MAHALIA BARNES SINGS THE ROSE ADELAIDE CABARET FESTIVAL 2026

 

Mahalia Barnes Sings The Rose.

Mahalia Barnes and The Soulmates. Dunstan Playhouse. Adelaide Festival Centre. June 14 2026

Reviewed by Peter Wilkins

 

Blues, Soul, Rock and Roll. Mahalia Barnes conquers all. In a concert that rocked old rockers out of their seats at the Dunstan Playhouse, Barnes stood tall, proud and loud ( and at times I mean very loud) on the shoulders of legendary singers who had struggled, suffered, striven and risen victorious as a voice for strong women in a male dominated industry. Their names are synonymous with a talent so supreme that music is glorified with their names: Middler, Joplin, Geyer, Turner and Simone. These are the singers whose legacy Barnes celebrates in Mahalia Barnes Sings The Rose. The first half of the show is the soundtrack of the film The Rose that encapsulates the story of the singers who have come from adversity, faced adversity and struggled through to triumph as an example to aspiring artists the world over.

Backed by her band The Soulmates, Barnes lifts the roof with her Rock and Roll opening number Sold My Soul To Rock and Roll. With a voice that rasps from the depths of the soul to the tender ache of the Blues, Barnes pours out her heart with classics like When A Man Loves a Woman, Love Me With A Feeling and The Rose. From the age of 13 Barnes has been obsessed with Stay With Me. Raw and tearing apart the heart, the song is engraved in Barnes’s DNA. In a show that demands one’s all, Barnes gives it and more in her tribute to all female singers who have had to scratch a crawl their way through the quagmire of prejudice and exploitation to let their soul soar in the lyrics and music of their song.

What is so extraordinary as one watches Barnes take control of the stage is the relationship with the members of The Soulmates. She welcomes Adelaide ring-ins, Josh on Trumpet and Jack on Saxophone as though they were part of the family. Each member is given their moment in the spotlight with obvious affection from Barnes. The show shines with the rapport and respect for amazing talent. Clay on keys gives a display of virtuosic musicianship on the organ. Guitarists Ollie and Barnes’s husband Ben share moments with Barnes as does her bass guitarist while the drummer beats up a storm on percussion. In a show as unforgettable as the names of the singers that Barnes pays homage to singer and musicians seduce an audience with love, passion and the adoration of the women who have forged the way.

The second half of the programme is dedicated to those women, their tragedy and their triumph, their struggle and their survival and the gift they gave to music and the world. Renee Geyer’s Mercedes Benz and Janis Joplin’s A Man’s World, Tina Turner’s I Love You Baby, and Nina Simone’s I Put A Spell On You all recall the addiction, the loss, the longing, the betrayal and through it all the resilience that keeps Rolling On The River.

In a repertoire that is gutsy, gentle and echoing with love, Mahalia Sings The Rose is a rich and uplifting cabaret experience. The man nearby, a baby-boomer like so many reliving their memories of their younger years cried out “I love you Mahalia!” It was obvious that he was not alone when voices called out for more. A show advertised at 75 minutes including an interval ran for ninety through two encores and no interval. With a flourishing finale Barnes had her audience dancing in the aisles to Tina Turner’s Rolling on the River. And the spirit of Barnes’s show kept rolling on.

Photographer: Claudio Raschella

 

 

JOE CHINDAMO & ZOE BLACK - TAC Jazz

Joe Chindamo and Zoe Black at Tuggeranong Arts Centre.

                                        Tuggeranong Arts Centre. June 13^th, 2026.

                                                Reviewed by BILL STEPHENS 

The leap from Carnegie Hall and Melbourne Recital Centre to the intimate theatre at Tuggeranong Arts Centre might seem considerable, yet TAC proved the ideal setting to savour the virtuosity of two of Australia’s most accomplished musicians on a cold Canberra evening.

Joe Chindamo and Zoe Black

Pianist Joe Chindamo, currently the Melbourne Symphony Orchestra’s composer in residence, and violinist Zoe Black, who led the Australian Chamber Orchestra at 23, have graced all three venues and many more.

Even so, the strong impression was that the duo relished the occasion as much as the audience, moving through a program spanning Bach, Handel, Piazzolla, Gershwin and Chindamo himself.

Chindamo and Black do more than perform these works faithfully; they reinvent them with virtuosity and imagination. Their interpretations honour each composer’s original impulse while exploring its possibilities with dazzling technical command.

Joe Chindamo introduces an item

Each piece was introduced informally, Chindamo at greater length, Black with more brevity, before both players seemed to disappear into the music, teasing fresh ideas from familiar melodies.

