Mathia

Directed by Jessica Arthur

Belvoir Street production at The Q, Queanbeyan May 2

 

Reviewed by Len Power

 

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

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

Mandela Mathia

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

Yacou Mbaye

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

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

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

 

Photos by Brett Boardman

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

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