PRIDE AND PREJUDICE

 

 

Pride and Prejudice. Adapted from Jane Austen’s novel by the company. 

Created and Performed by Bloomshed. Directed by: James Jackson and Elizabeth Brennan. Performed by: Laura Aldous, Elizabeth Brennan, Syd Brisbane, Anna Louey, Lauren Swain, Emily Carr and James Malcher.
Set Design: Savanna Wegman. Costume Design: Samantha Hastings. Lighting Designer: John Collopy. Sound Designer: Justin Gardam. Stage and Production Manager: Jacinta Anderson
Creative Producer: James Jackson. The Playhouse. Canberra Theatre Centre. October 15-18 2025. Bookings: www.canberratheatrecentre.org.au or 62752700

Reviewed by Peter Wilkins

 What happens when a theatre company satirizes the satirist? An hilarious romp, that’s what. Devotees of Jane Austen and lovers of Pride and Prejudice could fall into two camps when attending Bloomshed’s production of Pride and Prejudice billed as a love story in a Housing Crisis. It certainly resonates at a time of escalating housing prices and unaffordable rental costs. The traditionalists may snub their noses at the twisting of Austen’s tale. Those who can relish the ridiculousness in human nature will find it difficult to stop laughing for a moment to catch the wit of the company’s adaptation. .Bloomshed’s zany production lends credence to Shakespeare’s observation of “What Fools these humans be“ where Much Ado About Nothing rollercoasts luckily into All’s Well That Ends Well.

The premise is the same. Mrs. Bennet (Emily Carr ) with Mr Bennet still firmly in her grip but here transformed into an obedient pot plant is eager to divest herself of daughters Mary (Lauren Swain), a gun toting sure fighting daughter who shoots for the other side, Lydia (Emily Carr) who can’t resist a handsome man in uniform but takes a wrong turn with the unsavoury Wickham (Lauren Swain), Kitty (Syd Brisbane) , sexy Jane (Anna Louey)  whose desperation for Bingley (James Malcher) can only bring sobs  until the prospect of penury and the collapse of a real estate prospect saves the day and the love affair.and Lizzie.(Elizabeth Brennan) caught in Love’s confusion and affection for the dour Darcy(James Jackson). It all adds up to a crazy hither and thither show until Lady Catherine De Bourgh arrives from on high to partake in a momentary afternoon tea break. Costume designer (Samantha Hastings) lends a touch of cheek to the Lady Catherine’s costume with two cherries on top of her hat. Those lucky enough to own land and bountiful wealth really do get the cherries on top.

Elizabeth Brennan as Elizabeth Bennet and James Jackson as Darcy

In spite of the silliness of Bloomshed’s farce cum goonery on set designer,Savanna Wegman’s huge layered wedding cake stage there is cause to ponder. Austen’s critical commentary on class, religion and the complexities of love and marriage has not been lost on Bloomshed’s cast and creatives. There are references to Margaret Thatcher, the CPI, and above all the housing crisis. We know that the course of true love never did run smooth so why not sugarcoat it with the lascivious Reverend Collins chasing Lizzie through H row and finally handing the bouquet to a lady in the second row, hereafter acknowledged as his wife, or Mary popping off her gun before coming out .

Bloomshed’s cast are obviously having a great time. The performance, apart from the pause for Lady Catherine to enjoy her cup of tea that never leaves the hand for the lips, belts along at a cracking pace. In eighty non-stop minutes, there is barely time for depth or reflection and audience members familiar with the novel may glean more from the irony and ambiguity that is at the heart of Austen’s satire. For the rest, leave your preconceptions at home, release your expectations and settle back for what will be a frivolous evening of fun-filled entertainment. And at a time of rising house prices, crippling rentals and a soaring cost of living for those without Darcy’s billions this Pride and Prejudice is a passing panacea. 

SHAKEN NOT STIRRED - Blamey Street Big Band - The B

 

Jared Newall - Ian McLean- and the Blamey Street Big Band.