They set the tone with a tantalising arrangement of an aria from Bach’s Goldberg Variations, then raised the stakes with a dazzling account of Astor Piazzolla’s La Muerte del Angel. Chindamo’s own Three Spaces preceded a blissful rendition of Ennio Morricone’s theme from “Cinema Paradiso”.

Every piece was a highlight, but especially memorable were their inventive arrangements of Earle Hagen’s Harlem Nocturne, George Gershwin’s It Ain’t Necessarily So from “Porgy and Bess”, and Giacomo Puccini’s aria Nessun Dorma from “Turandot”.

Joe Chindamo in action

Other standouts included the glorious Lascia ch’io piango from Handel’s “Rinaldo”, a stunning take on the Habanera from Bizet’s “Carmen”, a dazzling piece inspired by tarantism whose title escaped me, and Carter Burwell’s theme from “Raising Arizona”. Chindamo’s own works, especially Toccata, Into the Light and Reverie, likewise showcased the duo’s formidable technical brilliance.

Chris Deacon recorded the concert for Artsound FM, offering another chance to hear these highlights, and others not mentioned here, when the broadcast airs.

                                                    Images by Kathleen Laidlaw

         This review first published in the digital edition of CITY NEWS on 14.09.26

  

HOUSE OF ROT: GREY GARDENS ADELAIDE CABARET FESTIVAL

 

House of Rot: Grey Gardens.  

Directed by Dino Dimitriadis. Musical direction by Victoria Falconer. Costume design Nicol & Ford. LiGhting Benjamin Brockman. Dramaturg Leila Enright. Performed by Paul Capsis and Adam Noviello. Produced by Dino Demitriadis and Victoria Falconer. Green Door Theatre Company. Adelaide Cabaret Festival. Adelaide Festival Centre. Space Theatre. June 13 – 14 2026

Reviewed by Peter Wilkins

A grey mist envelops the four black chairs at the front of the stage of the intimate Space Theatre. Shafts of light stream through the mist upon musical director Victoria falconer at the piano in the shadows. Slowly she begins to sing the haunting melody of Windmills of Your Mind, images whirling and turning, spinning and circling in the confusions of the mind. House of Rot: Grey Gardens is loosely based on the controversial cult documentary about a mother and daughter living in poverty within the grey walls of Grey Gardens, the home of Edith Ewing Bouvier Beale and her daughter Edith Bouvier Beale, known as “Big Edie” and “Little Edie”. What is extraordinary is that they were the aunt and cousin of Jacqueline Kennedy and members of the socialite Bouvier family. Green Door Theatre Company has woven the story of the two eccentrics, living in a racoon and flea infested house, surrounded by detritus and infected with the scourge of poverty and dehumanization. This is the scene that Green Door Theatre Company have turned into a compelling, discomforting and bizarre cabaret.

Paul Capsis

House of Rot : Grey Gardens is not a play about a house in disrepair with no running water and piled high with decaying rubbish. It is about the identity and relationship of two eccentric women, “Big Edie” played by Paul Capsis and Adam Noviello as “Little Edie”. In long black slips they conjure an image of deprivation. Capsis is the mother, wiry and wild, screaming against the terrors of her isolation. Noviello, willowy and hooded in monastic mystery with a voice that echoes through the caverns of the heart and soars on the wings of angels fears the tragic fate of daughters who become their mothers in a world of decay that is their destiny.  

Adam Noviello

Becket meets Artaud in a scenario shrouded in fear.  Like Vladimir and Estragon they search for meaning, with snippets of songs of affirmation (I Am What I Am) from La Cage A Folle, songs of dependence (Tea For Two), songs of independence (You Can’t Take That Away From Me.) Noviello’s rendition of In Your Head  (Zombie) is an agonizing wail against the forces one can’t control, a protest that storms on unrequited. Capsis’s Beautiful Dreamer offers a world beyond the reality. I’ll Be Your Mirror Big Edie sings, reassuring in her voice, ominous in her control, driven by fear, resolved by pain and determined no to let go. The rubbish of their life becomes the refuse of their entrapment.

Victoria Falconer

Capsis and Noviello are superb, each one another’s foil and yet utterly entwined. Capsis is electrifying in his passion. Noviello galvanises with stillness and entices with song that erupts from some unfathomable depth of feeling. Together, they joust at the windmills of our mind, provocative and compelling, inviting us to look beyond the surface and deep into the heart and mind of the human condition.

Green Theatre Company has advised that House of Rot:Grey Gardens, premiered at the Adelaide Cabaret Festival is still a work in progress. With performers like Capsis and Noviello and with musical accompaniment by Falconer House of Rot : Grey Gardens is cabaret with clout that will haunt you long after you have left the theatre.

