ORDINARY DAYS: Queanbeyan Performing Arts Centre.

 

Vanessa Valios (Deb) - Joel Horwood (Warren) in "Ordinary Days". 

Composer & Lyrist: Adam Gwon - Designed and Directed by Chris Zuber

Musical Director: Matthew Webster – Lighting design by Zac Harvey

Sound Design by Telia Jansen – Stage Managed by Sophia Carlton

Presented by Queanbeyan Performing Arts Centre:  5^th – 8^th September 2024.

Opening night performance on 5^th September reviewed by Bill Stephens.

An ordinary title for an extraordinary little gem of a musical, “Ordinary Days” received its first Canberra region performances at the Queanbeyan Performing Arts Centre this week.

“Ordinary Days “was originally produced and performed by the Pennsylvania Centre Stage at Penn State University, being first developed by New York Theatre Barn in New York City in 2007.

Popular in Universities and small theatres overseas, before this Queanbeyan production, "Ordinary Days" had only received two short seasons in Australia previously; one in Sydney in 2012 and the other  at Chapel Off Chapel in Melbourne in 2017. 

A group of A.C.T. actor friends discovered this little gem of a show during lockdown and rehearsed it online as a means of keeping in touch.  When Jordan Best, the Artistic Director and CEO of the Queanbeyan Performing Arts Centre, learned of  their endeavour she quickly snapped the show up for inclusion in her 2024, Q the Locals, series.

 A mini-musical in the style of Jason Robert Brown, or Maltby and Shire, a style beloved of cabaret performers because almost every song is a little story in itself that can be successfully integrated, out of context, into a cabaret, “Ordinary Days” tracks the stories of four young New Yorkers, two already in a relationship, the other pair who meet by chance when one of them loses her notes for her thesis.

Grant Pegg (Jason) - Kelly Roberts (Claire) in "Ordinary Days"

Kelly Roberts and Grant Pegg portray the couple whose relationship is tested when they move in together. Vanessa Valois and Joel Horwood play a mismatched couple who discover the power of the attraction of opposites.

Canberra readers will immediately recognise these names as four of the district’s most accomplished triple-threat musical theatre performers. To watch these four apply their individual talents to this wonderfully witty, wise, even touching material, was nothing short of thrilling.

Vanessa Valois (Deb) - Joel Horwodd (Warren) in "Ordinary Days).

Each provided a master-class in performing this style of material, investing it with subtle nuances and sub-text not apparent in the written script but critical to understanding the character they are portraying.

It was obvious that this production was a labour of love from all involved, because the performances were so nuanced, pitch perfect and beautifully delivered, that the thought and discussion that had gone into building each characterisation, was  there for all to see. 

Kelly Roberts (Claire) in "Ordinary Days".

This may be the first musical that Chris Zuber has directed, but he already enjoys an enviable reputation through his work as a drama teacher, designer and director of major productions around the city. His understanding of how a musical works is obvious and his attention to detail on every aspect of this production is extraordinary.

His imaginative set design utilising dozens of milk crates to create an evocative environment suggesting the New York skyline, museums, art galleries and apartments for his actors to inhabit, together with his unobtrusive choreography which allows his four actors to create the illusion of a busy city without drawing focus from each other, is masterly.

Subtle lighting and sound design by Zac Hervey and Telia Jansen respectively, were in perfect tune with his concept.

Vanessa Valois (Deb) - Grant Pegg (Jason) - Matthew Webster (Musical Director) in
 "Ordinary Days"

Then speaking of perfect tune; the single musician, seated centre stage at a grand piano, but somehow never drawing focus while virtually breathing with the actors as he brilliantly interpreted Adam Gwon’s intricate, fascinating score, was Matthew Webster, a Canberra based composer, pianist and teacher of international repute, making one of his rare, but always notable, appearances as musical director for a local production.

Such a shame therefore that this season was so brief, particularly in a week when no fewer than five other productions were vying for attention with openings for limited seasons in theatres around the city.

                                                           Images by Rhiannon Sabol. 

                      This review also published in AUSTRALIAN ARTS REVIEW.

