AMERICA - Fred Smith - The B - Queanbeyan Performing Arts Centre

 

AMERICA – Presented by Fred Smith.

The B, Queanbeyan Performing Arts Centre, November 3.

Reviewed by BILL STEPHENS.

Fred Smith presenting "America"

It took a cannily programmed concert on the eve of what could prove one of the most momentous days in American political history, for this reviewer to finally experience the brilliance of Fred Smith.

Folksinger, troubadour, balladeer, political satirist, storyteller, no matter which label seems most appropriate, Smith blithely discards normal rules of good presentation to mesmerise with the profound perceptiveness of his lyrics, and the ear-worm catchiness of his tunes.

To paraphrase the late Dolly Parton, it takes a lot of skill to appear so relaxed on stage, but it is precisely Smith’s relaxed demeanour that skilfully masks the meticulous preparation and attention to detail that is obvious in the professionalism of his performance.

Surrounded by a quintet of outstanding musicians in Dave O’Neill (Electric guitar, violin), Jacqui Bradley (Banjo, violin and backing vocals), Matt Nightingale (Double bass, backing vocals), Hayden Kinsman (Keyboard) and Mitch Preston (Drums), all of whom appeared to breathe with him, Smith delivered a masterful musical PowerPoint presentation of American history that was as enlightening as it was entertaining.

Striking visuals often proved as affecting as his razor-sharp verbal observations delivered among powerful songs, some funny, some sad, some both funny and sad, and most sugar-coated with catchy tunes.

Commencing with “Wind and Wind”, outlining the contribution of Irish immigrants to the growth of American mechanisation, Smith followed with “Long Run Wilmington Joe”, a comment on the Joe Biden administration, which led inevitably into “What Could Go Wrong” and the election of Donald Trump.

If on paper these song titles sound a bit dry, as delivered by Smith they are electrifying.

Songs like “Don’t Dig My Grave” and “Deep Deep River” highlighting pivotal incidents resulting from presidential decisions, especially the latter for which Smith declined to show the image which inspired it.

“Chinese Car”, a new song with references to the opera Madam Butterfly, and some unsettling images of Putin and Trump together, sounded a wry warning concerning a predicament in which the present administration has unwittingly found itself, while “Asshole” proved a heart-felt sing-along in which the audience happily participated.

However, not every song offered deep and meaningful comment on American politics.  

“Song of the Open Road” and “American Guitar” provided opportunities for Smith to share a self-deprecating account of his attempt to break into the American folk scene, and while “Addicted to Addiction” is a witty comment on America’s fascination with addictive substances, it could also be an alert to others in the audience still discovering the brilliance of Fred Smith, that attendance at his concerts could also become an addiction.

                                                           Photos by Sam De Sousa

This review first published in the digital edition CITY NEWS on 04.11.2026 Link here

 

AMERICA FRED SMITH

 

America. 

Written and performed by Fred Smith with band members Dave O’Neill, Jacqui Bradley, Mitch Preston, Matt Nightingale and Hayden Kinsman. Artistic Director Jordan Best. Lighting Linda Buck. Sound Engineer Adam. Bicentennial Hall. Q Theatre. One performance only Tuesday November 3^rd.

Reviewed by Peter Wilkins

 

Fred Smith is the soothsayer who writes the songs we need to hear. If only every kid in high school could see Smith’s song cycle through American history. If only adults of voting age in America could witness the truth behind the fabric of the real fake news. Would it make a difference to how we see the American Dream? Possibly not but this is a concert that makes it impossible for Smith’s insights to fall on deaf ears.

