THE GREAT MOSCOW CIRCUS EXTREME - Gungahlin, ACT.

Duo Acero - The Great Moscow Circus Extreme.

An Edgley-Weber presentation. Gungahlin ACT from 1^st to 17^th November, 2024

Performance on 2^nd November reviewed by BILL STEPHENS.

For many years The Great Moscow Circus in Australia had come to represent the best of the great Russian circus tradition by exhibiting each visit a selection of the very best circus acts sourced from around the Soviet Union.  

With the collapse of the Soviet Union in 1991 all that changed so the Edgley family purchased the ownership of the name, The Great Moscow Circus for Australia and New Zealand, and broadened the selection of acts under the banner to feature the best circus acts from around the world.

The Great Moscow Circus trademarks are currently owned by the Weber and Edgley families, and while neither family has any association or affiliation with the Government of Russian, they’ve joined forces under the banner of The Great Moscow Circus to present what they consider are the very best examples of circus arts from around the world.

The Great Moscow Circus Extreme

Currently ensconced in Gungahlin until 17^th November, in a spectacular $10,000,000 collection of state-of-the- art tents, trucks, cars, food stalls and assorted circus paraphernalia, the 2024 edition, entitled of The Great Moscow Circus Extreme comprises artist from Armenia, Ukraine, Brazil, Columbia, Greece, New Zealand and Australia, all of whom feature in a grand parade which commences the performance.  

Unusually there’s a singer, Elly Rowbotham, and a team of six dancers who provide additional glamour by prefacing many of the acts with short mood-setting dance routines.   

Among the more traditional circus acts the Weber family are well represented by Tiana and Tahlia Weber who demonstrated their impressive skills on the silks and trapeze respectively, while 10 year old Cruz Weber bravely joined the Globe Riders for a heart-stopping whiz around the Globe of Death for the finale.

Hewin Lyezkosky Boliver - The Giant Wheel

Similarly heart-stopping was Hewin Lyezkosky Boliver whose dare-devil antics on the Giant Wheel at the beginning of the program were greeted with audible gasps from the audience, while Brazilian Giselle Souza captivated with her command of the high wire by jumping over flames and riding a unicycle while precariously balancing on a single wire.  

Among the more unusual acts was one called BMX & Scooter. Nathan Freeman, Samual Grace, Kody Law and Rhys Rogers quickly established themselves as audience favourites by performing seemingly impossible feats on scooters and BMX bikes which surely would have won them gold medals at the Paris Olympics had they been competing.

BMX & Scooter - Great Moscow Circus Extreme

Equally fascinating were the Ukrainian Flyers, Andrei Dudkin, Danil Kravchenko and Gosha Mykhailenko who made imaginative use of a trampoline to allow them to captivate the audience by running up walls and jumping through windows for their fast-moving act.

 

The Ukranian Flyers - Great Moscow Circus Extreme

But perhaps the most mesmerising act of all was an arresting performance by Duo Acero, Colombian Edison Acero and Brazilian Giselle Souza, who fresh from their performances on “America’s Got Talent” demonstrated extraordinary strength and artistry with their graceful and sensuous manoeuvres on the Chinese pole.

Many of these acts required equipment which needed to be set up by a busy team.   

Gagik Avetisyan - Great Moscow Circus Extreme

A single clown, Armenian Charlie Chaplin look-alike, Cagik Avetisyan, had the task of keeping the audience distracted while these set-ups took place. Most of Cagik’s routines involved audience participation and depended on the chosen person’s response to mimed instructions for their amusement.

 Even though the set-ups were efficient, there were quite a few of them, and as the evening wore on, Cagik’s routines rather out wore their welcome leading to the realisation that, despite the excellence of the individual acts, and the attempts at innovation, this traditional presentation for the 2024  edition of The Great Moscow Circus felt dated and rarely achieved the bravura, pizzaz and excitement of  previous editions.

     Gungahlin ACT 1st - 17th November 2024 - Goulburn NSW 21-24 November 2024

     Mawson ACT - 3rd -19th Jan. 2025 - Queanbeyan NSW - 24th Jan - 2nd Feb 2025

                                             Images: Chowie Photography.