 

AWAY

Written by Michael Gow

Directed by Lainie Hart

Canberra REP production

Canberra REP Theatre, Acton to September 21

 

Reviewed by Len Power 6 September 2024

 

Originally performed in 1986, Australian playwright, Michael Gow’s “Away”, has since become one of the most produced Australian plays and has been studied by school students in many States.

It tells the story of three families holidaying on the coast in summer 1967-68. The holidays should be a time of happiness and relaxation but are clouded by darker issues that the families are trying to cope with. Parts of Shakespeare’s A Midsummer Night’s Dream and King Lear underline the very human responses by the families to their problems. It is a play that resonates with Australians, but the issues presented are universal.

Andrea Close as Coral

Andrea Close as Coral and Jim Adamik as Roy, a couple trying to getting over the loss of a son in the Vietnam war, give outstanding performances. Adamik also shines in a very different second role as the ghastly, weak joke-telling MC of a holiday concert.

Jim Adamik as Roy

Christina Falsone achieves a strong characterization as Gwen, whose unhappiness and complaining affects all her family. Callum Doherty gives a heart-felt performance as the young Tom and everyone else in the large cast give fine, believable and recognizable performances of great depth.

Christina Falsone as Gwen

The show, with its multiple scene changes, is a challenge for a set designer. Andrew Kay’s abstract design for the beach scenes including the depiction of a storm and the Kodachrome slide projection of the locations worked particularly well. The set pieces of the families’ rooms in their homes, while realistic and detailed, seemed heavy and awkward to move. Costume designer, Helen Drum, has dressed the cast in costumes that reflect the period very well.

Callum Doherty as Tom

Director, Lainie Hart, has ensured that her entire cast have achieved fully developed characterizations. This is a fine and enjoyable production of this famous Australian play.

 

Photos by Eve Murray

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/.

 

ORDINARY DAYS

Music & Lyrics by Adam Gwon

Musical Director: Matthew Webster

Directed by Chris Zuber

Q The Locals production

Q Theatre, Queanbeyan to 7 September

 

Reviewed by Len Power 5 September 2024

 

“Ordinary Days”, was first developed by New York Theatre Barn in New York City in 2007. Since then, it has had numerous productions around the world, and this is the first chance for local audiences to see it.

It is a sung-through musical with a cast of four and a pianist. Adam Gwon’s music has the same challenging elements for singers that you find in the works of Stephen Sondheim and Jason Robert Brown, but it has its own unique voice that makes it tremendously appealing to audiences.

Set in New York City, the show follows the ordinary lives of four people and how they grow through their interactions with each other. It needs very capable performers who can develop strong characterizations while singing the challenging music.

The show has been cast with four experienced performers who between them have already proved their abilities with previous shows.

Vanessa Valois as Deb

Vanessa Valois plays Deb, a feisty, nervy student who is struggling as much with herself as with others. Joel Horwood is a young dreamer and optimist, Warren, who looks for the simple beauties of life. Kelly Roberts is Claire, a young woman finding it difficult to live with the new man, Jason, in her life. Grant Pegg is Jason, a romantic, who is puzzled by Claire’s responses to him.

Joel Horwood as Warren

All four performers give immensely appealing performances. Through their first songs, they skilfully bring their characters to life, making their stories very real to the audience. The sound, designed by Telia Jansen, is finely balanced so that the all-important lyrics can be heard clearly.

Kelly Roberts as Claire

Musical director, Matthew Webster, also plays the piano accompaniment to the show. There are about 20 songs, all with challenging music, and Webster plays them all with skill and sensitivity. While it is a sung-through musical, a couple of songs, “Life Story” and “I’ll Be Here” are particularly memorable.

Grant Pegg as Jason

The show, performed without interval, has been given a fine staging by director, Chris Zuber. The setting, evoking the atmosphere of crowded skyscrapers in New York City, is achieved with the director’s clever set design using hundreds of milk crates. It is enhanced with a thoughtful lighting design by Zac Harvey. Changes of scene are imaginatively handled, keeping the action flowing at a good pace.

This show has realistic and colourful characters whose lives become easy to identify with. It’s touching, sentimental, tuneful and very enjoyable. There are many fine musicals that get their start off-Broadway and this production with its fine cast is definitely one to see and enjoy.

 

Photos supplied by the production

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/.

