PICNIC AT HANGING ROCK (PLAY)

Adapted by Tom Wright

From the book by Joan Lindsay

Directed by Caitlin Baker

Chaika Theatre Production

ACT Hub Theatre to 7 November

 

Reviewed by Len Power 23 October 2026

 

Since Joan Lindsay wrote her novel ‘Picnic At Hanging Rock’ in 1967 and the popular 1975 film was released, this story became a part of Australian folklore. Now it’s adapted as a play by Tom Wright.

On a sweltering Valentine’s Day in 1900, a group of schoolgirls have a picnic at mysterious Hanging Rock. Several girls and a teacher climb the rock, although forbidden to do so, and vanish without a trace.

This intriguing mystery is part ghost story as well as a study in repression, desire, twisted and faulty memories and an inability of a society to adapt to Australian conditions.

Tom Wright’s stage adaptation has five actors playing all of the roles in the story. As the cast rapidly move from character to character, we are quickly disorientated and drawn into the mystery that is told in possibly unreliable memories and fantasies.

Foreground: Jessi Gooding, Breanna Kelly.  Background: Karina Hudson, Thea Jade.

Caitlin Baker’s set evokes a schoolroom with the blackboard and its chalk writings as well as the dusty, dirty Australian bush underfoot. The clever sound, designed by Paris Scharkie, and the lighting, designed by Disa Swifte, add to the enveloping atmosphere.

Paris Scharkie, Thea Jade

The cast of five – Jessi Gooding, Karina Hudson, Thea Jade, Breanna Kelly and Paris Scharkie – capture the claustrophobic world of a group of boarding schoolgirls very well. With the style of the play, there’s little opportunity for deep character studies and this keeps us at a distance as the story unfolds. Only Karina Hudson has an opportunity to provide a strong character study when she appears as Miss Appleyard, the school’s harsh Principal.

Karina Hudson, Jessi Gooding, Breanna Kelly

The mystery of this story, and the conditions that enabled it to happen, are presented in a kaleidoscopic fashion so that it is difficult to know what is real or imagined. The result is a dream-like production full of unresolved mystery.

Played without a break for 70 minutes, the edginess of the story, the depiction of life in a private school in 1900 and the all-encompassing mystery of the disappearance are very well presented by director, Caitlin Baker, and her cast.

 

Photos by Jane Duong

 

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

  

BRAHMS AND THE OPPOSITE OF BRAHMS (CONCERT)

Ronan Apcar

Ronan Apcar, piano

Wesley Music Centre, October 17

 

Reviewed by Len Power

 

When beautifully tender piano pieces by Romantic composer, Johannes Brahms, were contrasted with modern works by Australian and American composers, the result was an exciting musical whiplash.

Performed non-stop by pianist, Ronan Apcar, four of Brahms’ Fantasies alternated with three works that could not have been more different. Suddenly the Brahms works seemed even more delicate and fragile than usual, while the modern pieces became even more exciting, violent and explosive.

Apcar introduced the concert, giving us an insight into his enthusiasm for the music he would be playing. With his humorous and relaxed manner, he warned us to be ready for something out of the ordinary.

Beginning with the fourth Brahms Fantasy, adagio, his sensitive playing was immediately captivating, bringing out the beauty in Brahms’ music. At the gentle conclusion, he launched into American Leo Ornstein’s Suicide in an Airplane. This distinctive work, with its insistent sound of airplane engines, could not have been more different to the Brahms work. The contrast was fascinating and Apcar’s playing of this complex work was excellent.

Without a break, Apcar performed the fifth Brahms Fantasy, andante. After the Ornstein work, the gentleness and sentimentality seemed even more apparent. Again, without a break, he then launched into Australian, Gerard Brophy’s Abraço. This stormy and exciting work sounded like five noisy, but thrilling dance parties going on at the same time. Apcar played it superbly.

Brahms’ Fantasy No. 6, andantino, was next. The emotion in the music was again delicately played. Immediately afterwards, there was the contrasting and wild Winnsboro Cotton Mill Blues by the American composer, Frederic Rzewski. If the earlier modern pieces seemed unusually complex, nothing prepared you for this one. Ranging across the whole keyboard, this furious work was the most exciting of all. The technique required to play it was astounding. At times, Apcar was playing passages with his whole forearm. When the blues section of the work was reached, Apcar sang the lyrics as well. It was an extraordinary performance.

Ronan Apcar

The final work on the program was Brahms’ Fantasy No. 7, allegro. Again, this work was beautifully played and was such a contrast to the Rzewski before it.

Apcar finished the concert with an encore, The Spritely One by jazz musician, Judy Bailey. The applause at the end of the concert was explosive and sustained. Apcar richly deserved it for devising this daring program and performing it with so much skill.

 

Photos by Peter Hislop

 

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

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

Len Power also presents the weekly Concert Hall program on Artsound FM, playing recordings of some of the best concerts from in and around Canberra. Concert Hall can be heard on Sundays at 8pm and is repeated on Wednesdays at 2pm.

 

  

ARCHDUKE TRIO (CONCERT)

Canberra Symphony Orchestra Chamber Series

Amalia Hall, violin

Edward Neeman, piano

Patrick Suthers, cello

Gandel Hall, NGA 11 October

 

Reviewed by Len Power

 

A rare musical gem was followed in this concert by a monumental classic.

In the 19^th century, Emilie Mayer composed eight symphonies, a piano concerto, at least 15 concert overtures and as many as 14 string quartets.

A review of one of her works in 1878 described her as a “rare phenomenon” but an exception to the rule that writing orchestral works was “the domain of the creative male intellect”. No wonder her music was largely forgotten! It’s good to see that her work has received renewed attention during the 21^st century.

Introduced by New Zealand violinist, Amalia Hall, Mayer’s Notturno for violin and piano in D minor, Op.48, andante, proved to be a lyrical, sensitive work with a peacefully flowing narrative from the basic theme, presenting new angles of vision in its development.

It was given a finely sensitive performance of great beauty by Hall and Edward Neeman, piano. It made you wish that more unknown works of quality by women of that era could be discovered.

Amalia Hall, violin, Edward Neeman, piano and Patrick Suthers, cello

Beethoven’s monumental Archduke, the piano trio in B Flat major, Op. 97, followed with Patrick Suthers, cello, joining Hall and Neeman. Suthers gave a very entertaining introduction to the work, noting that Beethoven must have been in a surprisingly good mood when he composed it.

In four movements, the trio commenced with a sunny piano melody soon taken up and embellished by the violin and the cello. It was playful, dramatic, and melodic but also with a sense of grandeur.

The second movement, unexpectedly a Scherzo, was darker and a good contrast to the first movement. The tranquil third movement started reverently and then quietly proceeded with several delicate variations. It led directly into the joyous fourth movement, a rondo, returning to the sunny main theme and bringing the work to a triumphant close.

The artists met the challenges of the work superbly. Their highly sensitive performance of the third movement was the highlight of this memorable concert.

Photo by Arianne Schlumpp

 

This review was first published by Canberra CityNews digital edition on 12 October 2026.

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

Len Power also presents the weekly Concert Hall program on Artsound FM, playing recordings of some of the best concerts from in and around Canberra. Concert Hall can be heard on Sundays at 8pm and is repeated on Wednesdays at 2pm.