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

 

 

 

Dark Matter 2024

Exhibition Review: Photography | Brian Rope

Dark Matter 2024 I Rozalind Drummond, Claire Paul, Phoebe Kelly, Sari Sutton

Photo Access  I 25 October - 23 November 2024

The annual Dark Matter residency program at Photo Access aims to provide a supported opportunity for artists whose practices incorporate darkroom-based or other alternative processes. The residencies aim to foster the creation of innovative image-based works that involve artistic experimentation, critically engage with contemporary darkroom-based practices and explore social, political, environmental and aesthetic questions of contemporary relevance.

This exhibition is the outcome of the 2024 Dark Matter program. The catalogue tells us that, “using the Photo Access darkroom facilities, these four artists have explored materials and methods of image-making that challenge and expand the perceived boundaries of photography. Their collective works navigate the interplay of landscape, technology and natural forces through experimental approaches …. and site-specific practices.”

When reviewing the 2022 Dark Matter show, I suggested that whilst most of us are obsessed with immediate image creation, that year’s participants were exhibiting what a slower and more contemplative approach could deliver. That is equally the case again this year. 

Before looking separately at each artist’s contributions, I would briefly mention the different display approach used in some parts of this show - works of differing sizes have been grouped together, sometimes overlaying others. That, in itself, provides something additional for us to think about.

Installation image – Eunie Kim

Emerging artist Claire Paul uniquely combines long-exposure photography, foraging, and screen-printing, fostering a mindful connection with the environment through her deeply ecological art practice. Her portraits of place offer something of an antidote to the pace of our lives nowadays. She has used long-exposure pinhole photography to highlight mindfulness and slowness. Her artworks have been screen-printed onto handmade paper using charcoal and ash. She has utilized rainwater, repurposed artworks, plants she has collected from the locations where she has photographed, and other materials like turmeric and rosemary. Viewing and exploring the completed pieces is most enjoyable.

Wash, 2024, charcoal and ash screen-printed onto handmade paper (rosemary, recycled artworks, seawater, foraged plant matter from photographed site), 40 x 28 cm - Claire Paul

Phoebe Kelly is visual artist and photographer living and working in Naarm (Melbourne). She uses photography, casting and processes of material transferral to investigate the potential of translating the intangible into the physical. In this exhibition, smartphone photos serve as the basis for Kelly's prints, all bar one of them being silver gelatin. She has used those images as her source material, then translated and manipulated them in various ways to create transformed artworks. Other processing possibilities that might be employed are still being investigated. The group of pieces being shown here is also very much worth exploring.

A moving surface, from the series Two Suns, 2024, silver gelatin print, 40 x 30 cm - Phoebe Kelly

Rozalind Drummond is a Melbourne-based artist. Working across expanded photographic practice, performative action and video, her practice is essentially a nuanced exploration of spatial and natural environments taking a multi-disciplinary approach. She has used photography, videography and performative actions to engage with the concepts of landscape and place. In her works that are on display in this exhibition, Drummond has examined various transitory sites - temporary buildings, empty offices, and unoccupied spaces – revealing to both herself and us, new terrains. Once more, visitors are encouraged to look closely at the works and consider what they are showing.

Untitled, 2024 - type C screen print, recycled muslin cotton, 84 x 145 cm - Rozalind Drummond

Sari Sutton is a Canberra-based photographer exploring human impact on Earth, and related social, economic, and environmental themes through diverse styles. Inspired by Canberra’s Mount Stromlo – which is deeply significant for settler scientists and its original Indigenous inhabitants, Sutton has investigated “the invisible but felt forces of interconnectedness and energy – between us, the earthly natural world and the celestial.” Her resultant series, Dark Energy, is another excellent outcome from this year’s residencies.

Interstellar, 2024 – digital inkjet print on Photo-Tex 118 x 94 cm - Sari Sutton

This is the third annual Dark Matter show I have reviewed. Once again, the artists have delivered excellent works, demonstrating that the residency program is a most worthwhile one.

This review is also available on the author's blog here.

SARAH TURNS 100 - BLAMEY STREET BIG BAND

Conducted by Ian McLean

Vocalist: Leisa Keen

German Harmonie Club, Narrabundah November 2

 

Reviewed by Len Power

To celebrate vocalist, Sarah Vaughan’s 100^th year since her birth, the Blamey Street Big Band and Canberra vocalist, Leisa Keen, performed a large selection of music and songs associated with the singer. This birthday party was an evening to remember!