Music Director and Conductor – Ian Mclean AM CSC

Vocalists: Jared Newall – Leisa Keen – Ashleigh Harris.

Saxophones:   Joshua Hackwill – Amanda Macfarlane - Sophia Hadjimichael – Tanya Kiermaier - Andrew Hackwill.

Trumpets: Mark Du Rieu – Peter Levan – Catherine Pollard - Matthew Johnston - Mike Hauptmann.

Trombones: Bronwen Mackenzie – Caitlyn Bool - Paul Trezise – Peter Redpath

Piano:  Perrin Lionis – Guitar: Col Bernau - Bass: Peter McDonald – Drums:  Derrick Brassington.

The B. Queanbeyan Performing Arts Centre – October 11^th, 2025.

Reviewed by BILL STEPHENS.

Leisa Keen - Ian McLean and the Blamey Street Big Band.

Since it was established in 2002, The Blamey Street Big Band has been wowing audiences across Canberra with its innovative arrangements of Big Band classics. A community band, The Blamey Street Big Band consists of some of the region’s finest jazz musicians united by their love of the big band genre.  

Until last year, the band’s public appearances were mainly confined to occasional concerts at the Harmonie German Club, where it has built up a loyal, appreciative audience, at Floriade, the Royal Botanic Gardens and jazz festivals around the country.  

In 2024 the band gave its first concert in the Queanbeyan Performing Arts Centre. It performed a concert based around the music of the Beatles in the B, which it discovered was an ideal venue for its music.

That concert proved so popular, that earlier this year the band returned with an even more ambitious program, and possibly a world first achievement, focussing on the music of ABBA. For that concert all twenty-one ABBA compositions in the program were re-arranged by resident band arranger, Andrew Hackwill, in the style of the great swing bands of the forties and fifties. Here is a link to my review of that concert.

 https://ccc-canberracriticscircle.blogspot.com/2025/05/the-music-of-abba-blamey-street-big-band.html

“Shaken Not Stirred” focused on the music featured in the James Bond movies, and although Hackwill did not attempt to outdo himself this time - there are some iconic James Bond sounds you just don’t mess with - he still contributed no fewer than nine stunning new arrangements of the twenty compositions that formed the program.

The scene was set by guitarist, Col Berneu with that familiar guitar riff from the first James Bond movie “Dr No”,  before vocalist Leisa Keen got the ball rolling with a stirring rendition of “Goldfinger” written by composer John Barry, who was responsible for most  of the music associated with the James Bond movies, in an arrangement by his favoured arranger,  Jesper Riis, for which on this occasion, that extraordinary baritone saxophone solo was  given a masterful rendition by Andrew Hackwill.  

Perris Lioni (Piano) - Leisa Keen (vocalist) - Peter McDonald (Bass) - Derrick Brassington (Drums)

Leisa Keen is the Blamey Street Big Band’s resident vocalist, and she demonstrated why with her beautiful rendition of Carol Bayer- Sayer’s “Nobody Does It Better” which the band accompanied with the original arrangement by Marvin Hamlish, who, Leisa noted, was also the composer of the musical “A Chorus Line” which was currently playing in the adjacent theatre, The Q, at the Queanbeyan Performing Arts Centre, and in which she is also performing.

During the concert Leisa contributed several other solos, including a spritely, up-tempo version of “Moonraker” written by John Barry and Hal David, and “Licensed to Kill” both arranged especially for her by Hackwill, and “Diamonds are for Ever” in the original arrangement created by Jesper Riis for Shirley Bassey.

Ashleigh Harris with the Blamey Street Big Band

Ashleigh Harris made her debut with the Blamey Street Big Band as a backing singer in the previous concert, “The Music of ABBA”.  But for “Shaken Not Stirred” in addition to teaming with the inimitable Andrew Hackwill to provide backing vocals for several of his arrangements, she stepped into the limelight to reveal herself as a polished soloist in her own right, with her rendition of the Burt Bacharach/Hal David classic “The Look of Love”.