  

SUNSET BOULEVARD - Sydney Opera House

 

Sarah Brightman in "Sunset Boulevard"

Music by Andrew Lloyd Webber – Book & Lyrics by Don Black & Christopher Hampton

Directed by Paul Warwick Griffin – Musical Direction by Paul Christ

Set and Costumes Designed by Morgan Large – Choreographed by Ashley Wallen

Sound Design by David Greasley – Lighting Design by Mark Henderson

Presented by Opera Australia & GWB Entertainment – Sydney Opera House until Nov. I.

Opening Night Performance on 31^st August 2024 reviewed by BILL STEPHENS

 

The atmosphere was electric as glammed- up guests arrived at the Sydney Opera House for the Sydney premiere of Andrew Lloyd Webber’s Sunset Boulevard starring Webber’s ex-wife, Sarah Brightman. 

Brightman had received mixed reviews for her performance in Melbourne. An injury causing her to miss performances during the run resulted in a flood of social media comments from disgruntled patrons unhappy at not being given prior notification of her non-appearances. Factors that created doubt as to whether she would actually be onstage for the Sydney opening.

The thunderous ovation she received on her first entrance was no doubt as much an expression of relief that she was actually present, as it was a sincere welcome.

Although Brightman originated the role of Christine Daae in "Phantom of the Opera" on both the West End and Broadway it was a role especially written for her by Lloyd Webber to showcase her unique ethereal soprano voice.

Brightman’s fame as the world’s best-selling soprano is more the result of her subsequent career as a recording and concert artist, than as a musical theatre performer.

Her choice of this particular role for only her second Lloyd-Webber musical in 30 years, invests this production with an intriguing sense life imitating art déjà vu, that many musical theatre aficionados will find irresistible.

Norma Desmond is a tour de force role usually performed by musical theatre leading ladies of different voice types and dramatic abilities to Brightman’s.  Until this production, Brightman had never performed this role.

When she launches into her interpretation of With One Look, especially on the stage of the Sydney Opera House, the result comes as something of a surprise to those used to experiencing the world’s finest operatic sopranos on that very stage.

Brightman’s soprano is pretty rather than dramatic. She’s a performer more than an actress. Her skill is interpreting songs, not necessarily within a context, utilising a variety of idiosyncratic vocal techniques to embellish the lyrics so that they sound beautiful though not necessarily comprehensible.

Unfortunately, this creates a bit of a worry in situations where it is important to understand the lyrics for the information they contain to make sense of the storyline.

But this is Brightman’s version of Norma Desmond. It’s the one that’s attracted Brightman admirers happy to pay opera house prices for the intriguing prospect of seeing her tackle this demanding role. On those criteria, it is not without merit. 

From the moment Joe Gillis confronts Norma Desmond in her luxurious, crumbling mansion, Brightman makes obvious that Norma is already mentally unwell and delusional. Her Norma is needy rather than commanding.

Sarah Brightman as Norma Desmond  singing "As If We Never Said Goodbye"

Brightman’s interpretation of Norma’s response to Joe’s callous treatment of her after she has lavished him with gifts;  is to resort to self-harm when her attempts at seduction fail, then finally death threats when all else fails. Both are valid and ultimately moving. Her vocal highlight comes with the superbly staged, As If We Never Said Goodbye, where her aging voice provides a layer of pathos to the song which is quite moving.

But Brightman is not the only reason to see this production. She is showcased in a spectacularly conceived production, performed by a cast of some of the country’s best musical theatre artists, led by Tim Draxl who gives a  commanding performance as the down-on-his-luck screenwriter, Joe Gillis, who comes unstuck when he falls in love with his colleague, Betty Schaefer, stylishly performed by Ashleigh Rubenach.

Tim Draxl  as Joe Gillis singing the title song "Sunset Boulevard"

Although some might have wished for a little more charm in his characterisation, Draxl deservedly stops the show with his blistering rendition the title song; then again  later when he is joined by Rubenach for a delightfully giddy staging of the  duet, Too Much In Love To Care, during which both  proved themselves much  more than competent dancers.