America is Smith’s personal account of a nation built on migration (Wind on Wind), slavery, wars and divisive politics (What Could Go Wrong?). Seen through his eyes, he sings his songs of illumination from the south to the north, and the east and the west along the highways and the byways of a vast nation, teeming with contradiction united by a constitution and divided by a grand canyon of political, social and economic difference. Using projections to depict the people and events from the arrival of the Pilgrim Fathers to the time of Trump, Smith intersperses historical tales with accounts of his own experiences as the accompanying spouse at the Washington embassy and a touring folk singer at Folk Festivals throughout America. He is backed by outstanding band members Dave O’Neill on violin and electric guitar, Jacqui Bradley on backing vocals,banjo and violin, Mitch Preston on drums, Matt Nightingale on Double bass and backing vocals  and Hayden Kinsman on Keys. From soul to pop to rock and roll and folk Smith and his band are in perfect sync, taking us on a journey of discovery that is as engrossing as it is entertaining.

America is entertainment with a sting in the tail. Smith sings of a nation built on belief and competition and where violence is justified. His manner is casual, his appearance relaxed but his message is a barb to the conscience in Don’t Dig My Grave. He proudly  announces “George Bush. My Part in His Downfall” and the disastrous American penchant for starting wars with catastrophic consequence. Images glare from a screen at the back of the stage of Vietnam, Iraq, Afghanistan, and Iran.  Smith turns up the temperature of recrimination. History may have its own panacea as Smith exhorts his audience to  clap along or sing the chorus of Deep Deep River a politically charged narrative. But Smith’s facts are not fake news. They leave a bitter taste at an NRA convention or on the banks of the Rio Grande where a migrant father and his16 year old  daughter drowned while attempting to evade Border Protection officers in their desperate search for a new life. Smith drives a stake into the heart of inhumanity. America delves deep into the nation’s tragedy. It mocks its absurdity. Smith is the master storyteller with anecdotal songs dripping with irony, witty and provocative, honest and insightful.

There is no ambivalence in Smith’s concluding commentary on America’s current presidential incumbent. “I’m An Asshole” leaves us in no doubt of his opinion of a man who inspires Smith’s ridicule. I am writing this after the Blue Tsunami that swept the Democrats to control of the Congress in the Mid Terms. America is Smith’s anthem of hope for a nation that he obviously regards with affection. However it may still be a couple of years before he can return to sing his Song of the Open Road.

There are lessons learned and lessons ignored in America’s crucible of contradiction. Smith and his band are troubadours of truth, minstrels with a mission. Sadly, America has left the building too soon, but if you happen to be on an open road near where it is showing get a ticket before it’s too late. This is one history lesson you won’t want to miss

Photos Sam de Souza and David Atfield

THE METAVERSE - Ausdance ACT 2026 Youth Dance Festival.

                 THE METAVERSE - Ausdance ACT 2026 Youth Dance Festival.

                    Performance on 29th October reviewed by BILL STEPHENS

Trinity Catholic College, Goulburn, performing "lost in the Signal

For more than 40 years, Ausdance ACT has staged the annual Youth Dance Festival. In that time the event has become one of the ACT’s longest running and most significant arts programs.

This year the non-competitive event was staged in the Canberra Theatre Centre Playhouse, where over three night more than 700 secondary students from across Canberra and the ACT participated in the non-competitive event.   

Attending the final night, the immediate impression was how much the overall quality of the presentations had improved, no doubt due to dance being included in the curriculum of the participating schools and colleges.

Participating on this night were troupes representing Trinity Catholic College in Goulburn, Kingsford Smith School, Hawker College and Narrabundah College. Some institutions fielded more than one troupe including Amaroo School, St John Paul 11 College, Gungahlin College and Erindale College, all offering works responding to this year’s theme, “The Metaverse”.

The variation of interpretations of the theme was fascinating, but in all cases obvious thought and much rehearsal had gone into preparing each offering for an impressively presented program in which twelve widely varying works were presented in a little over an hour.

Trinity Catholic College, Goulburn, performing "Lost in the Signal"

Commencing the program, Trinity College Goulburn set a high bar with their work for which all the dancers were costumed in chic black and white leotards. Danced on a black-draped stage, their cleverly choreographed work was notable for its well-rehearsed presentation and effective use of hand-held lights.