Born in 1924 in New Jersey, USA, Sarah Vaughan became one of the most celebrated jazz and popular singers of the 20^th century. From a talent contest that she won in 1942 at New York’s famed Apollo Theatre, to working with Earl Hines’ and Count Basie’s big bands and a solo career as an award-winning vocalist, she worked continuously until shortly before she died in 1990.

Conducted by Ian McLean, the band commenced with an arrangement by Dave Wolpe of Johnny Green’s, Body and Soul, the tune that Vaughan sang to win the talent contest at the Apollo. It was followed by Cavernism, composed by Earl Hines. Both tunes were fine mood-setting introductions to the world of Sarah Vaughan.

Leisa Keen then joined the band to perform songs associated with Vaughan. Commencing with Perdido, composed by Juan Tizon, a trombonist with Duke Ellington’s orchestra, Keen’s distinct artistry with this song was a fine tribute to Vaughan, who was the first vocalist to record it.

Leisa Keen with the Blamey Street Big Band

Among the various songs presented by Keen in the first half of the program, standouts were Tenderly, a 1947 song composed by Walter Gross, Just Friends, which featured passages of scat singing, for which Vaughan was renowned, and Misty, which became Vaughan’s signature song. Keen also gave a sublime performance of the lesser-known song, Gardens In The Rain, composed by Carroll Gibbons and a sultry performance of the Broadway song, Whatever Lola Wants.

The band performed Kansas City Shout, a number associated with Count Basie, and I’m Gonna Live Till I Die by Al Hoffman, which brought the first half of the program to a rousing end.

Goin’ On, composed and arranged by Count Basie band member, Benny Carter, was the Blamey Street Big Band’s opening number of the second half. Leisa Keen then sang tunes from Vaughan’s pop vocalist era. Each song was given a superb performance with I Can’t Give You Anything But Love, a slow and sultry, Honeysuckle Rose, I Left My Heart In San Francisco and an up-tempo arrangement of After You’ve Gone, particularly memorable.

Vaughan’s nickname was “Sassy”. Keen also performed Sassy’s Blues, composed by Sarah Vaughan and Quincy Jones and arranged by Andrew Hackwill, saxophonist with the Blamey Street Big Band. Keen’s expert scat singing led to an unexpected and electrifyingly long note, which she sustained superbly.

Played when Vaughan died, A Song For Sarah, was a haunting and poignant tune played sensitively by the band. Keen returned and, with the band, gave an uplifting version of Jerome Kern’s Nobody Else But Me to finish this excellent tribute to Sarah Vaughan.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 3 November 2024.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

  

The End of the Wharf Revue As We Know It ! ! !

 

The End of the Wharf Revue As We Know It ! ! !.  Soft Tread Enterprises at Canberra Theatre Centre, October 25-November 2, 2024.

Reviewed by Frank McKone
October 28

I do not need to reiterate the enthusiasm of others for the best End of the Wharf Revue imaginable.  The Full House on Monday repeated the opening night’s tears of laughter last Saturday.

So, looking forward to First Tuesday in November – Wednesday our time –  I find myself trying to imagine the End of Trump or the Beginning of Harris as we might know America.  What would happen if the Wharf Revue sails the Pacific Ocean Blue and appears in, say, Pennsylvania, with Mandy Bishop playing Kamala shooting Drew Forsythe as Donald?

Would it be Funny in America?

Seriously, can we imagine the Wharf Revue ever happening in America?  

The fact that Jonathan Biggins, Drew Forsythe and Phillip Scott with (in different years) Amanda Bishop, Genevieve Lemon, Jacki Weaver, Helen Dallimore and recently David Whitney, could have become icons of such withering political satire – for 25 years in a row! – says a very great deal about Australia, the Lucky Country – so ironically named by Donald Horne 60 years ago.

If there’s one crucial reason why I’m glad my £10 Pom parents fortuitously (in fact it was accidentally) sailed me on the oceans (mainly green) from Rotherhithe on the Thames to magnificent Sydney Harbour 70 years ago, is that I have come to appreciate Jacqui Lambie’s “no bullshit” approach to politics.  