Robert Grubb invests his role as the mysterious man-servant Max Von Mayerling, with an affecting sense of dignity, while Paul Hanlon as Cecil B. DeMille, Troy Sussman as Sheldrake and Jarrod Draper as Artie Green, all make the most of the opportunities inherent in their roles.

Robert Grubb as Max Von Mayerling - Sarah Brightman as Norma Desmond - Tim Draxl as Joe Gillis in "Sunset Boulevard"

An outstanding feature of this production is the inventive choreography of Ashley Wallen. Although quite different to Fosse, Wallen’s choreography is riddled with clever signature moves which comment on the action, exemplified in his inventive staging of The Lady’s Paying. Throughout the show, it is brilliantly executed with precision and attention to choreographic detail by the large ensemble.

Atmospheric projections by George Reeve enhance Morgan Large’s lavish set and costumes, superbly lit by Mark Henderson to capture the glamour and extravagance of 1950’s Hollywood; while the icing on the cake was the pleasure of hearing Lloyd Webber’s stunning score performed in superb Cinerama sound by the Opera Australia orchestra directed by Paul Christ.  Indeed, many of the audience sat on in the theatre following the thunderous finale ovations to luxuriate in the generous play-out music.

Please note that at the performances of Sunset Boulevard on Tuesday nights and the Wednesday matinee, the role of Norma Desmond is played by Sylvie Paladino.

The Company of "Sunset Boulevard.

                                                           All images by Daniel Boud.

         This review first published in CANBERRA CITY NEWS on 3rd September 2024

 

27 CLUB LIVE - Spiegeltent Festival Garden - Entertainment Quarter - Sydney Fringe.

 

Dusty Lee Stephensen - Sarah McLeod - Carla Lippis - Justin Burford in 27 CLUB LIVE.

If you’re a fan of Janis Joplin, Amy Winehouse, Kurt Cobain, Jim Morrison or  Jimmi Hendrix then this is a show you should not miss.

Equally, if it’s the opportunity to experience the talents of Sarah McLeod, Carla Lippis, Dusty Lee Stephensen, or Justin Burford that has piqued your curiosity, then hesitate no longer, because each is a skilled rock musician, singer and entertainer, well known in Adelaide, but together with this show, making their first foray into Sydney as part of the 2024 Sydney Fringe Festival.

As the title hints, 27 CLUB LIVE, is a stylish rock cabaret, directed by Zac Tyler, which revolves around the songs and careers of five rock legends, none of whom survived beyond the age of 27.

Their stories are told during the show, not in great depth nor in sequence, but with enough information to make you want to track down their biographies. There’s also idealised video images of the five rotating on giant LED screens either side of the stage, to remind you what they look like.

None of the performers attempt to imitate the looks or mannerisms of the artists they are celebrating, concentrating instead on paying homage with brilliant individual interpretations of the songs for which each legend is most associated, while at the same time retaining their own distinctive personas.

Sarah McLeod 

When Sarah McLeod, the creative force behind the ARIA Award-winning, platinum-selling rock group, Superjesus, launches into her stunning renditions of Cry Baby and Mercedes Benz you could be forgiven for thinking Janis Joplin was in the room.

Never having seen Joplin perform live it’s hard to believe her performance could have been be anymore electric or heartfelt than McLeod’s, who certainly doesn’t hold back, and despite the intensity of her performance you can understand every lyric she sings.

Carla Lippis 

Similarly Carla Lippis, dubbed by some as the Satanic Liza Minnelli, a nick-name that will become obvious when you see her perform, is the real deal. Her duet with Justin Burford of Kris Kristofferson’s Me and Bobby McGee, another song associated with Joplin, is one of many highlights that light up the performance.

Justin Burford

Justin Burford has already won two ARIA Awards and a Helpmann Award nomination for his role in the Australian production of “Rock of Ages”. He also wrote and starred in KURT, a celebration of Kurt Cobain’s life and music, so his stunning renditions of Cobain’s music have the stamp of authenticity.

Frontman for Wanderers which won the accolade of South Australia’s Best Blues/Roots band in 2017, Dusty Lee Stephensen is a staple of Adelaide’s live music scene who certainly knows his way around the stage and around a song, especially those of James Morrison and Jimmy Hendrix.

