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

EVERY BRILLIANT THING

Jarrad West

Written by Duncan MacMillan

Directed by Joel Horwood

ACT HUB Theatre, Kingston to August 25

 

Reviewed by Len Power 20 August 2024

 

In Duncan MacMillan’s play, a seven year old boy makes a list of every brilliant thing in the world as a way of dealing with a suicidal mother. The list grows and what had been a way of naively getting through the day becomes, as the decades pass, a way of giving meaning to life through the celebration of everyday things.

This one person play is edgy, surprising and also very funny as the performer takes us on the bumpy journey through his life and his lists. Relating incidents and characters in his life as he grows to adulthood, the audience is drawn deeply into the play.

In a theatre-in-the-round setting, audience members are greeted by a relaxed and engaging performer as they arrive. His informality is key to events as the play unfolds.

Jarrad West is outstanding as the performer. Whether looking back to his time as a seven year old, to his teenage years and then on to his adult years, he is completely convincing. It’s a performance on a knife-edge, relying throughout on audience responses. West never falters, bringing energy as well as a touching sensitivity to the role.

There is an excellent sound design by Nikki Fitzgerald of snippets from songs that have a meaning in the character’s life, adding a welcome sentimentality to the show. We empathise with the power of music on him.

Joel Horwood’s direction of the show is tight, busy and imaginative, giving West the opportunity to bring considerable depth, both verbally and non-verbally, to his role.

There is some audience participation in the play, but it’s so well-written and staged that it’s a plus and a highlight and no-one should find it threatening.  In fact, as everyone becomes a part of this story, you’ll probably hope to be involved.

 

Photo by Jane Duong

This review was first published by Canberra CityNews digital edition on 21 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/. 

EVERY BRILLIANT THING - ACT Hub

 

Jarrad West in "Every Brilliant Thing"

Written by Duncan Macmillan – Directed by Joel Horwood

Production Design: Joel Horwood – Sound Design and Stage Management: Nikki Fitzgerald

Lighting Design: Sophia Carlton – Performed by Jarrad West.

ACT HUB 20th – 25th  August 2024. 

Performance on 21^st August reviewed by BILL STEPHENS.

It’s unusual for a play about suicide to be uplifting. But Duncan Macmillan’s wise little one-person play about a method devised by one individual to not only cope with the trauma of such an event in his life, but also with other of life’s tribulations, certainly leaves its audience glowing.

Actually it’s a bit misleading to describe this play as one-person, because in Joel Horwood’s production the audience become enthusiastic participants, almost unwittingly, as story-teller, Jarrad West gently weaves them into his story. 

Indeed watching how various members of the audience respond to their opportunities is one of the unexpected pleasures of this production.

Presented in the round, with the audience seated in a circle around a central draped set-piece, engenders a sense of intimacy. Scattered around the circumference are several similarly draped set-pieces, their purpose revealed as the story unfolds.

Jarrad West in "Every Brilliant Thing"

West is a consummate story-teller as well as a skilled actor. His friendly interaction in warmly welcoming audience members as they arrive, while surreptitiously planning who will be invited to undertake particular tasks, successfully dissipates any natural reluctance to participate. His choices are vital to the success of the production.

His skill in insuring that no one was embarrassed, and that their contribution would be   appreciated, was quickly recognised, resulting in some remarkable spontaneous moments as the audience became more and more invested in the story-telling. Indeed at this performance the audience member asked to give a speech at his gay son’s wedding elicited tears and cheers from the audience for his impromptu, heart-felt effort.

 

Jarrad West in "Every Brilliant Thing"

 

The teller’s story begins when he is just 7 years of age, and progresses through various pivotal stages of his life. West skilfully portrays these stages without resorting to caricature or actorly flourishes. Instead he allows the wit and originality of Macmillan’s writing to shine through.

In this he is aided by Horwood’s unobtrusive, perceptive direction and clever use of sound, which ensured that the storytelling never became static and that the serious moments hit their mark.   

Definitely entertaining, even occasionally moving, “Every Brilliant Thing” is an engaging play, given an intelligent, thoughtful production by ACT Hub, that is guaranteed to leave it’s audience charmed and uplifted.  