The first of two works from Gungahlin College followed. “Infiltrated”, performed by 10 dancers from Year 12, costumed in white shorts and painted tops, featured striking use of shadows. The second, “The Disconnect”, performed by Year 11 students, wearing short, beaded skirts, closed the program. Both were notable for the originality of the demanding, well-danced choreography.

Amaroo School also offered two works.  “Back in My Day” was performed by a large troupe of Year 8 dancers costumed in blue shorts, white shirts and black ties, offered a light-hearted look back at dance styles through the years. Their second item, performed later in the program by another large contingent of years 9 & 10 students wearing black pants and various shades of pink tops, was entitled “Dress to Impress”.

Erindale College performing "Reconnected". 

The first of two items by Erindale College, a cleverly choreographed, scrupulously rehearsed work entitled “Reconnected” was performed by year 10-11-12 girls in black costumes highlighted with glimpses of bright colour. Their second offering “Piece of Me” performed by year 11-12 students costumed in black and white, commented on the influence of technology, through inventive choreography featuring impressive unison floor work.  

Kingsford Smith School performing "System Override"

Kingsford Smith School chose playful, multi-coloured costumes for its dancers to interpret the possibility of being trapped in virtual reality. Entitled “System Override”, the team included four male rap-dancers and ended with a cleverly integrated tableau.

Perhaps the most moving work of the night was performed by eight final year students from St John Paul 11 College, entitled “Archive: Class of 2026”.  For the duration of the work the students sat on stage watching a filmed montage of their experiences and achievements during their school years, ending with the students departing the stage to commence new lives.

St John Paul 11 College performing "Finding My Frequency"

A second work from St John Paul 11 College, entitled “Finding My Frequency” was performed by years 7 – 12 students.  A light-hearted look at diverse dance styles over the years, this work featured well danced examples of various dance genres, among them ballet and tap dance.

Hawker College performing "Unmasked"

Hawker College contribution, “Unmasked”, performed by dancers wearing gold masks over sequined tops and black pants, encouraged viewers to discard their masks and reveal their real selves.

Narrabundah College performing "Escape the Metaverse"

Narrabundah College offered “Escape the Metaverse” performed by 8 girls in shiny white costumes with a lone male desperately trying to find his place.

As the multitude of dancers who had performed in this night’s program filed on to the stage for their final bows, it was impossible not to be impressed by the realisation of the amount of time, skill and commitment that had been poured into staging this performance.

Not only by the indefatigable team at Ausdance ACT, but also the choreographers, teachers, costumiers, creatives and of course the young dancers themselves who, for the privilege of representing their school or college, had spent long hours perfecting the impressive ensemble works presented over the three nights of the festival.

                                                    Photos by Andrew Sikorski

 

STRINGS IN SPRING III: FIRE & FOLKSONG

 

Presented by David Pereira

Australian Centre for Christianity & Culture, Barton November 1

 

Reviewed by Len Power

 

A Hungarian inspired program of works for cello, piano and violin promised to be memorable, but with four top musicians to play them, the result was superb.

The program ranged from Franz Liszt, Johannes Brahms and David Popper from the 19^th Century, to Béla Bartók and Ernst von Dohnányi from the 20^th century. There was also a first performance of a new work by our 21^st century cellist, David Pereira.

There were spoken introductions to each work, but the amplification of the microphone used, or the acoustic of the performance space, or a combination of both, made them a serious challenge to hear clearly.

Pereira was joined by Edward Neeman, piano, for the first work, Ruralia Hungarica for cello and piano Op.32d, by von Dohnányi. Immediately, we were plunged into the fiery, passionate music so distinctive of Hungary. This highly romantic work engaged the emotions and was given an excellent performance.