 Harris also shone in the Jesper Riis arrangement of “All Time High” and in Hackwill’s arrangement of “Golden Eye”, but it was her drop-dead gorgeous rendition of the Napier/Smith song “The Writing’s on the Wall” that really revealed her exciting potential as a singer to watch.

Jared Newall - Derrick Brassington (drums).

A special feature of this concert was the performance of guest soloist Jared Newall. Newall is familiar to local audiences from his appearances in leading roles in the musicals Jersey Boys and The Boy from Oz. And when not appearing in musical, he spends his time touring the world as a member of “The Ten Tenors”. So far, visiting 20 countries, appearing in 1200 concerts and still counting.

Clearly revelling in the opportunity to fulfil an ambition to be a big band soloist, he soon had the audience eating out of his hand with his cheerful, confident professionalism and excellent vocalism.

Newall commenced his first set with a specially written Hackwill arrangement of “No Time to Die”, which he followed with a Jesper Riis arrangement of “You Know My Name”.

Jarad Newall with the Blamey Street Big Band.

Newall opened the second half with two Hackwill arrangements, the first, an up-tempo version “The Living Daylights”, introduced on drums by Derrick Brassington, followed by John Barry’s “Thunder Ball”.  Later, two more Hackwill arrangements, a stunning solo version of “For Your Eyes Only” for which Hackwill and Ashliegh Harris provided superb backing vocals, before being joined by Leisa Keen for polished duet renditions of John Barry’s “For Your Eyes Only” arranged by Hackwill, and the Jesper Riis arrangement of Paul & Linda McCartney’s “Live and Let Die”.

Leisa Keen and Jared Newall performing "For Your Eyes Only"

Although this report has focussed primarily on the three excellent vocalists, it would be remiss not to mention the thrilling sounds achieved by the brass section, the lush tenor sax solos of Josh Hackwill , the understated elegance of Perris  Lionis’ piano accompaniments, especially for “The Writings on the Wall” ,  the brilliance of Col Bernau guitar embellishments, the understated security of Peter McDonald’s bass, grounded by Derek Brassington’s ever-secure percussion, or the professional polish achieved by Musical Director and conductor Ian McLean.

Ian McLean Conductor and Musical Director of the Blamey Street Big Band.

At the end of the concert Ian McLean announced that the Blamey Street Big Band had accepted an invitation to become the Band in Residence at the Queanbeyan Performing Arts Centre, and that it’s next concert in the B would take place on 16^th May 2026, and would feature the band’s special arrangements of songs associated with Stevie Wonder, Billy Joel and The Bee Gees.

Judging by the audience reaction to this concert, you might be wise to book early.

                                           All images by Stephen McGrory

RESONANCE - James Batchelor and Collaborators - The Courtyard Studio-Canberra Theatre Centre.

 

James Batchelor - Emma Batchelor in "Resonance"

Lead artist, Choreographer, Producer:  James Batchelor

Dramaturg, Producer: Bek Berger – Composer: Morgan Hickinbottom

Lighting Designer: Katie Sfetkidis – Lighting Associate: Lara Gabor

Costume Designer: Theo Clinkard – Costume Maker: Alice Ortona Coles

Youth Dance Partner: QL2 Dance.

The Courtyard Studio -Canberra Theatre Centre - October 10th & 11th 2025.

Performance on 10th October reviewed by BILL STEPHENS

Dancers performing "Resonance"

In the latter part of this performance, in what appeared to be a stream-of-consciousness musing, a dancer remarked “I wonder what those critics are writing in their little pads?”. At that moment, this critic was thinking “I wonder what I’m supposed to be thinking about what I am watching just now?”.

Nothing in a James Batchelor work is there without purpose, so that apparently off-the-cuff remark set up the thought that Tanya Liedtke may have had some concerns about dance criticism.  