Only in Australia could such a woman be elected to Parliament, surely.  And only in Australia could Amanda Bishop make her Your MC at the Parliament House Midwinter Ball.

Amanda Bishop as Jacqui Lambie
The End of the Wharf Revue As We Know It ! ! !
2024

 

Thank you, Australia, for the Wharf Revue.  May you live forever.

 

 

 

 

NICE WORK IF YOU CAN GET IT - Queanbeyan Players

 

Toby Breach and Elloise Reardon in "Nice Work If You Can Get It"

Music and Lyrics by George and Ira Gershwin - Book by Joe Dopietro

Directed by Dave Smith - Musical Direction by Brigid Cummins

Choreographed by Kirsten Smith - Costumes designed by Jess Zdanowicz

Lighting Design by Jacob Aquilina - Sound Design by Telia Jansen

The Q, Queanbeyan Performing Arts Centre 1st - 10th November, 2024

Opening night performance on 1st November reviewed by BILL STEPHENS

The ensemble in action during "Nice Work If You Can Get It"

  

Though you could be forgiven for thinking that "Nice Work If You Can Get It!" is a vintage musical, especially because it features the songs of George and Ira Gershwin with a book written by Joe DiPietro but based on material by Guy Bolton and P.G. Wodehouse, it actually premiered on Broadway in 2012.

The Production Company in Melbourne gave it its first Australian production in 2015.

Dave and Kirsten Smith were so impressed with "Nice Work If You Can Get it!" when they saw the Broadway production while touring the US in 2013 that they persuaded Queanbeyan Players to produce it, even taking on the roles of Director (Dave) and Choreographer (Kirsten).

It’s not difficult to see the reasons for their enthusiasm because the show, a pastiche of a 1920’s musical, is crammed full of the Gershwin’s most memorable songs, and while the storyline is disarmingly silly and improbable it is also very funny, offering lots of delightful character roles which this large talented cast embrace with enthusiasm.

Taking on his first directorial role Dave Smith draws on his own formidable performance skills to deliver a sparkling well-cast production in which his actors and creatives   achieve an impressive balance between farce and nostalgia.

John Whinfield (Duke Mahoney) - Luke Ferdinands (Jimmy Winter) - Anthony Swadling (Cookie McGee) in "Nice Work If You Can Get It"

In the central role as Jimmy Winter, the dopey millionaire with a penchant for getting married to the wrong person, Luke Ferdinands offers a beautifully sung, confidently danced leading man performance that is both funny, charming and worthy of the adoration of the hordes of adoring females who constantly pursue him.  

He is well matched by Sienna Curnow as the no-nonsense bootlegger Billie Bendix, who charms with an effervescent performance, delightfully phrased singing and especially her comedic skills.

 

Luke Ferdinands (Jimmy Winter) - Sienna Curnow (Billie Bendix)

Anthony Swadling scores with his well-judged performance as Billie’s partner-in-crime Cookie McGee particularly when he finds himself unwittingly transformed from bootlegger to butler; while John Whinfield captures his share of the laughs with an inspired performance as Duke Mahoney who discovers a misunderstanding about his name attracts the attention of gorgeous gold-digger, Jeannie Muldoon (Kay Liddiard).

Anthony Swadling (Cookie McGee) - John Whinfield (Duke Mahoney) - Sienna Curnow (Billie Bendix) in "Nice Work If You Can Get It"

Anna Tully is a constant delight as Eileen Evergreen, the world’s most celebrated modern dancer, while Lillee Keating as Duchess Estonia Dulworth, Steven O’Mara as Chief Bartholomew, Pat Gallagher as Judge Max Evergreen, and especially Fiona Hale as the formidable Millicent who unravels misunderstandings at the end with her surprising revelations, all add to the fun.

Among the delights with this production are the numerous spectacular song and dance routines performed by the large ensemble which features an unusually large male contingent and which are cleverly staged by choreographer Kirsten Smith who possesses a particular talent for devising eye-catching movement for non-dancers.

