AMAZING SPACE 5 - SOUNDING THE LAKE



Christina Wilson - Louise Page
Photo: Helen Musa

Lake Burley Griffin Boat Cruise,

Canberra International Music Festival – May 17.

Reviewed by Bill Stephens

 

This was the fifth and final concert in the “Amazing  Space “series presented as part of the 2013 Canberra International Music Festival.  This extraordinary series of concerts has interwoven the arts of architecture and music so creatively and successfully that its become the talk of the current festival. This series has the potential to become the unique and defining aspect of the C. I.M.F. which separates it from other such festivals and as such, properly promoted, could have visitors flocking to Canberra to share these amazing experiences.  

Is there a more sublime way to spend a couple of hours on a typically chilly, sunny Canberra autumn day than cruising in a snug beautifully appointed cruiser on Lake Burley Griffin, being informed by passionate experts about Canberra’s unique architectural features and scenery while listening to songs by Purcell, Schubert, Britten and Offenbach, exquisitely presented by a trio of our most accomplished and treasured artists in singers Louise Page and Christina Wilson and pianist Alan Hicks?     

As the boat pulled away from the jetty, Actew Water supremo, Mark Sullivan set the tone with some entertaining and informative facts about the creation and purpose of Lake Burley Griffin,  or as he described it,  “the silt sedimentation pond”. Between songs, architects Stuart McKenzie and Ann Cleary shared fascinating tidbits about Canberra’s design, and while we tucked into the delicious buffet, Dianne Firth enlightened us to the special features of the ceremonial jetty at Government House.  

Colin Milner shared a fascinating Canberra connection to a pretty Peter Sculthorpe song sung by Louise and Christina, and then while we cruised towards it, Dianne Firth gave a brief history of the Canberra Carillon.

Arriving at Aspen Island, our boat paused to allow us to experience a special performance by carillonist, Lynn Fuller, before moving on to Reconciliation Place where everyone dis-embarked to thrill to a stirring rendition of Malcolm Williamson’s “Canberra Fanfare” and Janacek’s “Fanfare from Sinfonietta” performed by the Canberra Festival Brass, conducted by the Festival’s indefatigable Artistic Director, Chris Latham.

As the cruiser turned its bow for home, Page and Wilson, accompanied by Hicks, added the final icing to the cake for their already blissed-out audience with a charming encore duet, a romantic arrangement of Henry Mancini’s “Moon River”. 

(An edited version of this review appears in the digital edition of "CITY NEWS").

THE HOLLOW

Written by Agatha Christie
Directed by Jon Elphick
Tempo Theatre Inc
Belconnen Theatre May 17 to 25

Review by Len Power 17 May 2013

If, like many others, you left one of last year’s flurry of productions of Agatha Christie’s famous play, ‘The Mousetrap’, with a sense of disappointment, you won’t feel like that after seeing Tempo’s new production of Agatha Christie’s much superior whodunit, ‘The Hollow’.

Adapted by Agatha Christie herself from her novel written in 1946, the play was first staged in 1951 in London and had a successful eleven month run.  Set at a house called ‘The Hollow’ in the English countryside, a weekend of simmering passions explodes in murder.  A police inspector with a deceptively low-key approach has the task of unmasking the murderer and, as always, you’ll never guess who it is.  The play succeeds because we can relate to these rather normal characters and their actions and, even after we learn who the murderer is, the finale has further exciting twists that leave us breathless.

Jon Elphick’s production moves at a cracking pace.  His cast of twelve have generally developed very strong and real characters that make this a very believable drama.  Outstanding were Cheryl Browne as the hilariously absent-minded Lady Angkatell, Canberra newcomer, Jo Bailey, as the sweet but practical Midge Harvey, John Maddock as the perfect old butler, Gudgeon, and Cherie Kelly as the down-trodden wife, Gerda Cristow.  Kate Blackhurst as the formidable film star, Veronica Craye, gave a strong performance but her costume and hair did not suit the character she was playing.  Perhaps the popular 1950s bleached-blonde film star look would have worked better?  Alex Davies, in a gem of a part as the Inspector’s sidekick, Detective Sergeant Penny, missed out on some of the best potential laughs in the play as his delivery was too fast and flat.

The costumes, credited to Marian Fitzgerald, Jon Elphick and the cast, were generally well chosen and reflected the period of the play.  Sound and lighting effects by Tony Galliford were well done, especially the realistic timing of the thunder after the lightning.  The sounds were possibly a little too loud at times, making some audience members around me jump, to my great amusement.  The set designed by the director, Jon Elphick, was practical but needed more flair, maybe from a dedicated set designer who knows the magic of making a set look more expensive even within a limited budget.