In 2023 Batchelor created a masterwork, Shortcuts to Familiar Places, which explored the technique and legacy of Gertrude Bodenwieser. Having seen a performance by the Bodenwieser Ballet many years previously it was fascinating to watch how cleverly he had captured the essence of her work through exquisitely danced sequences featuring himself and collaborator, Chloe Chignell, and filmed passages in which Bodenwieser exponents, including Ruth Osborne and Eileen Kramer, shared their memories of the Bodenwieser technique.  

Remembering being delighted by the originality of Tanja Liedtke’s choreography in a 2009 performance of Construct in the Canberra Theatre Centre Playhouse, restaged after Liedtke’s death by Solon Ulbrich, with a cast that included Kristina Chan, Lisa Griffiths and Paul White, then much later, watching Life in Movement, the documentary on Liedke and her work; only vague recollections of her style and technique remained.

Therefore, curiosity as to how Batchelor would shape a legacy for a young choreographer, whose work he had never seen, because she’d been tragically killed on the cusp of taking on the daunting task of succeeding Graeme Murphy as the Artistic Director of the Sydney Dance Company, made Resonance an unmissable event.

Dancers performing "Resonance"

Performed in-the-round, with the audience seated around the four walls of the Courtyard studio, Resonance began with the 12 dancers sitting on the floor in front of the audience, wearing transparent ponchos over nondescript practice clothes.

 Batchelor took the floor and slowly moved around the room, reading from a small book and with the aid of a microphone, explaining the circumstances and processes as to how and why his work came to be created.

He told how he had interviewed many of Liedtke’s associates, including four dancers who had worked closely with Liedtke and who were actually taking part in this performance. Those dancers were Theo Clinkard, who had also designed the costumes, Amelia McQueen, Anton, and Kristina Chan, seen in that performance of Construct all those years before.

Theo Clinkard performing "Resonance"

The other dancers, though not identified by Bachelor in his narration, were himself, his dance associates, Chloe Chignell and Leah Marojevic, his sister Emma Batchelor, and four senior dancers from QL2, Akira Byrne, Gigi Rohriach, Jahna Lugnah and Maya Wille-Bellchambers.

 One-by- one, each of the four Liedtke dancers took the stage to continue the narration, moving around the room as they recalled individual interactions with Liedtke, sometimes recalling and demonstrating snippets of steps and moves she had created on them and occasionally questioning the accuracy of their own memories.

While the narrations were being delivered, other of the dancers, still wearing the ponchos and apparently inspired by the descriptions, began taking the floor to improvise moves inspired by the descriptions, until the floor was awash with ghostly dancers lost in their own endeavours and apparently oblivious of each other.

Two particular descriptions of key movements associated with Liedtke resonated above the others. The one which drew its inspiration from posing bodybuilders, and another describing the dancer pulling their shirt up over their head to expose their bare midriff.

The latter because the cover of the printed program for the 2009 performance of Construct  featured an image of dancer Paul White pulling his singlet above his head to expose his torso, exactly as described, and the former, because later during the work, Bachelor riffed on this idea to demonstrate how those bodybuilder poses could be re-interpreted in many ways to create beautiful dance movement.  

Chloe Chignell - Leah Marojevic - James Batchelor incorporating bodybuilding poses in "Resonance"

  The idea of the dancer’s body becoming the archive for a choreographer’s legacy has long been a basis for reproducing classical ballets, where dancers who had worked with the original creators are employed to share their recollections to ensure the accuracy of the restaging.

So, as Resonance moved towards its conclusion Bachelor embraced this idea to create an exhilarating finale based on Liedtke’s creativity and driven by Morgan Hickbotham’s orgiastic soundtrack, to express his idea of how some now- never-to-be-created work by Liedtke may have looked.

As with all of Bachelor’s creations Resonance demands a great deal from its audience but for those willing to respond to those demands, his ideas are captivating, always illuminating. His ability to capture and express the essence of an idea is uncanny.  

But apart from the pleasure Resonance provides by reminding of the influence of a brilliant dance-maker whose potential was cruelly extinguished before it could properly flower, this work also provided the opportunity to again admire the brilliance of four talented dancers and other associates, who 18 years after Liedtke’s death are still driven to preserve her legacy.