Also outstanding is the large orchestra assembled under the musical direction of Brigid Cummins, which achieved an impressively disciplined big band period sound which did justice to the superb musical arrangements which constantly surprised with the inclusion of references to Gershwin’s Rhapsody in Blue and several of his lesser known classical compositions in addition to their well-known songs including Someone to Watch Over Me, S’Wonderful and Fascinating Rhythm.

Elegant flattering period costumes designed by Jess Zdanowicz, a serviceable setting, together with good sound and lighting by Telia Jansen and Jacob Aquilina all contributed to a clever production destined to be remembered as being among Queanbeyan Players best.

 

 "Nice Work If You Can Get It".

                                           Images by Ben Appleton - PHOTOX CANBERRA

                     This review first published in CITY NEWS on 2nd November 2024.

SIX The Musical - Theatre Royal, Sydney

 

Loren Hunter - Zelia Rose Kitoko - Deirdre Khoo - Kimberley Hodgson - Chelsea Dawson
- Giorgia Kennedy in "SIX"

SIX  The Musical :  Theatre Royal – Sydney

Book, Music & Lyrics by Toby Marlow & Lucy Moss

Directed by Lucy Moss & Jamie Armitage  – Associate Director – Sharon Millerchip

Choreographed by Carrie-Anne Ingrouille – Associate Choreographer: Freya Sands

Costumes designed by Gabriella Slade – Associate Costume designer, Nigel Shaw

Set Design by Emma Bailey - Musical Direction by Claire Healy

Lighting Dessigne by Tim Deiling - Sound Design by Paul Gatehouse

Presented by   Presented by Louise Withers, Michael Coppel and Linda Bewick.

Theatre Royal, Sydney 25^th October until December 28^th 2024.

Opening night performance on 25^th October reviewed by BILL STEPHENS.

Loren Hunter - Chelsea Dawson - Kimberley Hodgson -Deirdre Koo - Zelia Rose Kitoko
 - Giorgia Kennedy in "SIX".

 The perfect musical for the TikTok generation, SIX The Musical was originally written by a couple of University student friends, Lucy Moss and Toby Marlow, for a Cambridge University student production for presentation at the 2017 Edinburgh Fringe Festival.

Experimenting with possibilities for a different form to traditional musical theatre they hit upon the idea of telling the story of the six wives of Henry V111 as it might have been communicated by an all-girl vocal group at a pop-concert. 

Little could they have imagined that this concept would morph into a global phenomenon spawning a soundtrack achieving a ridiculous 32 million views on TikTok, and which, after two previous Covid-interrupted sold-out seasons in the Sydney Opera House, and a national tour,  would be returning to Sydney for a season in the Theatre Royal,  which judging from the response of the first-night audience,  is set for its third sold-out Sydney season.

Not only is SIX brilliantly conceived and impressively mounted, it is also performed by, and a stunning showcase for, the talents of six prodigiously talented, triple-threat performers who play the wives with arresting solos, superb group harmonies and flawless execution of Carrie-Anne Ingrouille’s arresting choreography.

As Henry’s six wives, they compete for the position of the band’s leader by trying to prove which of them had the worst experience at the hands of Henry.

Their competition all takes place in a brilliantly lit Tudor-inspired setting designed by Emma Bailey, and accompanied by a classy, all-female band consisting of Claire Healy (Keyboards), Kathryn Stammers (Drums), Danielle Colligan (Guitar), Ann Metry (Bass).

Deirdre Khoo - Kimberley Hodgson - Chelsea Dawson - Loren Hunter -Zelia Rose Kitoko
- Giorgia Kennedy in "SIX'.

Every member of the cast is on stage for the full duration of the show, costumed in glittering futuristic steam-punk-with-a-Tudor-twist outfits designed by Gabriella Slade and modelled on those of modern-day pop princesses, among them Beyonce, Sia, Adele, Rihann and even Celine Dion.

Each costume holds clues to the status of the various wives. Anne Boleyn and Katherine Howard wear chokers to signify their beheading. Jane Seymour’s black and white corset alludes to half-timbered houses. Anne Boleyn wears a green costume to reference the myth that Henry V111 composed “Greensleeves” which becomes a recurring motif thoughout the show.

Of the original Sydney cast only Loren Hunter remains, reprising her original role as Jane Seymour. Hunter brings a warm voice and natural elegance to the role which makes her pensive solo “Heart of Stone” a stand-out.