I enjoyed ‘The Hollow’ and, if you’d like to see an exciting play from the era of well-made plays, you can’t go wrong with this Tempo production.  And it murders ‘The Mousetrap’!

Originally broadcast on Artsound FM 92.7 ‘Dress Circle’ program on Sunday 19 May 2013

Natalie Weir's R&J

Expressions Dance Company

The Q

14^th May 2013
Reviewed by Samara Purnell

“Wow, that’s a lot of suicide for one night” was the remark on exiting The Q. “But that was even better than I’d hoped”

You know how it happens – crowded dance floor, sea of sweaty bodies part, your eyes lock onto each other, your hands touch, you are engulfed by lust for each other, overcome with passion and obsession, and then, after some third party involvement, a stabbing and a drug overdose the whole thing’s gone to custard? (Typical night at a certain civic nightclub, right?)

Welcome to the first twenty minutes of Natalie Weir’s production of R & J. Three stories, all alike in storyline (as opposed to two household both alike in dignity) comprised this hour-long performance, connected not only thematically, but also by each “Juliet” wearing a red dress and with jazz music commissioned for this work, composed by John Babbage and performed by Topology.

Some elements in this first take on the theme of timelessness of love and loss, set in the “now”, didn't quite gel, despite strong dancing and sexy choreography complete with daring lifts and holds. But in the second piece, every part of the performance came together beautifully, from the moment the lights came up. 

Beautiful, poignant choreography was interpreted with a good balance of modern dance, perfect characterisation by Benjamin Chapman and Elise May, and a feel for its period setting (several centuries ago). This, made all the more powerful by the achingly beautiful and emotive music, created an emotional portrayal of the innocence of love and the beauty in death.

The set design, made up of many different sized lightboxes, was simple (allowing for ease of transportation) and beautiful. The second story in particular made creative use of them, resulting in a really affecting beginning and ending to the piece.

The third story, set in the 1950’s, portrayed a different version of untimely loss. It explores established love through the routine of a young, married couple. Tension and anticipation was built through repetition until, heartbroken and confused, Michelle Barnett begins her solo.

Occasionally, in the first two pieces, a lead in to a lift or other partner work created a noticeable pause. A more distinct nod to the time period, whether through music or choreography would further distinguish the pieces from each other but overall Weir’s choreography was engaging and emotive, with clever lifts and lovely storytelling. Each story’s denouement was keenly anticipated.

The EDC executed the work energetically and thoughtfully, with an obvious emotional investment. All the dancers displayed remarkable physicality and beautiful extension and flexibility was shown by the female dancers throughout.

The universal story of bad timing and irony, lust, romance, first love and life love, R&J was a powerhouse of emotion and interplay. I left feeling somewhat wistful yet thankful for less dramatic relationships…until the next night out in town, right?

 Image by Fiona Cullen

NATALIE WEIR'S R & J

Expressions Dance company

Q – Queanbeyan Performing Arts Centre - 14^th May 2013.

Reviewed by Bill Stephens

 

Perhaps it was the lure of seeing another version of “Romeo and Juliet”, but dance enthusiasts, including an impressive number of young dancers,  flocked to the Queanbeyan Performing Arts Centre to see the only performance in the Canberra region of renowned contemporary dance choreographer Natalie Weir’s multi- award winning dance work, “R & J”.  

In this witty re-interpretation of the familiar story, Weir offers us not one, but three versions of the story, built on just six dancers augmented with a stage-full of young local dancers for the arresting opening sequence. The three sequences are set in different eras, and each concentrates on a different aspect of the story.

The first sequence, “Passion”, is set in a contemporary modern nightspot. The young couple, (Elise May and ex-Quantum Leap dancer, Jack Ziesing), meet on a crowded dance floor and fall in love. Their ecstatic pas de deux is interrupted by a stranger, (Thomas Gunry Greenfield) who emerges from a phone box to intrude on their reverie. During the inevitable altercation which follows, the girl is killed.   

The second sequence, “Romance” , costumed to suggest the more traditional medieval setting, begins with both the girl and the boy (Michelle Barnett and Benjamin Chapman) being lifted, doll-like,  from pedestals by members of their families who try unsuccessfully to keep them apart. Eventually, after a long tender pas de deux, both end up in a glass coffin.

The final sequence “Devotion”, set in the 1950’s, commences with the young couple, (Riannon McLean and Jack Zeizing) blissfully sharing a couch. They tease each other playfully while watching television. In an ingeniously choreographed section, we see their departing rituals as he heads off to work, then returns at the end of the day.  These rituals are repeated in quick succession until, inexplicably, he doesn’t turn up as before. Realising that he is not going to return, the girl (McLean) dances a gorgeous, intricate and melancholy solo utilising  the couch almost as if it were her missing lover.