Dusty Lee Stephensen

But these performers don’t confine themselves to a particular legend. All four remain on stage for the duration of the show, supporting each other’s solos with flashy guitar riffs, clever harmonies, wild rock moves or just joining in the superb arrangements emanating from the quartet of outstanding musicians, Danny Leo (drums), Lachy Doley (Keys), Tim Curnick (Bass), Cam Blockland (Guitar), who provide the sometimes wild, sometimes gentle and sensitive accompaniments that capture the mood and style of each of the legends being celebrated. 

As you would expect the volume is as loud as it should be for a rock show which could the forerunner of a new musical genre – The Rock Cabaret. 

Dusty Lee Stephensen - Sarah McLeod - Carla Lippis - Justin Burford in 27 CLUB LIVE.

 

If Rock ‘n Roll is your thing, this is your opportunity to discover before the rest of Sydney four outstanding exponents perhaps destined to become rock legends in their own right, as well as learn more about five extraordinary performers who died too early. 

 

                                                     Photos by TIM LEVY

                     This review also published in AUSTRALIAN ARTS REVIEW.

 

LUKÁŠ VONDRÁČEK, PIANO

Snow Concert Hall, Red Hill September 2

 

Reviewed by Len Power

 

Lukáš Vondráček made his first public appearance at the age of four and h debuted with the Czech Philharmonic Orchestra in 2002 when he was 15. After finishing his studies at the Academy of Music and the Vienna conservatoire, he obtained an Artist Diploma from Boston’s New England Conservatory, graduating with Honours in 2012.

He was the winner in 2016 of the most reputable piano competition in the world – The Queen Elizabeth Piano Competition. Since then, he has enjoyed an extensive international career giving recitals and working with the major orchestras and conductors in the world.

 

Lukáš Vondráček

His recital commenced with Seven Fantasias, Op. 116 by Johannes Brahms. The precision and depth of feeling in his playing was immediately apparent with these pieces, some dreamy, some wildly passionate.

Next on the program was Fantasie in B minor, Op. 28 by the Russian composer, Alexander Scriabin. This demanding work was an excellent showcase for Vondráček whose playing gave it all the colour and emotion needed. His playing of the stormy passages was breath-taking and the quieter passages were given a notable sensitivity.

After interval, Lukáš Vondráček presented two works by Robert Schumann. In a short but warm address to the audience, he advised that Schumann was probably his favourite composer as his work was so true to life.

Lukáš Vondráček

He then played Schumann’s Kreisleriana, Op. 16 with its alternately dramatic and melodic movements. It was awesome seeing Vondráček’s ability to change moods so suddenly, his playing giving the work a freshness and deeper meaning throughout.

The final work played was Schumann’s Arabesque in C major, Op. 18. Vondráček’s playing of this contemplative and beautiful work was a perfect end to a superb recital that showed why he is considered one of the major pianists of today.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 3 September 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/.

  

HEDY! THE LIFE AND INVENTIONS OF HEDY LAMARR

Written and performed by Heather Massie

Directed by Blake Walton & Leslie Kincaid Burby

The Street Theatre August 31

 

Reviewed by Len Power

 

The thought of Hedy Lamarr conjures up an image of a glamorous movie star of the 1940s and ’50s. Born in Austria, she began her film career in Czechoslovakia. Her performance in a controversial 1933 erotic romantic drama, Ecstasy, led to a film career in Hollywood where she became a star in the 1938 romantic drama, Algiers, with Charles Boyer.

Many other successful films followed, and she is probably best known for her performance as Delilah in Cecil B. DeMille’s 1949 religious epic, Samson and Delilah.

Lamarr was more than just a successful, glamorous actress. At the start of World War 2, she co-invented, with George Antheil, a radio guidance system for Allied torpedoes that could defeat the threat of radio jamming by the Axis powers. Although granted a patent for their invention in 1942, Lamarr was told her time could be better spent selling war bonds as she was a celebrity. The technology was not used until after the war and then independently of their patent.

The play, Hedy!, begins with film and images projected on a screen showing the glamour of the woman once promoted as “the most beautiful woman in the world”. Some of those images show her, ironically, in seductive poses with military hardware, including torpedoes.

