TWELFTH NIGHT (PLAY)

Written by William Shakespeare

Directed by Heather Fairbairn

Bell Shakespeare production

The Playhouse, Canberra Theatre Centre to 21 October

 

Reviewed by Len Power 13 October 2023

 

There’s a lot to like and enjoy in Bell Shakespeare’s production of “Twelfth Night”.  This comedy of mistaken identities in an exotic land called Illyria has a bitter sweet appeal with mood-setting music by Sarah Blasko.

Separated by a shipwreck on the coast of Illyria, look-alike twins, Sebastian and Viola, create confusion when Viola disguised as a man, Cesario, falls in love with Duke Orsino while Olivia falls in love with Cesario, thinking she is a man.

The director, Heather Fairbairn, sees the play as an exploration of gender and sexuality, but some gender swapping of roles adds an extra level of confusion with twins, Sebastian, a male played by a woman (Isabel Burton) and Viola, played by a man (Alfie Gledhill) who pretends to be a woman.

The gender swapping continues with Malvolio, now called Malvolia, played by a woman (Jane Montgomery Griffiths). This change is more successful as Griffiths plays her as a female steward who has never known love and becomes a ripe target for a cruel practical joke.  Her performance brings out all of the comic and tragic elements of this character and is one of the highlights of this production.

Jane Montgomery Griffiths as Malvolia

The whole cast give fine, colourful performances in their various roles in this ensemble production.  As Feste, a jester to Olivia, Tomáš Kantor gives a notably physical and vocal performance.  His singing of the songs of the play to Blasko’s haunting, contemporary music is another highlight of the show.

The attractive and atmospheric set and costumes, designed by Charles Davis, with a clever lighting design by Verity Hampson, immediately suggests a strange and exotic location.  The staging by the director is creative and very well done.

Once you work out the gender issue of the twins, this is an involving and enjoyable production of Shakespeare’s classic comedy.

 

Photo by Brett Boardman

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

THE VISION QUARTET (CONCERT)

Musica Viva Australia

Llewellyn Hall 5 October

 

Reviewed by Len Power

 

On their first concert tour of Australia, the Vision String Quartet are four young men who come with a formidable international reputation. Founded in Germany in 2012, the quartet of four men, Florian Willeitner, violin, Daniel Stoll, violin, Sander Stuart, viola and Leonard Disselhorst, cello, presented a classical program of works by Ernest Bloch, Béla Bartók and Antonin Dvořák.

From left: Florian Willeitner, Daniel Stoll, Leonard Disselhorst and Sander Stuart

According to the program, “One thing that sets the Vision String Quartet apart is how they play from memory even when performing the most complex of classical repertoire. Without printed music in the way, they connect with intensity to the music, each other and the audience.”

Given the works presented, especially the Bartók, it certainly seemed to be a risky idea that added a certain tension to the evening.  The players made light of it, saying they had just “forgotten” to bring their music.

They began with Bloch’s “Prelude B. 63” of 1925.  Subtitled “contemplation”, this short work was quiet with a sense of withheld passion that the players captured beautifully.  It was a fine opening performance for the evening.

The next item, Bartók’s “String Quartet No. 4 in C major” was composed in 1928. It is the most celebrated of Bartók’s six quartets and is a rich, demanding work of 20^th century modernism. All five movements were given a notably clear performance, really bringing out the depth of feeling in the music. The haunting third movement and the pizzicato playing of the fourth movement were highlights of their performance of this work.

After interval, the quartet played Dvořák’s “String Quartet No. 13 in G major”, composed in 1895. This fine work was given a colourful performance that clearly brought out all of the composer’s motifs and themes. The Adagio second movement with its dark and melancholy Slavic theme, the bright and cheerful Scherzo and the rousing finish were the highlights of their performance.

Watching the quartet playing, you were aware that, in the absence of printed music, there seemed an increased reliance and trust between the players.  Eye contact and body language were more noticeable, adding another dimension to their extraordinarily accurate and enjoyable performances.

For an encore, the quartet played “Sailor”, a work from their 2021 album, “Spectrum”.  It was a rollicking, atmospheric and modern work that showed their versatility and sense of fun.

 

Photo by Charlie Hardie

This review was first published by Canberra CityNews digital edition on 6 October 2023.

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

  

MASTERWORKS FOR WINDS (CONCERT)

The Band Of the Royal Military College

Llewellyn Hall 30 September

 

Reviewed By Len Power

 

Looking at the resplendent uniformed large band with their sparkling instruments on the stage at Llewellyn Hall, we quickly realized we were part of a major event. We were not disappointed as the band performed for over two hours a program of 5 works for wind instruments with skill and obvious enjoyment.

The Band Of the Royal Military College

The second officer in command, Captain Natalie Dajski, conducted the first work, “Second Suite In F”, a 1922 work by Gustav Holst. It was a good work to begin the concert with its robust march that showed the band at its best with its full-bodied sound.

The second part of the work, “Song Without Words, ‘I’ll Love My Love’” showed the band’s ability to play sensitive, melodic music of great beauty. It was followed by “Song of the Blacksmith”, a part full of character and it concluded with “Fantasia On The Dargason”, a bright, melodic piece with a great finale.

The Officer Commanding, Music Director Major Matt O’Keeffe, then conducted the 2012 “2^nd Clarinet Concerto” by Spain’s Óscar Navarro. Band member, Cameron McPherson, played the solo clarinet for this work and showed his mastery of the instrument with a performance of haunting sensitivity. The band accompanied him very well throughout, right up to the thrilling finale.

Cameron McPherson and Major Matt O'Keeffe

Each of the works, introduced by the conductor, told a story and the next work, “Internal Combustion”, a 1999 piece by the American composer, David Gillingham, was no exception. From its dynamic opening, the work was clearly an homage to the motor car. The orchestra appeared to have great fun playing this work which was tinged with the humour of all the familiar sounds interpreted musically. The finale was spectacularly played.

After an interval, the orchestra played “Traveller”, a 2003 work by the American composer, David Maslanka. From its dramatic opening through to its quiet, reflective ending, this work covered all the stages of life’s journey. The band gave it a fine performance.

The final work of the evening, “Symphony No. 1 – Leunig’s Prayer Book” was surprisingly introduced by its composer, Australian, Jodie Blackshaw. Her clear description of its meaning prior to the playing of this work gave it an extra depth of understanding. Based on the four prayers of the Australian cartoonist, Michael Leunig, the work depicted a journey through life leading to the creation of a new sun, symbolic of a new life. The orchestra played this demanding work with colourful precision and great clarity, bringing this memorable concert to a thrilling close.

 

Photos by Dalice Trost

This review was first published by Canberra CityNews digital edition on 1 October 2023.

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