                                           Images by Olivier Wikner  -O&J Photography

        This review also posted in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

 

THE OPERA AUSTRALIA GALA CONCERT - Canberra Theatre Centre

Sian Sharp performing the Seguidilla from Bizet's "Carmen"

 

THE OPERA AUSTRALIA GALA CONCERT – Canberra Theatre

Directed by Claudia Osborne – Conducted by Tahu Matheson

Canberra Theatre October 9^th, 2025 – Reviewed by BILL STEPHENS 

The Opera Australia Orchestra and Chorus with Tahu Matheson on the podium. 

 

Directed by Claudia Osbourne and hosted by Laura Tingle, the impressive Gala featured Opera Australia’s full orchestra under the baton of Tahu Matheson, its acclaimed 32-member chorus, and six of the company’s leading soloists.

They included Canberra soprano, Lorina Gore, tenor Diego Torre, soprano Jennifer Black, mezzo soprano Sian Sharp, baritone Luke Gabbedy and bass David Parkin who performed popular selections from the great opera composers.

Impressively arranged on the Canberra Theatre stage, which had been decorated with fresh flowers for the occasion, the full Opera Australia Orchestra and chorus commenced the evening with a stirring performance of the Overture and third act chorus for Wagner’s Der Meistersinger von Nurnberg.

Host, Laura Tingle set a convivial tone with her wry and informative introductions, especially when introducing Jennifer Black, Sian Sharp and David Parkin who delighted with their rendition of the trio from the Mozart opera, Cosi fan tutte.

Then followed a succession of glorious aria’s, duets and choruses performed by ladies in gorgeous gowns and gentlemen in elegant formal wear, selected from the most popular operas in the repertoire.

Sian Sharp offered a sensuous rendition of the “Seguidilla” from Bizet’s Carmen, followed by a rousing “Toreador’s Song” from the same opera from Luke Gabbedy.

Lorina Gore had the audience on the edge of their seats with her dramatic rendition of the poison aria for Gounod’s Romeo and Juliet, contrasting this later with a glittering “Jewel Song” from Gounod’s Faust.  

Lorina Gore performing the poison aria from Gounod's "Romeo and Juliet" 

Diego Torre joined Luke Gabbedy for a thrilling rendition of the famous duet from Bizet’s The Pearl Fishers matched later in the program by Lorina Gore and Sian Sharp with their luscious version of the “Flower Duet” from Delibes, Lakme.

Torre won hearts with several stunning solos during the evening but most particularly with his matchless rendition of the magnificent “Nessun Dorma” from Puccini’s opera Turandot, which brought the audience to its feet.

Teije Hylkema’s glowing cello introduction heralded David Parkin’s pensive King Philip’s aria from Verdi’s Don Carlos. Parkin later thrilled with his rendition of Banquo’s aria from another Verdi opera, Macbeth.

Jennifer Black brought tears to many eyes with her “Vissi d’arte” from Puccini’ s Tosca.  

Luke Gabbedy performing the Toreador's song from Bizet's "Carmen"

Highlights scattered through-out the program were superb renditions by the Opera Australia Chorus of “Va, Pensiero”, the Hebrew slaves lament for a lost homeland from Verdi’s Nabucco, which struck a surprisingly relevant note, and “The Anvil Chorus” from Verdi’s Il Trovatore.

A non-vocal highlight was the superb violin solo by Concert master Matthieu Arama of the “Grand Adagio” from Glazunov’s ballet, Raymonda.

Room here to mention only a few of the many highlights of a memorable evening notable for its succession of brilliant performances, the magnificence of the sound achieved, and perhaps a preview of future opera performances by Opera Australia in Canberra with the completion of the new lyric theatre.

Although staged as a key event among a year of celebrations of the 60^th Anniversary of the Canberra Theatre Centre, this Opera Australia Gala Concert also served as a fitting acknowledgement of the work of Alex Budd, who today relinquishes his role as Director of the Canberra Theatre Centre to take on his dream job as CEO of Opera Australia.