Heather Massie as Hedy Lamarr

The writer, Heather Massie, also plays the actress in this one person show. She looks extraordinarily like Lamarr and, as the character, realizing she has somehow time-warped into Canberra, she creates an immediate and charming rapport with individuals in the audience.

The play is cleverly written, directed and performed very well. It runs nearly two hours without a break and the story of this woman’s life is constantly entertaining.

As Lamarr, she tells the story of her life from her childhood in Austria, her film career in Europe and the USA, her many marriages, inventions and later life. Her colourful story is fascinating and told very well by Massie, who also convincingly takes on the voices of other characters in her story like actors, Charles Boyer and George Sanders and actress, Bette Davis, her husbands and acquaintances.

While her Hollywood film career is an interesting story, it is her work as an inventor that becomes the most interesting and unique aspect of the play. At one point, Lamarr remembers the difficulty getting influential people in that male-dominated era to listen to her ideas. One wonders what she could have been capable of in a more accepting time.

Lamarr never made money from her patent, giving it to the US Navy in wartime to help defeat the Nazis. These days as we reach for our mobile phones, we don’t realize how much current technology owes to her invention. Her contributions as an inventor were eventually recognised but not until the 1990s, shortly before her death in 2000.

Massie’s performance as Lamarr is magical. She commands the stage with her personalised story of this gifted woman who achieved fame as both a glamorous actress and inventor.

 

This review was first published by Canberra CityNews digital edition on 1 September 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/.

 

NOAH OSHIRO, CELLIST

Greenaway Studio, Chapman August 25

 

Reviewed by Len Power

 

Listening to 23 year old cellist Noah Oshiro playing his program of 5 distinctive works, you could only wonder how someone of that age could have achieved such maturity in musical performance already.

He began playing the cello at the age of 3. He is currently completing his final year of his Bachelor of Music in Performance at the Sydney Conservatorium of Music under Julian Smiles and Danny Yeadon.

He has also studied in Europe, was a featured artist at the 2024 Orange Chamber Music Festival and has toured for Musica Viva as well as with other groups including the Brodsky Quartet and Ensemble Apex String Quartet.

Noah Oshiro

His program began with his own composition, Improvisando, showing not only his ability with the cello but also his skill as a composer. It was a wide-ranging work that appealed to the emotions – dark and moody at times and then bursting with passion and colour.

He followed this with four very different works that showed his versatility. J.S. Bach’s solo cello suite, Prelude in D minor, was the first, followed by Julie-O by the American composer, Mark Summer, Water Spirit Song by Australia’s Ross Edwards and the first movement of Zoltan Kodaly’s Solo Cello Sonata. His program concluded with Lamentatio by Giovanni Sollima.

It was a rich program of widely varying works all played superbly. In the intimate performing space, he established an immediate rapport with his audience with his confident and friendly demeanour and lucid comments about the various pieces played. The warmth in the audience’s applause at the end of this young man’s remarkable recital was richly deserved.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 26 August 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 MERRY WIDOW - National Opera - The Q, Queanbeyan Performing Arts Centre.

 

Alira Prideaux (Valencienne) and the Grisettes of Maxims

Music by Franz Lehar – Libretto by Victor Leon and Leo Stern.

Directed by Ylaria Rogers. Musical Direction by Louis Sharpe

Scenery designed by Eryn Marshall – Costumes designed by Helen Wotjas.

Lighting designed by Jennifer Wright.

National Opera. At the Q, Queanbeyan Performing Arts Centre until August 25.

Performance on August 23^rd  reviewed by BILL STEPHENS.

National Opera does itself no favours by over-egging its publicity with hyperbole, and making lofty claims of producing professional grade performances. Despite its best intentions, and based on this production, it still has a long way to go before it can fulfil that promise.

It was obvious that a lot of time and effort has been expended on this ambitious production, and no doubt the loss of its leading man at the last minute would have been demoralising, however raising unrealistic expectations can be risky if those expectations are not met.

While not wanting to discourage anyone from seeing this production, because any opportunity to hear Franz Lehar’s glorious score performed live is welcome, and in this case an attractive new arrangement of this score by Melvin Tay  was very well played by the National Opera Chamber Orchestra under the direction of Louis Sharpe, and attractively sung by the large chorus.

