Arts and the Common Good by Katharine Brisbane

Posted by Frank McKone
 

THE CRUCIBLE

Written by Arthur Miller

Directed by Jordan Best

Canberra Rep at Theatre 3, until May 16.

Review by Len Power

Arthur Miller’s 1953 play, ‘The Crucible’, dramatized the Salem Witch Trials in Massachusetts in the late 17^th century and was written as a pointed allegory of the 1950s McCarthy communist hearings in the United States.  Recent events in Indonesia come to mind, too, while you’re watching this play, such is its power.

A starkly beautiful forest set by Michael Sparks spectacularly uses the entire width of the Theatre 3 stage and the beautiful lighting design by Kelly McGannon enhances the forest and gives it an extra depth.  The action of the play is focussed in a small central playing area.  The surrounding trees create a strangely claustrophobic effect which adds to the intense feelings displayed in the play.

The large cast all give very strong performances.  In a carefully controlled performance, Duncan Ley as John Proctor is excellent.  Lexi Sekuless gives a moving and very believable performance as his wife.  Yanina Clifton as Mary Warren displays an impressive depth of feeling in her hysterical scenes and Mark Bunnett plays Judge Danforth with an iciness that is frighteningly effective.

L-R rear: Adam Salter, Paul Jackson, Elaine Noon, David Bennett, Duncan Driver

Front: Yvonne Webber

Image: Helen Drum

Director, Jordan Best, has produced an absorbing version of the play.  The addition of the group of hysterical women gives the play an added sense of the community affected by the events of the play and extra depth to the highly emotional scenes.  The dialogue is paced very well, keeping your attention focussed throughout.  It’s so well done that you won’t be aware that the four act play with only one interval is quite long.

The director states in the program that this is a play about life and not about accents or costumes.  However, the costumes from various periods and the different regional accents used by the cast created an unwelcome distraction.

This is a strong production of a play that still has the power to speak to today’s audiences.

Originally published in Canberra City News digital edition 2 May 2015 and broadcast on Bill Stephens’ ‘Dress Circle’ program on Artsound FM from 5pm 3 May 2015.

“Our ANZAC Tribute…” Musica Da Camera String Orchestra

Musical Director: Leonard Weiss

Holy Covenant Anglican Church, Cook 2 May 2015

Shire Hall, Copeland St., Gunning NSW 3 May 2015 at 2.00pm

Review by Len Power 2 May 2015

 

I can't think of a better way to spend a weekend afternoon than listening to a live orchestra playing a very interesting selection of works as an ANZAC tribute.

Canberra’s Musica Da Camera, a 20 piece orchestra, started originally as a baroque ensemble in 1979 and has expanded to embrace music of all styles and periods.  They now give a series of three concerts a year.

Conducted by ANU graduate, Leonard Weiss, the orchestra played a fitting ANZAC tribute with war-related pieces by John Williams (Theme from Schindler’s List), Frederick Septimus Kelly (Elegy For String Orchestra “In Memoriam Rupert Brooke”) and Dimitri Shostakovitch (Chamber Symphony No. 1 in C-min Op 110A).  Additional works played were by Aaron Copland (Hoe Down from “Rodeo”), Antonio Vivaldi (Concerto alla rustica), Eric Whitacre (October) and John Rutter (Suite For Strings).

It was an ambitious program with plenty of variety from well-known items to others not so familiar.  The feature work by Shostakovitch would test any orchestra’s abilities and Musica Da Camera played it very well.  It’s a remarkable work – sombre but deeply emotional with frenzied passages that are dramatically satisfying.  The Elegy For String Orchestra by Kelly was also beautifully played achieving a strong sense of grief for the loss of a loved one.  Knowing that it was written in Kelly’s tent at Gallipoli and that he lost his life in the Battle of the Somme makes this piece especially poignant.

The well-known Vivaldi concerto was a good contrast and nicely played, as was October by Eric Whitacre, a lesser-known work that evokes autumn.  The sound was distinctly American and it was played with grandeur and great feeling.  The other items played were also very enjoyable.

Leonard Weiss has done great work with the orchestra here.  From the choice of works to the confident playing by the orchestra, this was a very enjoyable concert.  It will be repeated on Sunday May 3rd at the Shire Hall, Copeland St., Gunning at 2.00pm.

FRAME OF MIND - SYDNEY DANCE COMPANY

"Frame of Mind" 

Choreographers: William Forsythe and Rafael Bonachella

Sydney Dance Company
Canberra Theatre until 2^nd May 2015

Reviewed by Bill Stephens

 “Frame of Mind”, presented by the Sydney Dance Company as part of the Canberra Theatre Centre’s 50^th Anniversary celebrations, consists of two ravishing dance works.  Raphael Bonachela choreographed the title work, “Frame of Mind”, which showcases the entire company in an ethereal work danced to a suite of original compositions composed by Bryce Dessner for the Kronos Quartet.  The work is also graced by a beautiful setting designed by Ralph Myers, and artfully lit by Ben Cistern, which suggests a large dance studio in which the walls are covered with maps. Overhead are banks of fluorescent lights, and at one end a large window through which sunlight streams.