                                                     Images by Ben Appleton - Photox

      This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

Resonance

James Batchelor and collaborators

Courtyard Theatre. Until 11 October.

Reviewed by SAMARA PURNELL.

Resonance is defined as when a vibrating object causes another to vibrate at a similar amplitude. Or if words are powerful and meaningful, they have resonance. 

When James Batchelor was approached by the Tanja Liedtke Foundation three years ago to create a work that honoured her legacy, it sent him on a  journey that would span continents, generations and time, eventually becoming “Resonance”.

In 2007, Tanja Liedtke had just been appointed as the new artistic director of the Sydney Dance Company, to take over from Graeme Murphy. At the age of 29, in the early hours of the morning in August 2007, she was killed in a road accident. 

Batchelor gathered information and inspiration with and from several dancers that had worked or collaborated directly with Leidtke and knew her personally - Amelia McQueen, Anton, Kristina Chan, Theo Clinkard. Performing with Chloe Chignell, Leah Marojevic and Emma Batchelor, the Canberra performances also include a few of the senior local dancers from QL2. (Local dancers from each touring location will be included in performances).  

Chloe Chignell, Leah Marojevic and James Batchelor.
Photo by Olivia Wikner

“Resonance” opened with spoken word - descriptions of Leidtke’s creative process, style, physical nature. Her choreography was theatrical in design. The dancers described her movement as “balletic, precise, frantic…” and a creator who was “playful and serious”, painting a vivid picture of a woman who had already garnered kudos and attention throughout the dance scene both here and abroad and was about to take the next giant step in a blossoming career. 

The dancers ask “What is a legacy?” and Batchelor wondered “Is this Tanja or is it just…..us??” The end result of his offering clearly has his dance DNA all over it - the slow, considered, meditative movements at the start of the performance, but the idea of legacy being embodied in dancers and shared and passed on to each other and down through generations is depicted. So too are direct passages of dance and movement from Leidtke’s work "Twelfth Floor”, including costume. 

The contents of a letter from Leidtke to Clinkard, that he reads from, gave goosebumps with its fortuitous nature and casual philosophising about contentment and living in the moment. It was a beautiful element to include in the production. 

To open and close the show, dancers wore shimmering translucent fabric in a poncho style over casual tops, jeans and sneakers. This gave the segments an almost ghostly appearance. Audience members were asked to carefully hold the costumes, which created another small element of connection and passing things on to each other. 

Emma Batchelor. Photo by Olivia Wikner

Trios were regularly formed by the dancers. The group choreography largely consisted of balletic arms, small, contained jumps and chasses, pointed toes. The individual passages offered various interpretations of memories and impressions from working with Leidtke. Anton depicts the awkwardness of remembering. Dancers question the earnestness of contemporary dance and looking back, wonder was it all a bit hilarious. 

Photo by Olivia Wikner

The circles eventually lead to embraces, a heartbeat is heard, hands touch and physical connection is made. This felt like an eventual connection, a coming together, a transmission of energy and information. It also depicted comfort in sadness - a goodbye - a funeral.  

A clever, funny and entertaining duet between Chignall and Marojevic in the form of a stream of consciousness and precise, graphic poses analysed their thoughts and contradictions and offered the opportunity to contemplate what is and who creates a legacy, including the critics with their pens…

Leah Marojevic and Chloe Chignell.
Photo by Olivia Wikner

Music composed by Morgan Hickinbotham was performed live, beginning with electronica and sounds like a chopper going overhead and culminating in drums that filled the room and built to an almost deafening crescendo as the dancers filled the floorspace, running across and around each other, almost to the point of exhaustion, but with joy, freedom and fleeting moments of interaction. They created the dance version of a mosh pit.   

The changing light outside the windows from afternoon light to dusk and dark added another layer of transition symbolism and the light turned white like moonlight upon the dancers. 