However those wanting to follow the story might have difficulty with Ylaria Rogers’ idiosyncratic direction which treats the script like a panto with curious casting and shameless overacting encouraged.

Sarah Darnley-Stuart (Hanna Glawari) and party guests during "Vilia" in The Merry Widow.

Of the principals, Sarah Darnley Stuart as the widow Hanna Glawari gave a stylish performance, investing her role with a confident dignity and command, so lacking elsewhere. Her rendition of Vilia in the second act provided the highpoint of the show. A pity then that her first act entrance, which should have been another highpoint, was so poorly staged.

Alira Prideaux (Valencienne) - Damian Arnold (Camille de Rosillon) in The Merry Widow.

As the illicit lovers Valencienne and Camille de Rosillon, Alira Prideaux and Damian Arnold were well cast; offering stylish well sung and acted performances. However both had costume problems which detracted from their performances; Prideaux distracted by constantly tripping over her first act costume, and Arnold by chasing cheap laughs with his tacky costume interpolation when discovered in the gazebo.

Sarah Darnley-Stuart (Hanna Glawari) - Wally Allington (Count Danilo Danilovitsch)
in The Merry Widow

Bravely stepping into the role of Count Danilo Danilovitsch at short notice, replacing an injured Sitivani Talei, Wally Allington performed with aplomb and managed his arias well. Hopefully, first night over, he will work on developing some chemistry with his leading lady.

Eryn Marshall’s drapery setting was an imaginative solution to a no doubt limiting budget. It looked particularly lovely in the second act, but elsewhere gave little indication as to location. Although in the final act the energetic team of can-can dancers left no doubt it could only be Maxims.  

Similarly, Helen Wojtas did wonders in providing sparkle and glamour with her costumes. A shame that more attention wasn’t paid to the men’s costumes which generally looked scrappy.

“The Merry Widow” is a demanding work which can be everything the publicity promised. Unfortunately this production isn’t.   

                                                        Photos by Peter Hislop

        This review first published in the digital edition of CITY NEWS on 24.08.2024.

THE MERRY WIDOW

 

Music by Franz Lehar

Music arranged by Melvin Tay

Directed by Ylaria Rogers

Conducted by Louis Sharpe

National Opera Canberra

Q Theatre, Queanbeyan to August 25.

 

Reviewed by Len Power 23 August 2024

 

This well-known operetta, first performed in Vienna in 1905, was a good choice for National Opera. It has remained in the international repertoire constantly since its first performance. With its gorgeous musical score and colourful, easy to follow story, it is a firm audience favourite.

Opening at a ball in the embassy in Paris of the poverty-stricken Balkan principality of Pontevedro, the ambassador, Baron Zeta, is scheming that his first secretary, Count Danilo Danilovitsch, will marry a guest at the ball, widow, Hanna Glawari. This will ensure that the large amount of money she has inherited stays in the country. Unfortunately, Count Danilo is more interested in spending his time these days at Maxim’s, a popular Paris nightclub.

This production is notable for the high standard of singing by the principals and chorus. As the widow, soprano Sarah Darnley-Stuart sings the role beautifully and is a commanding presence, giving a charming and believable characterization as the widow.

Wally Allington (Count Danilo) and Sarah Darnley-Stuart (Hanna Glawari, the widow)

At the opening night, the cover for the role of Count Danilo, Wally Allington, gave a strong, confident performance and sang it very well. There was also fine singing by Damian Arnold as Camille de Rosillon and Alira Prideaux as Valencienne, but the ‘open fly’ gag for Camille was crass and has no place in operetta.

Max Gambale gave a nicely sinister performance as Bogdanovitch, the military attache, and sang very well and the Grisettes, from Kix Arts Productions, wowed the audience with “The Girls at Maxim’s” dance number.

Alira Prideaux (centre) with the Grisettes

The minor characters and chorus all sang very well but there was a lack of depth and even an awkwardness in the performances of many of the company. It was not enough to just be able to sing well, these upper-class sophisticates needed distinctive characterizations of style and elegance.