Edward Neeman

Edward Neeman then played the solo piano work, Funérailles, by Franz Liszt. It was written as a tribute to three of Liszt’s friends who suffered in the failed Hungarian uprising against Habsburg rule in 1848. Neeman performed this highly emotional, intense and demanding work brilliantly and fully deserved the sustained applause from the audience at the conclusion.

Eloise Ng (cello), Edward Neeman (piano), David Pereira (cello)

David Pereira was joined by Eloise Ng, cello, and Edward Neeman, piano, for the first performance of his new work, Variations on a Hungarian Folksong. This lush, melodic and appealing work was particularly notable for the fine cello playing of Ng and Pereira.

Eloise Ng, cello, then joined Edward Neeman, piano, for David Popper’s Hungarian Rhapsody for Cello & Piano Op. 68. This fiery, complex work, composed in 1893, and played so well by both performers, was a particularly fine showcase for Ng’s excellent cello playing.

Tor Frømhyr (violin), Edward Neeman (piano), David Pereira (cello)

Pereira, Neeman and guest artist, violinist Tor Frømhyr, next played Brahms’ Andante con moto, Trio No. 2 in C major, Op. 87. Melodic and distinctly Hungarian, the three performers gave it a stirring and exciting performance.

Edward Neeman then performed a piano solo of Liszt’s Paganini Étude No. 1 in G minor S141.The light and shade in his playing added so much emotion to this beautiful work.

The final work of the concert was Béla Bartók’s 1^st Rhapsody for Cello & Piano. It was played by Neeman and Pereira. Their incisive performance of Bartók’s complex and distinctive work was a rousing end to this excellent concert.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 2 November 2026.

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/.

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

 

GYPSY - A Musical Fable - Queanbeyan Players - The Q.

 

Emma White (Rose) - Elodie Sweett (Little Louise) - Matilda Hutchinson (Baby June) - "Gypsy"

Book by Arthur Laurents - Music by Jule Styne - Lyrics by Stephen Sondheim

Directed by Jude Colquhoun – Musical Direction by Brigid Cummins

Set Designed by Jude Colquhoun – Costumes designed by Suzan Cooper

Lighting designed by Zac Harvey – Sound Design by Telia Jansen

The Q, Queanbeyan Performing Arts Centre -October 30^th to November 8, 2026

Opening night performance on 30^th October reviewed by BILL STEPHENS

Emma White as Rose in Queanbeyan Players production of "Gypsy"

 The role of Rose in the musical Gypsy is considered the Holy Grail for most musical theatre leading ladies.

Written specifically for Ethel Merman, with a book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim, the storyline for Gypsy is loosely based on the 1957 memoir of striptease artist Gypsy Rose Lee.

The musical however focusses on Lee’s mother, Rose, and her efforts to live her life through her two daughters, June and Louise. The character of Louise is based on Lee, while June is based on Lee’s sister, actress June Havoc.

When Gypsy premiered on Broadway in 1959, American theatre critic Frank Rich described the musical as “nothing if not Broadway’s own brassy, unlikely answer to King Lear”, while Clive Barnes described Rose as “one of the few truly complex characters in the American musical”.

In Queanbeyan Player’s production, directed and designed by Jude Colquhoun, with costumes by Suzan Cooper, Rose is played by Emma White, who certainly has the clarion voice of a Merman, and is a formidable actress who manages to make the audience care about Rose despite her “take no prisoners” determination to make her daughters theatrical “stars” whatever the cost.

Steven Galinec (Herbie) - Emma White (Rose) 

However, White’s propensity to drop her voice suddenly during important speeches, therefore denying her audience significant information, along with an unsettling tendency to shout into her microphone during tense moments, weakened the impact of her otherwise excellent performance.

Paris Ellis (Dainty June) - Emily Pogson (Louise/Gypsy)

Emily Pogson makes Louise’s transition from talentless ‘spare’ to sophisticated burlesque queen, believable, while Paris Ellis, faced with the formidable challenge of following diminutive Matilda Hutchinson as Baby June, still managed to charm with her portrayal of the maturing Dainty June, the favoured daughter who escapes her mother’s clutches.