                                  Images by Photox - Canberra Photography Services.  

                         The review also published in AUSTRALIAN ARTS REVIEW

SILENCE AND RAPTURE _ Australian Chamber Orchestra.

"Silence & Rapture" - Emily Seymour - Liam Green - Australian Chamber Orchestra.

Directed by Richard Tognetti – Choreographed by Rafael Bonachela

Lighting by Damien Cooper – Lighting Technician: Joseph Cox

Llewellyn Hall, Canberra: 17^th August 2024. Reviewed by BILL STEPHENS.

"Silence & Rapture - Liam Green - Emily Seymour - Iestyn Davies - Australian Chamber Orchestra

Whether it was the promise of the intriguing combination of the music of Johann Sebastian Bach with that of contemporary Estonian composer Arvo Pärt, or the possibilities offered by the combination of the musicians of the Australian Chamber Orchestra and dancers of the Sydney Dance Company, this concert drew a capacity audience to Llewellyn Hall.

And as the title promised, for the 75 minutes it took to perform this concert, that audience, responding to the request to withhold its applause until the end, sat quietly both in silence and rapture.

So scrupulously curated that one could be forgiven for mistaking all the music as being the work of the same composer, and uninterrupted by an interval,  Silence and Rapture was divided into three chapters, each set in a biblical garden and bookended by a prelude and an epilogue.

As the excellent printed program explained, this follows the Lutheran metaphor of the world as a pendulum swinging downward from the natural world of Hope and Temptation (Garden of Eden), down to Tragedy and Passion (Garden of Gethsemane), then upward again to Resurrection and Redemption (Garden of Heaven).

"Silence & Rapture" - Emily Green - Richard Tognetti - Australian Chamber Orchestra.

Directed by Richard Tognetti, with an exquisitely refined sense of theatre, this performance was presented on an uncluttered stage with 10 virtuoso musicians forming a static semi-circle framing the performance area. The five violinists occupied one side, with the violists, cellists and bassist on the other. In the centre, separating the two groups of strings was Chad Kelly, seated at a harpsichord and organ.  

For the prelude, the two Sydney Dance Company dancers, Emily Seymour and Liam Green, were positioned on tables on either side of the semi-circle, with UK countertenor, Iestyn Davies, seated towards the back.

As the work progressed the dancers and vocalist performed in misty areas defined by Damien Cooper’s atmospheric lighting design, surrounded by the musicians. 

Other than the outline offered in the printed program, there was no attempt at a storyline, allowing individual audience members to respond to the exquisitely presented music in their own way.

Liam Green and Emily Seymour in "Silence & Rapture"

Complex and beautiful, Bonachela’s stunning abstract choreography echoed the inspiration of the music. His intricate solos, duets and unison sequences were performed with rapturous elan and commitment by the dancers, complimented the music by providing an endless stream of inspirational images, among them, a moment when the extraordinary countertenor, Iestyn Davies, joined the dancers for an elegantly choreographed rendition of Pärt’s My Heart’s in the Highlands.

Elsewhere, the spellbinding concert was packed with memorable performances like Timo-Veikko Valve’s riveting rendition of Bach’s Suite for Solo Cello No. 3 in C major, and Richard Tognetti’s masterful account of Bach’s Sonata for Solo Violin No.2 in A Minor, or absolutely any of the exquisite ethereal solos from Iestyn Davies, providing a huge temptation to defy the request for silence and break out into rapturous applause.

Thankfully, everyone respected the request until the very final section when the dancers continued their movements in complete silence. The audience could contain itself no longer and burst into thunderous applause in appreciation of a concert for which every aspect was designed to showcase the beauty of the music, and performed with fastidious attention to every facet of the performance. Bravo!   

                                                     Images by DANIEL BOUD.  

                                 This review also published in AUSTRALIAN ARTS REVIEW.

COUNCIL: Pekka Kuusisto & Gabriel Kahane

 

COUNCIL: Gabriel Kahane & Pekka Kuusisto.

Presented by Musica Viva – Llewellyn Hall, Canberra, 15^th August, 2024.