Deirdre Khoo in "SIX". 

Deirdre Khoo is a delight as Anne Boleyn determined not to let anyone forget she was the first wife to lose her head. Kimberley Hodgson is a defiant Catherine of Aragon capturing the attention of the audience with the first of the wive’s stories with her blazing rendition of “No Way”.   

Zelia Rose Kitoko makes good use of the multi-faceted skills honed as an Internationally acclaimed burlesque artist for her portrayal of Anna of Cleaves lighting up the room with her solo “Get Down”, while Chelsea Dawson as Henry’s fifth and perhaps least relevant wife, Katherine Howard, provides a cheeky account of her many romantic encounters with “All You Wanna Do” before she too is beheaded.

Finally it is Giorgia Kennedy as the empowering Catherine Parr, who, fed up with all the arguing, questions the point of the competition by recounting her accomplishments independent of Henry with “I Don’t Need Your Love”.

Inspired by Catherine’s argument, the wives realise they didn’t need Henry’s validation and band together for the rousing finale “Six” in which they  re-invent history to tell how their stories would have turned out if Henry hadn’t been involved.

With its superb production values and electrifying performances SIX is an intelligent, high octane, tightly choreographed ensemble show which can be enjoyed on many levels. Every member of the exceptional cast together with the band, is on stage for the entire playing time and, depending on your knowledge of  Tudor history, you might even find it informative.

                                    Images by James D. Morgan - Getty Images

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

 

NICE WORK IF YOU CAN GET IT

Book by Joe Pietro

Inspired by material by Guy Bolton and P.G. Wodehouse

Music and lyrics by George and Ira Gershwin

Directed by Dave Smith

Musical Direction by Brigid Cummings

 

Reviewed by Len Power 1 November 2024

 

Broadway musicals from the 1920s generally followed a formula of light entertainment with throw-away stories, making most of the shows in their original form unrevivable today. Unfortunately, most of the shows with music and lyrics by the Gershwins were written at that time.

“Nice Work If You Can Get It”, which opened on Broadway in 2012, takes the basic idea of bootlegging during Prohibition from the 1926 Gershwin musical, “Oh, Kay”, but fashions a new, gently satirical story stuffed with music from the Gershwin catalogue. The result is a show that follows the style of musicals from that era but pokes fun at characters, situations, manners and 20s musicals themselves with a modern-day sensibility.

Queanbeyan Players, with Dave Smith directing, have given us a lavish staging of this delightful show with fine performances from a strong cast who sing, dance and act their roles with skill and enthusiasm.

Luke Ferdinands as the rich, much-married playboy, Jimmy Winter, gives a fine, comical performance and Sienna Curnow plays the bootlegger, Billie Bendix, with warmth, wit and tons of energy. Both performers sing very well with a fine sense of the style of the era. Her singing of “Someone To Watch Over Me” and their duet “S’Wonderful” are outstanding amongst their many songs in the show.

Amongst the strong cast of leading players, Anthony Swadling as the bootlegger and pretend butler, Cookie, and Anna Tully, as Jimmy’s wife-to-be, Eileen Evergreen, give memorable comedic performances. Both are fine singers, too.

Kay Liddiard as Jeannie, a chorus girl, and John Whinfield as Duke, a not very bright, rough bootlegger, are delightfully funny in their performance of the song, “Do It Again”. Lillee Keating as the uptight Duchess, a crusader for Prohibition, is a standout with her performance of the song, “Looking For A Boy”, after her lemonade has been spiked.

Steven O’Mara, Pat Gallagher and Fiona Hale all have their moments to shine. The Vice Squad members and the Chorus Girls sing, dance and perform with a fine sense of the style of the times.

Kirsten Smith’s choreography shows a good understanding of the styles of dance from shows of the 1920s and the costume designs of Jess Zdanowicz nicely evoke the era.

The music for the large number of Gershwin songs is played very well by the band under conductor, Brigid Cummins. Listen carefully for references to other Gershwin music in this cleverly arranged score.

Director, Dave Smith, has brought all the elements of this large and fast-moving show successfully together to give us a stylish, colourful and highly amusing entertainment.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.