Steven Galinec brought a natural charm and fine singing voice to his performance as the ever-reliable, Herbie, while Alissa Pearson, offered a scene-stealing double-act in contrasting roles, first as the efficient Miss Cratchet, before lighting up the stage as stripper Electra when she joined Aleisha Croxford as Tessie Tura, and Sarah Hull as Mazeppa to enlighten the audience to the key to success as a stripper with “You Gotta Get A Gimmick”.

Allisa Pearson (Electra) -Aleisha Croxford (Tessie Tura) - Sara Hull (Mazeppa)

To do justice to the show’s superb score, which contains such classics as Everything’s Coming Up Roses, Small World, Together Wherever We Go, and Let Me Entertain You, Queanbeyan Players has mounted an excellent 22-piece orchestra, under the baton of Brigid Cummins.

But the decision to place the orchestra onstage, visible throughout the entire show, provided a series of visual impediments which compromised the success of the production.

Apart from making nonsense of Rose’s instructions to the orchestra, delivered to the orchestra pit in front of her, with the orchestra clearly behind her, it gave the show the appearance of being a concert version, rather than a full theatrical presentation.

Scenic elements were bundled on and off, in full view of the audience, lessening their impact, continually interrupting the pace of the show, and despite everyone’s best efforts, providing the show with an overall scrappy appearance, despite the spectacular lighting design by Zac Harvey.

Also, although the orchestra sounded magnificent once it settled on opening night, it was a shame that the celebrated overture got off to a shaky start, sounding under-rehearsed with significant sound balance issues.

A shame, given that the overture is the first thing the audience hears and therefore provides the all-important first impression of what is to follow.

Nevertheless, Queanbeyan Players is to be applauded for taking on the challenges and providing a welcome opportunity to experience one of Broadway’s most celebrated musicals.

 

                                               Photos by Janelle McMenamin

 

  This review first published in the digital edition of City News on 30.10.2026. Link Here

 

  

GYPSY A MUSICAL FABLE

 

 

 Gypsy A Musical Fable. Book by Arthur Laurents. Music by Jules Styne. Lyrics by Stephen Sondheim

Directed by Jude Colquhoun. Choreography by Belinda Hassall. Musical Director Brigid Cummins. Assistant Director Christina Philipp. Production Managers Inge Kent and May Kent. Repetiteur Brigid Cummins. Stage Manager Justine Ramsay. Costume Designer Suzan Cooper. Properties Master Pip Russell Brown. Lighting Designer Zac Harvey (Eclipse). Sound Designer Telia Jansen (Eclipse) Queanbeyan Players. The Q Theatre. October 30 – November 8. Bookings: www.theq.net.au 

Reviewed by Peter Wilkins.

 

Emily Pogson is Gypsy Rose Lee

 

Vaudeville is dying. America is hit with the Great depression. The Talkies are the new rage. It is against this backdrop that Mama Rose (Emma White) battles to make her youngest daughter Baby June (Matilda Hutchinson) a star on the vaudeville circuit. Rose is the archetypal stage mother and White plays her with all the passion, perseverance and interfering tenacity of a bull terrier pushing daughters Little Louise (Elodie Sweett) and Baby June under the noses of producers across the country. Rose has a dream and it’s gonna come true baby. The years go by and Mama Rose keeps pushing Louise (Emily Pogson) and Dainty June (Paris Ellis) with the same old spiel of Let Me Entertain You.  But as her practical admirer Herbie (Steve Galinec) keeps reminding her the times are changing. But Rose has a dream and no candy selling man or producer will stop her from making sure that Everything’s Coming up Roses, even if Louise’s stardom must be found as a last resort in the emerging showbiz world of burlesque.