"Frame of Mind"

 The dancers, wearing individual variations of black practice clothes, come and go. Some practice individual virtuoso moves, either solo, or in various groups. Around the perimeters, others argue, flirt, exercise, or simply silently observe.  At various points they all join in to dance intricate unison passages, adding to the drama and spectacle.  The choreography is endlessly inventive, the dancing brilliant, and every dancer gets a moment to shine.  The interactions of the dancers suggest narratives but Bonachela leaves it to the individual audience members to arrive at their own interpretations of this masterful and memorable work.

Although choreographed more than 20 years ago, “Quintett”, which preceded “Frame of Mind”, is a recognised masterwork of choreographer, William Forsythe. Presented on a stage bare except for a large mirror, and a spotlight which projected images on the dancers, “Quintett” is danced to Gavin Bryars’ haunting composition which features the voice of a homeless man singing “Jesus’ Blood Never Failed Me”, played in endless loops for the full duration of the work. 

"Quintett" 

“Quintett” requires five virtuoso dancers possessing the stamina and skills to perform a stream of intricate deconstructions of traditional classical ballet steps.  Chloe Leong, Jesse Scales, David Mack, Cass Mortimer Eipper and Sam Young-Wright are exactly that.  All are astonishing dancers, who, while appearing to throw themselves into the choreography with reckless abandon, still manage to maintain remarkable control over every movement.

Although composed by Forsythe as an elegy to his dancer wife who was, at the time, dying with cancer, and who indeed died before the work was completed, “Quintett” has many joyous passages and in these Chloe Leong in her bright yellow dress was captivating. But it was former Canberra dancer, Sam Young-Wright, who mesmerised the audience from the moment he stepped forward to perform the series of classical ballet steps which establish the parameters of the work. In a recent radio interview, Bonachella described Young-wright as “a young star”, and there were few in the audience who would argue with that assessment.  Young-Wright with his tall, rangy physique already possesses a charismatic presence and a wonderfully fluid movement quality that makes it hard to take your eyes off him whenever he is on stage.

"Quintett" 

The Sydney Dance Company is without a doubt, Australia’s leading contemporary dance company.  It has been touring to Canberra regularly for close to forty years, during which time it has built up a strong, loyal following. The enthusiastic reception accorded “Frame of Mind” by the first night audience, will ensure that their 2015 visit will remain a highlight of the Canberra Theatre Centre’s 50^th Anniversary Celebrations.    

Sam Young-Wright in "Quintett"

Photo: Peter Greig

                This review first published in the digital edition of CITY NEWS on 1st May 2015.

THE LAST FIVE YEARS - REVISITED

The Last Five Years at Teatro Vivaldi

Written and composed by Jason Robert Brown. Directed by Richard Block. Musical Direction Damien Slingsby. Choreography Hannah McFadden. Costume design/Props Fiona Leach and Suzan Cooper. Lighting and Sound Berin Denham. Set design and construction Thompson Quan Wing. Teatro Vivaldi. April 24 - May 2 2015

Reviewed by Peter Wilkins

Mathew Chardon O'Dea as Jamie Wellerstein. Josie Dunham as Cathy Hiatt in The Last Five Years

Photo by Pete Stiles

Producer/director Richard Block has made a bold decision when double casting Jason Robert Brown’s The Last Five Years in his inaugural show for his new company Dramatic Productions. I have already reviewed the opening night at Teatro Vivaldi with Vanessa De Jager as Cathy Hiatt and Fraser Findlay as Jamie Wellerstein in Brown’s story of the rollercoaster relationship of the up and coming writer and the struggling, aspiring actress. However, I decided that it would be only fair to revisit the production with Mathew Chardon O’Dea and Josie Dunham in the roles. Block is seeking to establish his new company as a springboard for those who would aspire to become professional. In creating a double cast, he has offered the opportunity to four of Canberra’s finest music theatre performers. And such an initiative warrants critical comment.

Josie Dunham as Cathy  Photo by Pete Stiles

This is not a comparative analysis although subjective comparison is unavoidable. Long running professional productions will offer audiences different casts, and different casts will imbue a performance with new qualities and new perspectives. I was interested to note that I was less concerned with the staging of the work on a box set and with miked voices during this visit and more conscious of the prominence of musical director Damien Slingsby’s heavier hand upon the piano. Slingsby’s five piece ensemble with Dylan Slater on guitar, Jack Schwenke on Bass, Llewellyn Osborne on violin, Amy Jarvol on Cello and Slingsby on piano was as proficient as ever, but O’Dea and Dunham would have been vocally struggling without mikes in the intimate surrounds of alluring Teatro Vivaldi. As it was, both Dunham and O’Dea struggled initially with their breathing and lower registers on their opening night.