Reviewed by BILL STEPHENS.

Even in the vast Llewellyn Hall, watching and listening to a concert by Council (Pekka Kuusisto & Gabriel Kahane) felt a little like being an invited guest sitting in a music studio while two gifted friends tested and teased the possibilities of a special collaboration.

Both are skilled musicians from very different backgrounds. Finnish violinist, composer and conductor Pekka Kuusisto is the Artistic Director of the Norwegian Chamber Orchestra and Principal Guest Conductor and Artistic Co-Director of the Helsinki Philharmonic Orchestra. American Gabriel Kahane is an accomplished singer/songwriter and collaborator who has worked with many of America’s leading arts institutions.  

Both have a passion for musical experimentation and this program is largely the result of several writing retreats during which the duo developed this evening of intimate and sonically varied songs and chamber music.  

Gabriel Kahane 

Kahane immediately established a feeling of informality by asking that the houselights be turned up so that the duo could talk to the audience and see its response to their music, explaining ‘music is a social act’.   

Their dialogue certainly had the appearance of being unrehearsed, as every so often one or the other would be reduced to giggles by some spontaneous remark made while describing an item.  In performance, each watched and listened to the other intently, often responding with delight at some beautifully rendered passage, or perhaps some new musical discovery. 

There was nothing unrehearsed about the music however. Each is an accomplished multi-instrumentalist. Kuusisto favoured his Golden Period Stradivarius violin, (Why wouldn’t you? ) but swapping it, often mid-composition, for electric violin (for looping) often contributing intriguing vocal embellishments and haunting whistling when not joining Kahane with  exquisite Simon and Garfunkel style harmonies.

Pekka Kuusisto

Kahane appeared most comfortable behind the keyboard of the grand piano or accompanying on the electric guitar, and taking turns sharing an unusual harmonium with Kuuisto.  

The program was delightfully varied in style and mood; mostly original compositions with pithy titles like Blue, Tetris, Bright Forms and Oh Cousin.

The program began with a composition called Old Wounds which commenced slowly with Kuusisto introducing looping effects, while Kahane seated at the grand piano, sang the lyrics in his clear, sweet light baritone which was superbly displayed later in a pretty song entitled Unicorn Glove.

Midway through the program, Kuusisto gave his Stradivarius a work-out with a superb rendition of the 3^rd movement from J.S.Bach’s Violin Sonata in A major, which they then contrasted with a fascinating composition Material in 2 keys by contemporary American composer, Nico Muhly.

Two more original compositions, Crawlspace and At Zero  demonstrated the duo’s mastery of sonic and harmonic invention, before they then set toes tapping with a dazzling display of traditional Irish folk music with a piece  entitled Irish Coffee.

An amusing lecture by Kuusisto on how to ensure an encore, preceded two more of Council’s multi-faceted original songs before they quietly exited the stage leaving their bemused audience slightly hypnotised by the final fading looping notes of the last of their multisonic creations - a soothing piece entitled appropriately, Lullaby.  

As unexpectedly entertaining as it was musically rewarding, Council’s program and presentation was definitely one for the musically adventurous. As such it is likely to linger in the memory of those who experienced it long after those of many more conventional concerts have faded. 

Council: Gabriel Kahane & Pekka Kuusisto in performance.


Photos by James Grant.


This review also published in AUSTRALIAN ARTS REVIEW,

     

 

 

SISTER ACT - Capitol Theatre, Sydney.

 

Casey Donovan as Deloris Van Cartier, leading the nuns in "Sister Act".

Music by Alan Menken – Lyrics by Glenn Slater – Book by Cheri & Bill Steinkellner

Directed by Bill Buckhurst – Choreographed by Alistair David

Musical Direction by Daniel Griffin – Set and Costumes design by Morgan Large

Lighting Designed by Tim Mitchell – Sound Designed by Tom Marshall

Capitol Theatre, Sydney until 26^th October 2024.

Opening night performance on 11^th August, 2024 reviewed by  BILL STEPHENS 

Casey Donovan as Deloris Van Cartier in "Sister Act".