Elodie Sweett is Little Louise. Matilda Hutchinson as Baby June

 

 Gypsy has been hailed as the Mother of All Musicals and Queanbeyan Players’ production, directed effectively by Jude Colquhoun, choreographed faithfully by Belinda Hassall and musically directed with affection for the era by Brigid Cummins have preserved the spirit and flavour of a bygone era. Gypsy is the original American bio-musical, telling the true-life story of Queen of the Burlesque Gypsy Rose Lee. Since then musical creators such as Lloyd-Weber and Rice, Shoenberg and Boubil and Sondheim have drawn on historical characters and events to create their work.  Queanbeyan Players’ creative team have been faithful to Jerome Robbins’s original 1956 production.

Steven Galinec as Herbie. Emma White as Rose, Emily Pogson as Louise 

 

From the moment the plush red curtain slowly rises on the orchestra in full view at the back of the Q Theatre stage we are reminded of the big band era of the Twenties and Thirties and under Brigid Cummins’s musical direction the outstanding orchestra does the era and Jules Syne’s composition full justice. The whizz bang technical wizardry of many of today’s big stage musicals is replaced by simple placards or roll in roll out settings to denote the action of the musical. To some it may appear dated. To me it appeared endearing and genuine, allowing the performances and Styne’s music and Sondheim’s lyrics to entertain us. Only the use of miking gave a nod to the modern musical. It certainly allows White to belt out Everything’s Coming Up Roses with full throttled feeling and vocal dynamism, but there are moments where I would have liked to hear a natural, heartfelt rendition of the musical’s fabulous melodies. It does achieve that sensitivity in Pogson’s Litle Lamb, White’s Small World and Some People. Hassall’s choreography also captures the essential simplicity and charm of Gypsy’s natural vitality of the Toreadorables number or endearing rustic comedy of Dainty June and her Farmboys.

Rose's Toreadorables in Gypsy

 

 In Queanbeyan Player’s production, every number is a hit from a showstopping Rose’s Turn to the farcical Mr Goldstone or Dainty June and Louise’s desperate plea If Mama Was Married and the stripper’s number You Gotta Get A Gimmick with Aleisha Croxford, Alissa Pearson and Sarah Hull. Hassall’s choreography lends whimsy and longing to Tulsa’s dance routine, performed by Ash Syme with Pogson.

Paris Ellis as Dainty June. Emily Pogson as Louise in Gypsy

 

There are fine performances from the cast, including Galinec’s forlorn suitor Herbie, who brings certain pathos to the story as he confronts rejection of his marriage proposal. White captures the blind stubbornness of Rose’s blinkered ambition, risking the loss of an audience’s sympathy which is given to Herbie. But Rose is a survivor, a battler of the era and ironically responsible for Louise’s eventual career. 

Emma White as Rose

 

There is excellent support from an irritatingly precocious and puppeteered Hutchinson as Baby June and her manipulated older self Dainty June, played by Ellis. But it is Pogson’s performance as Louise that is utterly galvanizing. As the gawky, insecure second banana to sister June, apple of her mother’s eye, Pogson exudes an air of low self esteem. There is pathos in her routine with Tulsa as she is forced to realize her mother’s dream after June’s departure. It is played with enormous sensitivity by Pogson. However it is her transition from wallflower to glittering queen of the burlesque that makes Gipsy Rose Lee’s ugly duckling story such a powerful metaphor for the American Dream. Pogson bewitches not only in the art of burlesque but as a symbol of hope for any dreamer. The irony is palpable and in Queanbeyan Players’ production of the classic musical and forerunner of a new generation of inspired musicals looks back and may well ask what dreams lie ahead for an AI generation of musicals.

Emma White as Rose. Emily Pogson as Gypsy Rose Lee

 

Baby June asks nothing more than Let Me Entertain You. Let Me Make You Smile. You will leave this production entertained, smiling and humming such classic numbers as Together We Go after an old fashioned evening of great entertainment.

Photos by Janelle McMenamin.