The chamber orchestra, conducted by Louis Sharpe, gave a sensitive performance of the score. Designed by Eryn Marshall, the setting with its drapery gave height and a sense of grandness to the upper-class society locations, but the central rostra with the side steps looked more of a compromise rather than a grand entrance. The women’s costumes, co-ordinated by Helen Wojtas, were well chosen and colourful while the men’s costumes were dull and uninteresting.

Nevertheless, the charm of this show, particularly its music and singing, managed to overcome the uneven acting and made it an entertaining evening, showing why this operetta is still popular with audiences.

 

Photos by Peter Hislop

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/.

 

CIRQUE BON BON - Canberra Theatre

 

Shannen Micheala - in Cirque Bon Bon

Co-Produced and Directed by Ash Jacks (McCready)

Co-Produced and Choreographed by Julieann Nugent

Canberra Theatre 22 – 24^th August, 2024.

Performance on 22^nd August reviewed by BILL STEPHENS

One of the positives to come out of Covid has been the rise in popularity of physical theatre cabaret fuelled by the return home of many of Australia’s best practitioners following the forced closure of many of the world’s most famous cabaret and circus venues.  

One of those practitioners is Ash Jacks (McCready) a former Assistant Creative Director for Cirque Du Soleil, who ceased an opportunity to team up with her former dance teacher, Julieann Nugent, to create Cirque Bon Bon.

For its first season in Canberra Jacks and Nugent have gathered an incredible cast of world class physical theatre exponents and surrounded them with a beautiful production in which dance and eye-pleasing stage imagery are pivotal.

Their flair is immediately obvious with the spectacular light show that surrounds the four excellent dancers, Holly Soper, Tiara McCool, Jayden Grogan and Hunter-Jai Clist, who ensure the seamless flow of the production by introducing each act with a cleverly choreographed mini-ballet or ceremonial procession.

Clarke McFarlane aka Marion Queen of the Circus

The show is hosted by the genuinely funny Clark McFarlane aka Mario, Queen of the Circus. Mario has the audience in fits of laughter in seconds. It turns out he’s an obsessive fan of the band, Queen, and a dab hand at juggling which he hilariously demonstrates to the music of “Another One Bites the Dust”.

Each act in the 75 minute show, which is presented without interval, is world-class. Aerial Hoop artist, Thomas Worrell, drew gasps with his seemingly impossible physical manoeuvres on a suspended hoop.

Duo Synergy - Emma Goh and Scott Lazaravech - in Cirque Bon Bon

Duo Synergy (Emma Goh and Scott Lazaravech), had a similar reaction to their graceful but dangerous Hand to Hand routine. Later they earned cheers with their stunning confetti bomb, quick change routine while spinning madly on roller skates.

5^th generation circus performer, Cody Harrington, won the prestigious World Juggling Federation Championship in Las Vegas in 2010. He’s also devilishly handsome in his black glitter suit and not above flirting while performing his complex juggling routine flawlessly.

 

Liam Dummer in Cirque Bon Bon

Since graduating from the National Institute of Circus Arts in 2018, Liam Dummer has established himself internationally as an outstanding exponent of the aerial straps. His dynamic mouth hanging routine left some in the audience checking their dentures.

Recognised as one of the best Cyr Wheel artists of his generation, Canadian Alexandre Lane made the impossible look easy, and his audience uneasy, as his huge Cyr wheel appeared to sail very close to the edge of the Canberra Theatre stage.

Alexandre Lane in Cirque Bon Bon

Contortion figured prominently among the acts with three of the artists incorporating wildly differing contortion skills into their routines. In addition to Thomas Worrell with his suspended hoop, Ashleigh Roper thrilled with her ingenuity in assimilating her contortionist skills into an extraordinary hula hoop routine like no other.

But it is the amazing combination of contortion and foot dexterity that makes Shannen Michaela’s act absolutely unique. To watch her bend her body back over her head and gracefully fire an arrow into a target several metres away has to be seen to be believed.

To attach description labels to any of these acts does them a disservice because as performed by each of these artists, all are unique and at the very peak of the skill level.

However, besides the brilliance of the acts, it is the extraordinary level of  presentation surrounding them that sets Cirque Bon Bon on a level of its own among similar shows of this genre where excellence and imaginative presentation are a given. You need to see it for yourself.

                                                                Images supplied.

                This review also published in AUSTRALIAN ARTS REVIEW