Based on the popular 1992 film of the same name,  which famously starred Whoopi Goldberg, this somewhat bowdlerised  stage  musical version tells the story of a nightclub singer, Deloris Van Cartier, who takes refuge in a struggling convent in an effort  to escape her gangster boyfriend after she inadvertently witnessed him commit a murder. 

While masquerading as a nun she introduces the convent’s choir to the joys of Rock ‘n Roll. The choir rapidly becomes famous, and to the chagrin of the Mother Superior, pays off the convent’s debt and earns an invitation to sing for the Pope. The resultant fame also reveals Deloris’ whereabouts to her murderous boyfriend, Curtis.  

Whatever charm this story originally possessed seems to have been lost in translation from film to stage musical, because the musical seems rather less interested in the storytelling than the opportunity it provides for a series of slickly staged musical numbers.

However Sister Act provides Casey Donovan, with her first starring role as a bonafide musical theatre leading lady and she grabs that opportunity with both hands.

Donovan has been steadily building an impressive career, and a large following, as a recording artist and television personality. Since winning the television talent-show Australian Idol at the age of 16, Donovan has been gathering plaudits for her performances in a succession of major musicals including The Sapphires, Rent, We Will Rock You, Chicago, 9 to 5, and most recently, & Juliet.

The score of Sister Act is packed with toe-tapping rock-inspired songs by Alan Menken and Glenn Slater. These songs are perfect for the ebullient personality and powerhouse voice of Donovan, who revels in the opportunities they offer to blow the roof off the Capitol Theatre.

There are lovely harmonies for the Nun’s choir, cute song and dance numbers for Curtis and his henchmen, and thoughtful ballads for the Mother Superior (Genevieve Lemon) and Sister Mary Robert (Sophie Montague). Though few of the songs are memorable beyond the finale, this show has a spectacular Mardi Gras finale which demands, and gets, the now obligatory standing ovation.

Genevieve Lemon as Mother Superior in "Sister Act" 

However, beyond the spectacular settings, the dazzling lighting design and excellent band, all the directorial attention seems to have been lavished on staging the numbers, rather than telling the story that should hold them together.

Donovan is fabulous while singing and being Casey Donovan, but surprisingly she hasn’t yet learnt how to create a character beyond her own persona, and when leading a musical one wants to care about the character the leading lady is portraying, as well as admire the skill of the actor portraying that character.  Hopefully Donovan will master this skill as the run settles in, because she has the potential to become an extraordinary leading lady.

Hopefully too, the nuns will also work on their characterisations because on opening night they were so busy trying to out-silly each other in the first act that none made any impact as characters. Even the usually excellent Rhonda Burchmore seemed at a loss to inject any individuality into her Sister Mary Lazarus.

Rhonda Burchmore as Sister Mary Lazarus in "Sister Act"

They could learn a lot by taking their cues from newcomer Sophie Montague as the young Sister Mary Robert, and Genevieve Lemon, superb as the Mother Superior, not only because they are costumed differently from the others, but because both have created characters who are believable and consistent.

Beyond those Raphael Wong as Eddie Souther charmed with his performance of I Could Be That Guy, and James Bell stole scenes at every opportunity as TJ.  Elsewhere the cast tended to overact with enthusiasm while delivering their allotted lines efficiently.

And talking of costumes, could someone arrange for Morgan Large to replace the unflattering outfit he has Casey Donovan wear in the first act.  Obviously it was made for her, but as evidenced in the program, not designed with her in mind. Donovan is proud of her Big, Beautiful and Sexy figure and has every right to be. She can look magnificent, and indeed does so in her finale costume, but this costume does her no favours.

Rhonda Burchmore and the nuns in the finale of "Sister Act".




Photos by Daniel Boud.




This review first published in the digital edition of CITY NEWS on 14th August 2024.

 

 

RGB & UNKEMPT COGNITION

Exhibition Review: Visual Art | Brian Rope

RGB | Nicci Haynes

UNKEMPT COGNITION | Ella Barclay

Canberra Contemporary Art Space (CCAS) Lakeside Canberra | 13 July – 14 September 2024

These two exhibitions are both exciting, visual treats to enjoy. The colours are mostly vivid, powerful, almost mesmerising.