Throughout the work, the reference points are crystal clear and although one viewing is hardly enough to fully register and absorb Natalie Weir’s complex, inventive choreography. But with its characteristic intricate interweaving of the dancers bodies, spectacular brilliantly resolved lifts, and strongly delineated characterisations, “R & J” is totally absorbing and engaging.  

Weir has gathered together a troupe of brilliant dancers, each perfectly in tune with her signature style and able to interpret her choreography to perfection.

Their brilliant dancing is enhanced by the imaginative set designs of Bruce McKinven, featuring a series of sculptural elements, ingeniously lit by David Walters, which seamlessly and satisfyingly transport the viewer through different situations and time zones, while the rich, musical soundscape, composed by John Babbage and recorded by Brisbane ensemble, Topology, provides a glorious cocoon of warm aural colours perfectly in tune with the mood and intent of this challenging and lovely work.

 It is this perfect fusion of disparate elements which makes watching a performance of “R & J “such a compelling and satisfying experience.    

AMAZING SPACE 1 - SOUNDING THE HIGH COURT



Tobias Cole 

Canberra International Music Festival.

High Court of Australia.

Monday May 13^th.

Reviewed by Bill Stephens

 

  

Joyful noise from the musicians and joyous smiles from the audience are the lingering impressions of this superbly curated concert, the first in the Amazing Space series in this year’s C.I.M.F.  Canberra music enthusiasts have long been aware of what an extraordinary setting the High Court building provides for the performance of music, but for this concert every item had been carefully selected to display or test these particular qualities.

 Architect Ross Feller provided the parameters with an outline of the special architectural features of the building, and explained exactly how its heroic scale affected the acoustic. He encouraged the audience to move around the building during the concert to experiences these affects. Many of the large audience did, choosing to watch from the various walkways and balconies surrounding the main performance area.

A selection of familiar and original works, played on unusual combinations of instruments produced quite magical moments, which were enhanced by imaginative presentation, as when the audience quietly moved back from their vantage points on the ceremonial walkways to make way for didgeridoo player, William Barton as he moved slowly among them in a dramatic and arresting opening to the concert.

The infectious enthusiasm of the Taikoz drummers brilliant on a variety of percussive instruments, the expressions on the faces of the four members of Synergy Percussion, seemingly as mesmerised as their audience by the beautiful sounds they were extracting from their various Xylophones during their breathtakingly beautiful performance of Handel’s Keyboard Suite in D Minor, stay in the mind.

There were items in which the audience hardly dared to breath for fear of breaking the spell, especially in the Taikoz presentation of “Resounding Bell” where the drummers provided a gentle accompaniment for Riley Lee’s  sublime shakuhachi flute solo, or during the final Bach Chorale in which the instruments included shimmering handbells, shakuhachi flute and didgeridoo, played from balconies and walkways above and surrounding the audience, or most especially during two Monteverdi arias in which the icy glitter of Tobias Cole’s superb counter tenor voice has never sounded so striking as when accompanied here by Synergy’s warm, mellow xylophones.

An extraordinarily auspicious commencement for a series of programs spotlighting Canberra’s Amazing Spaces, “Sounding the High Court” has set a high benchmark for the rest of the concerts in this series.

                 (An edited version of this review appears in the digital edition of CITY NEWS)

 

 

FRANKENSTEIN

Written by Nick Dear
Directed by Mark Kilmurry
Ensemble Theatre production at The Street Theatre
May 7 -11, 2013

Reviewed by Len Power 7 May 2013

‘No man is a monster’, cries the creature at the centre of Nick Dear’s re-imagining of Mary Shelley’s classic story, ‘Frankenstein’.  He’s wrong of course.  Despite being an intelligent creature in this version, his outward appearance still shocks and frightens those he comes into contact with.  The way we treat the creature makes us the monster.

Mary Shelley’s ‘Frankenstein’ must be one of the most well-known stories ever written - maybe not from the novel itself, which is a fascinating read, by the way - but from the numerous film versions made of the tale since cinema began.  Nick Dear’s play commences with the ‘birth’ of the creature, correctly assuming we all know how he was pieced together and brought to life by Dr. Frankenstein.

In a towering performance, Lee Jones is genuinely frightening and confronting in his physical depiction of a manufactured but imperfect human being.  With arms and legs flailing, horrific facial contortions and unnerving vocals, the actor commands both fear and pity in the audience.  Escaping from the laboratory, the creature is taken in by a kindly blind man and educated over a three year period.  What emerges is a still physically imperfect but highly intelligent person with a thirst for knowledge and understanding.  The problem is that people of the time are unable to see anything but the frightening physical appearance of the creature and continue to treat him as if he was an animal.