As the performance unfolds, it's hard not to wonder what the Sydney Dance Company would have looked like had Leidtke lived to fulfil her role there. 

“Resonance” is an emotional work, no doubt for those involved but also for those observing, who didn’t know Tanja Leidtke. Described as a “celebration”, it was clearly approached by the dancers and creators with reverence, responsibility and a desire to inform. It is an engaging, poignant, multilayered and informative work, beautifully realised, and portraying humour, exactitude, joy. Whilst the dance itself is ephemeral, the memory and legacy of Leidtke continues.

How lucky young dancers and choreographers are to have the opportunity to work with Batchelor and his contemporaries, to honour Leidtke and to learn, share and pass on their own body of work with those who come after them. 

from the Canberra performance of Resonance.
Photo by Olivia Wikner

A documentary about Tanja Leidtke, “Life in Movement”, was made not long after her death.

RESONANCE

 

Resonance. James Batchelor and Collaborators.

Lead artist, choreographer and producer James Batchelor. Dramaturg, producer Bek  Berger. Composer Morgan Hickinbotham. Lighting designer Katie Sfetkidis. Lighting associate Lara Gabor. Costume designer Theo Clinkard. Costume maker Alice Orfona Coles. Youth Dance Partner QL2 Dance.

The Courtyard Studio.Canberra Theatre Centre. October 9-10 2025. Bookings: 62752700. www.canberratheatrecentre.org.au

Reviewed by Peter Wilkins

 

James Batchelor

The audience enters a large open space. The Courtyard Studio of the Canberra Theatre Centre has been stripped bare. A single row of chairs lines the walls of the space. Seated on the floor a group of wdancers wait.  It is as though we have entered a studio rehearsal room, preparing to witness the birth of a new work. In the centre of the room a dancer stands with a microphone in her hand. She begins to move, tracing patterns across the floor and describing the video angles as the camera tracks her measured movements through space. It is not easy to understand her entire narration but I imagine that she is describing what I later discover is the video of Life in Movement about choreographer Tanja Liedtke.

The microphone passes to choreographer and lead dancer James Batchelor. Seated on the floor his voice is clear as he describes the influence and inspiration that Tanja Liedke had on his work and the dancers who worked with her on her projects 12^th Floor and Construct. IT is the story of a life cut tragically short when she was killed while jogging along the road in Sydney in the dark hours of the morning and was struck by a passing garbage truck. There is spiritual sobriety in Batchelor’s honouring of Liedtke’s legacy. Even while seated his voice echoes with the admiration for a dancer he never met, but whose influence has informed his creative expression. Liedtke shines as the Muse of Time’s transgression and  transformation.

Finally the microphone passes to Theo who reads a letter he received from Liedtke shortly before her death. It is heartbreaking, oblivious to the cruel twist of fate before she was due to assume artistic directorship of the Sydney Dance Company from founding director Graeme Murphy. It is a letter full of joy and optimism and hopeful vision. It is a vision that Batchelor and the dancers who worked with Liedtke create as a living archive, joined by those whom Batchelor has selected from local and national dancers. As the dancers put on a transparent top it appears as though their meditative ritual has assumed the spirit of their Muse. . Through space they weave a pattern of ethereal dance akin to the images on a Grecian frieze or the fluid grace of figures in a Matisse picture. Morgan Hickinbotham’s composition punctuates gesture and impulse with a percussive beat that gradually builds in momentum in a performance that builds in intensity before reverting to stillness before transforming into a collaboration of Liedtke’s inventiveness and Batchelor’s pensive expressiveness. Gesture in motion, expression through space and time create a fusion of style that shares the cornucopia of human emotion. A dancer describes being overwhelmed by Liedtke’s prepossession with detail in gesture, in precise action and in transforming the inanimate into a living embodiment. Batchelor weaves Liedtke’s dance background in physical theatre and dramatic narrative through movement with his own immediately expressive use of the body as a living archive. Resonance is a dance work of shifting moments of solo work, such as Anton’s leaping embrace of the space or working in pairs or groups in relating to the human need for community and support, friendship and trust.