Nicci Haynes is an artist based in Kamberri/Canberra. She works in a variety of media, including drawing, performance, print, film, and installation. Her experimental practice is process driven. She is creative in her use of a variety of materials and spontaneous in her approach, frequently recycling technology and odd objects. In RGB this artist expands her investigation of how language and communication intersect and interact across various media.

Haynes is showing just three artworks, but each of them is excellent and, as previously noted, richly colourful. RG-Being is a 1-minute-long digital video which flicks very quickly through a series of photographs by Andrew Sikorski. Each image is full of colour. Each is, I presume, of the same person in a variety of poses wearing, displaying, putting on or taking off brightly coloured but otherwise plain items of clothing, all absolutely in the RGB spectrum.

NICCI HAYNES 'RG-Being' (still 3), 2024, Digital video (photos by Andrew Sikorski), 1’00” duration

Then there is an installation utilising digital videos, TVs, projectors and electronics. A wonderful tower of more colour on numerous monitors (once discarded but now re-used). A constantly changing mosaic – pinks, yellows, blues, oranges, all vying for attention. And the third piece is another installation – a multi-projector projection of more colours - less vibrant, more pastel. Three great artworks.

NICCI HAYNES '255, 255, 255' 2024, Installation (digital videos, TVs, projectors, electronics), dimensions variable, photo by Brenton McGeachie

NICCI HAYNES 'Being Colour' 2024, Installation (multi-projector projection), dimensions variable, Photo by Brenton McGeachie

The room sheet essay by Dr Denise Thwaites is titled Harmless Fun. It makes an interesting suggestion - that the artworks are monumental, but worn, reminding her of a place in Budapest where old Soviet monuments have been torn down and reconfigured. Haynes artworks here ask what we can see in piles of junk. This essay is a fine accompaniment to the exhibition.

Ella Barclay's first institutional Kamberri/Canberra solo exhibition, Unkempt Cognition, features brand-new work created during a residency at ZK/U The Centre for Art and Urbanistics, Berlin, in 2024. The exhibition combines photographs and a series of humorous light installations to investigate basic human experiences inside our networked everyday lives. A world of growing disasters and clumsy automation awaits us in the doom-scroll bed-rotting experience.

Again there is a great deal of vivid colour. Three large inkjets on archival cotton rag from her Enhanced Entanglements series are vibrant, multi-coloured Contemporary abstract creations shouting look at us.

ELLA BARCLAY 'Enhanced Entanglements 1 (Deployments and Abstentions)' 2023, Inkjet on archival cotton rag, 84 x 61.4cm, Photo by Brenton McGeachie

As much as I enjoyed the three prints hanging on a wall, they have to compete for attention with nine installation pieces which are quite fascinating. 

Three large, molded blankets of black acrylic adorn parts of the floorspace. At one end of each piece we see colourful footwear peeking out; the other end reveals parts of blond wigs. Are there bodies hidden under there?

ELLA BARCLAY 'Quiet Serfing 2' 2024, Acrylic, Crocs, blonde wig, beach volleyball, 230 x 120 x 40cm, Photo by Brenton McGeachie

Accompanying the three-dimensional blankets in the space are various assemblages utilising more of the black acrylic, plus LED lights, electronics, aluminium, silicon, hand blown glass and other materials. Some of these pieces are also on the floor, others suspended from the ceiling. Above them all a wonderful and lengthy tangle of LED silicon lights delivers multiple colours that reflect delicious patterns on the shiny surfaces of the black acrylic artworks. Once again, rich colours in abstract patterns.

ELLA BARCLAY 'Unkempt Cognition' (Canberra Contemporary Art Space exhibition installation), 2024, Photo by Brenton McGeachie

Another fine room sheet essay, by William Kherbek, discusses the distinction between information and knowledge. It tells us that “Barclay’s works regularly explore the edge cases of presence, the body is present, or has been present, its traces are visible, the edges of its intentions are visible if not entirely intelligible”. I encourage all to visit the two exhibitions and to read both the essays, both before and after seeing the artworks. They are also available on the CCA website.

All contributors to the two exhibitions have delivered a great show.

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