I was also intrigued to observe that I was more conscious of Rachel Thornton’s cameo appearance as the silent mistress in the bed during Jamie’s guilt-ridden Nobody Needs To Know. I was more attuned to the rollercoaster emotions of the couple’s precarious relationship. Brown’s clever device to trace Cathy’s backward journey from the final break-up of the marriage (Still Hurting) while allowing an audience to follow Jamie’s forward journey from the first meeting (Shiska Goddess) takes us on the fraught trajectory of effusive passion, loving commitment, conflicting expectation and eventual separation. In the duet at the close of the show this contrast is strikingly apparent as Cathy’s voice sings the excited passion of new love while Jamie leaves us with the lament of lost dreams. Pain and pleasure co-exist in the tortured harmony of life’s experience. Brown avoids over-sentimentalizing the situation, allowing his actors to discover truth in character and performance. This is the musical’s Off Broadway appeal and its instant ability to engage an audience, some of whom could well be a Cathy or a Jamie upon the stage.

Dunham and O’Dea bring a natural appeal to the roles. Dunham exudes vulnerability and insecurity. Her innocence and endearing love for Jamie is evident when she rejoices in I’m a Part of That. The sheer agony of exposing oneself during an audition is paramount in Climbing Uphill. O’Dea, on the other hand, captures perfectly the self-centred attitude of the ambitious, confident writer in Moving Too Fast. Wellerstein is a young man on the move, and O’Dea gives his character’s seductive charm full rein. His acting talent shines as he plays the bespoke tailor in The Schmuel Song with its lacing of Jewish humour and wisdom.

Mathew Chardon O'Dea as Jamie
Photo by Pete Stiles 

Dunham and O’Dea are natural cabaret performers and I hope that they may one day in the future reveal their full potential in a cabaret festival. Brown’s musical is a series of song monologues, covering a range of styles and presenting the singer with challenges. At their opening performance both O’Dea and Dunham tended towards moments of forcefulness to hit the range as first night nerves and uneven breathing gave rise to occasional difficulty in sustaining the lower register. This did little to detract from the performances. Both Dunham and O’Dea bring a sensitivity and intelligent maturity to the roles, and The Last Five Years proves a perfect vehicle for all four performers of Block’s production. Hopefully Canberra audiences will see a lot more of De Jager, Findlay, Dunham and O’Dea. Block has cast well for his inaugural production and Dramatic Productions holds great promise for a fine future. Don’t miss The Last Five Years. Sadly it is only playing until May 2^nd at Teatro Vivaldi’s. Hurry down for fine food, good wine and first-rate entertainment.                

Frame of Mind - Sydney Dance Company

Quintett by William Forsythe and Frame of Mind by Rafael Bonachela.  Sydney Dance Company at Canberra Theatre, April 30 to May 2, 2015.

Reviewed by Frank McKone
April 30

My interest in contemporary dance began with a couple of classes with NIDA’s Margaret Barr in the 1960s, and was strongly influenced by seeing Merce Cunningham, and though I can clearly see the link with both these works, I am qualified to make neither technical nor serious historical judgements.  My context for this show, given the overall title of Frame of Mind, is limited to what I saw, heard and felt in response.

Each work used music as the framework for the dance.  For Quintett this was a recording made by composer Gavin Bryars of a homeless man in London singing “Jesus’ Blood Never Failed Me Yet”.  The few lines of the old man’s voice was looped to be repeated throughout the performance with a backing of increasingly complex orchestration.  For Frame of Mind, the music (without words) was from the album by the composer Bryce Dessner called Aheym, recorded by Kronos Quartet.  ‘Aheym’ is Yiddish for ‘homeward’.

I thought Rafael Bonachela used his music more effectively than William Forsythe used his.  Both accompaniments  implied a dramatic structure.  In Quintett it was a gradual linear increase in intensity, as if the words of the old man’s song were looped in a tightening spiral.  But the dance of the young people seemed oblivious, as they endlessly played out their changing relationships, and the action stopped abruptly at no particular dramatic point.

Maybe that was the point, but for me it was an anti-climax – too cold emotionally for the feeling in the words and the orchestration.

Bonachela’s youngsters were also playing out their relationships, but there were times of warmth, of harmony, against times of threat, consistent with the music, ending in a sense of disaster from which togetherness might never come through.

Though this sounds a more conventional idea, the dance was never sentimental or ‘tragic Romantic’.  The strength of feeling was real, at least for me, as against a distant coolness in Quintett.

But maybe Merce Cunningham can be given the last word, in this ABC report:

“He started choreographing in 1944, and went on to establish his own company, one which did away with the idea that you dance to the music. In his world you dance with the music. Under the Cunningham philosophy, the two elements are created separately and only come together on the night, in a kind of co-existence but not co-dependency.”
[ http://www.abc.net.au/radionational/programs/artworks/merce-cunningham/3218088 ]

I thought the quality and the originality of the choreography and performance was excellent and equally good in both works.  Maybe Frame of Mind was with the music, but leaning a little more to the music; but I’m not sure I can say that Quintett was really with or to the music.

But don’t mind me too much.  Two of Margaret Barr’s classes told me that I’d never be dancer; just a critic.

Photos: Ben Symons and Peter Greig

Also at frankmckone2.blogspot.com.au