Nick Dear’s play was a huge hit for the National Theatre in London in 2011.  Taking incidents from the original novel and also from the famous films and embellishing them with his own ideas, Nick Dear has created an exciting and thought-provoking play.  Although played in period, this treatment of the story makes us question how we react to people with severe disabilities in our supposedly enlightened times.

The Ensemble Theatre production from Sydney creates an exciting evening of theatre.  On a spare but well-designed set by Simone Romaniuk and with atmospheric lighting by Nick Higgins, director Mark Kilmurry has produced an imaginatively staged and beautifully acted, thought-provoking and entertaining production.  His cast of eight, some playing multiple roles, give very sharp characterizations.

Sound is also an important aspect of this production.  A standout theatrical moment is the creation of the sound of a crackling open-air fire, which is provided simply but very effectively by two cast members in full view of the audience.  The live music score by Elena Kats-Chernin is played beautifully on a solo cello by Heather Stratfold and provides a soundscape that complements the onstage action perfectly.

Since I saw this production, I can’t stop thinking about it.  When that happens, I know I’ve seen a truly remarkable piece of theatre.

Originally broadcast on Artsound FM 92.7 ‘Dress Circle’ program on Sunday 12 May 2013

Frankenstein by Nick Dear

Frankenstein by Nick Dear.  An Ensemble Theatre production presented by The Street, Canberra, May 7-11, 2013.

Reviewed by Frank McKone
May 7

My favourite book right now is the 802 page work by Harvard Professor of Psychology, Steven Pinker – The Better Angels of Our Nature: Why Violence has Declined.  Having just seen Dear’s version of Mary Shelley’s 1818 novel – and Lee Jones’ gripping performance of the ‘monster’ – I’m glad Pinker has the evidence to prove his case.  We might look back on ‘Gothic Horror’ as just another blood-curdling theatrical and literary genre, but there’s more to Shelley’s story than you might think.

But first, to this production.  What a knockout blow to modern sensibilities!  How should a Sensitive New Age Guy respond without getting snagged by his willingness to suspend his disbelief?  But snagged I certainly was by this sorry tale.  Except at the tail end, when it seemed to me it should have been set in Antarctica where the memory of Scott’s ill-fated expedition would have made Frankenstein’s monster’s mania for reaching the pole even more horrible. 

But then Dear is British, so I suppose Go North Young Man has to be the thing to do.

The set (and presumably costumes) by Simone Romaniuk, the on-stage amplified cello played by Heather Stratfold (music composed by Elena Kats-Chernin), the lighting by Nick Higgins, the soundscape by someone not mentioned, and the direction by Mark Kilmurry were all fascinating.  The core approach was highly stylised, in the visuals and the audio, and equally in the movement and acting by the cast: Katie Fitchett, Andrew Henry, Lee Jones, Brian Meegan, Michael Rebetzke, Michael Ross, Olivia Stambouliah.

(Despite being New Age, though, I do find it annoying when a company, especially and surprisingly the Ensemble, has minimum information about the cast only on the web.  I want a proper program, please.)

There was never any doubt that we were watching a carefully designed piece of theatre, yet despite the ‘alienation effect’, it was easy to be drawn into the emotional effect at the same time.  It was quite extraordinary to find myself ‘believing’ in these characters’ dilemmas from the capital 'R' Romantic past.

This is where Pinker sneaks back into the story.  In the half-century leading up to Mary Shelley’s writing, English language books published per decade rose from about 2000 to more than 7000 (after being zero in 1475).  In that same half-century, the abolition of judicial torture (that is, torture ordered by a court) spread rapidly throughout European countries, leaving – by Shelley’s time – only Spain, the Vatican, Portugal and Russia still officially torturing people.  Pinker does point out that England still executed people, but had introduced the more humane method of drop-hanging, which ”instantly renders the victim unconscious”, in 1783, when public hangings were also abolished.  He goes on to say “The display of corpses on gibbets was abolished in 1834, and by 1861 England’s 222 capital offenses had been reduced to 4.”  One of Pinker’s arguments is that the spread of the printed word, and particularly the ability to read, combined with the rising popularity of fiction in the novel, was a real factor in changing attitudes against the acceptance of violence.

His study of the evolutionary background to human violence (this is a scientific work, not a New Age touchy-feely fuzzy waffly book) suddenly came to mind.  Frankenstein works because Shelley (and Dear) understood and have laid before us the very motivations that Pinker explains in neurological brain studies.  At the very time that attitudes were changing, Shelley got the story right.  This play is enlightening: in a couple of hours the artist in Shelley and Dear reveals directly what it has taken me several weeks of reading the scientist Pinker to understand.  And I’m still only on Page 603!  199 more to go!