Batchelor’s work resonates with a shared humanity. It transports us to flashing images of experience. There is humour in moments of whimsy and frivolity. There is contemplation in moments of reflection and empathy. There is collaborative power in the dedication to Liedtke’s legacy and sadness at the dreams unfulfilled and visions unrealized. And yet, there is hope and there is jubilation in the belief that Liedtke s brief oeuvre will have a lasting influence across the generations and inspire future artists to incorporate her inspiration in the shared passion for contemporary dance. It is what Batchelor has achieved with Resonance to stunning effect.

Hickinbotham’s score reaches a fever pitch as dancers, once more donned in the transparent tops whirl in spirals of sheer jubilation. Bacchanalian in its devotion, Batchelor and collaborators pay a final homage to a Muse who inspired their art. Resonance ultimately resounds with optimism. Liedtke’s spirit is her gift to contemporary dance and James Batchelor and his collaboraators are the shining custodians of her legacy.   

THE TALLIS SCHOLARS - Canberra Theatre.

The Canberra Theatre – 7^th October 2025. Reviewed by BILL STEPHENS

Founded in 1973 by their director, Peter Phillips, The Tallis Scholars have become world renowned as supreme exponents of the Renaissance repertoire. Frequently described as one of the finest choirs in the world, The Tallis Scholars are renowned for the power and beauty of their sound.

 Under the directions of their founder, Peter Phillips, they tour widely giving around 80 concerts each year. As he commented in his charming post-concert remarks to the capacity audience, this was their 9^th concert in Canberra, all the others being given in Llewellyn Hall.  This concert was presented as part of the Canberra Theatre Centre’s 60^th Anniversary celebrations.

One didn’t have to be a devotee of Renaissance sacred music to be enchanted by the beauty of the sound produced by this ten-voice choir, but for any who weren’t, this concert would certainly have gone a long way towards achieving a conversion.

From the opening notes of 16^th century Catholic priest, Juan de Padila’s glorious vesper, Deus in adiutorium which commenced the program, the stunning accuracy of the acapella singing, the vocal textures which made it possible to identify individual voices within the sound, and the unique ethereal sound produced by the Scholars was mesmerising.   

In his program notes, Phillips explained that his reason for titling this program, “Chant” was to demonstrate the evolution of sacred music through three different ways of presenting chant, from the ancient to the modern.

To this end, threaded through the program were four compositions by 12^th century German Benedictine Abbess, Hildegard von Bingen. Others represented were 15^th   century Flemish composer Jacob Obrecht, 16^th  century French master of polyphonic vocal music, Josquin des Prez, and 17^th century Italian Catholic priest, Gregorio Allegri.

 There were also four compositions by contemporary Estonian composer Arvo Pärt, including his Da Pacem Domine written in response to the terrorist bombings in Madrid in 2004 and sung by the full choir.

Any suggestion of sameness was overcome by presenting the various compositions with different combinations of the voices of the six women and four men who make up the choir.  Three of the four Hildegard compositions were performed by a female quartet, and the fourth by a trio, and each without conductor.

As with Padilla’s opening composition, Arvo Pärt's Arvo Pärt Tridion was performed by the full choir conducted by Phillips. It included an electrifying passage in which the sopranos reached a top Bb for an impassioned prayer “that our souls may be saved”.

Gregoria Allegri’s  Misere mei, Deus was staged with Phillips conducting six of the singers onstage, with the tenor well to one side leading the chant and the other five providing the responses, with four offstage voices providing vocal decoration. Magical.

Changes in personnel were achieved elegantly when required, with no individual singer allowed featured, so that the focus remained on the music and the choir as a single entity.  

Throughout the concert it was almost possible to hear the purring from the blissed-out audience, which erupted into rapturous applause as the last notes of Josquin des Prez's  Praeter rerum faded.

Their reward, a glorious rendition in 8 parts of Robert Pearsall’s Lay Me A Garland.

                                                                        Images supplied.

      This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au