FRANKIE MCNAIR AND ISAAC HAIGH - The Booth Variety Spectacular & Formal Apology Hour. ADELAIDE CABARET FESTIVAL 2026

 

 

Frankie McNair and Isaac Haigh The Booth Variety Spectacular & Formal Apology Hour

The Banquet Room. Adelaide Festival Centre. Adelaide Cabaret Festival. June 12-13 2026

Reviewed by Peter Wilkins

Having posed the question in my review of David Mills’s glamour & despair, I continue my search for a definition of cabaret with the riotously funny and absurdly ridiculous Booth Variety Spectacular & Formal Apology Hour. This silly spoof actually ran for an hour and a half of variety show send-up, commedia lazzi, guest spots and a fork that gets its prongs in a manic slather. Is it cabaret?  Maybe its satirical swipe at the 1969 Variety show tradition might amuse with a dollop of subversion where everything goes wrong – the type of comedy that sends an audience into paroxysms of laughter at the blooper, the disaster and the mishaps in the tradition of Australia's Funniest Home Videos and shows like The Play That Goes Wrong. The audience at Frankie McNair and Isaac Haigh’s alt-comedy spectacular lapped it up. Most of them would remember with nostalgic fondness shows like Adelaide Tonight, the Ernie Sigley Show or Graham Kennedy’s Melbourne Tonight with that failsafe comedy duo the straight man and the fall guy or the Barrel Girl. 

Reuben Kaye and FrankieMcNair

They were shows ripe for the send up and Frankie McNair and Isaac Haigh carry Don Scrimpy’s Scrimpy Television Production off with perfect abandonment. They are assisted by a manic floor manager, a Baby Lloyd-Webber with her one man composition of CAT, accompanied by a painfully woeful and far too long cat dance routine, a truculent contestant and a fork from a long running, lamented series. There is also an unexpected guest appearance by Adelaide Cabaret Festival Artistic Director Reuben Kaye, there to announce the next AD of the festival. And it is….Me Me Me he cries in adulation. It’s not the only thing we learn about Kaye. In the Formal Apology Question time we learn the shattering fact that he would rather be bitten by a dog than scratched by a cat. It is a segment in the show of momentous confessions.

Frankie McNair and Isaac Haigh

But the glue that holds this show together is the calibre of the two leads. Isaac Haigh in a black wig that makes him look like a young Bob Downes and with a voice that bathes the room in droll seduction is Mr. Smooth of the TV Studio. A lovelorn interloper, Haigh has the role of co- host down to a tee and I am catapulted back to the years when the mellifluous tones of the announer would transport me along the airwaves to the radio years and then into the black and white world of the early TV era.

As the neurotic, dangerously unpredictable co-host Tabitha Booth, Frankie McNair has fashioned a character that is part caricature and part perfect copy of the immortal Lucille Ball or Carol Burnett, the brilliant comediennes of the Golden Age of American comedy shows. In a carrot red wig and pink gown, McNair exudes the air of faded glory, desperately hanging on to the memory of the wonder years. McNair and Haigh play out their reincarnation of a bygone age of variety with a touch of pathos beneath the laughter and the burlesque. It is the final performance and like the Variety shows of the Sixties, we are unlikely to see the like again. We are sure to see McNair and Haigh again. They are a newly found gift to the Australian comedy scene

And is it cabaret? It’s a part of a broad church, played out in an intimate room with audience at tables and drinking wine. It is interactive with Kaye clambering through the audience and one of the company talking to people before an audience warm up. It’s not my cabaret, however much I enjoyed the performances of McNair and Haigh. For the packed audience on Saturday night, it was their taste of comedy in a cabaret setting  and risqué and ribald enough to qualify for their kind of thoroughly entertaining cabaret.  

     

DAVID MILLS. ADELAIDE CABARET FESTIVAL 2026

 

David Mills  glamour+despair. 

The Banquet Room. Adelaide Cabaret Festival 2026. Adelaide Festival Centre. June 12 and 13. 2026

Reviewed by Peter Wilkins

David McEvoy at piano and David Mills

Each year the perennial question arises. What is Cabaret? Is it entertainment in a small venue where people are seated at tables and eating and drinking during a performance. If so, then the intimate Banquet Room at the Adelaide Festival Theatre is the ideal venue. And how can you tell a cabaret performer? Is it a man in a suit, looking every bit the part of a public servant. Then New York cabaret comedy performer David Mills is every bit the cabaret performer. Is his show glamour +despair cabaret or stand up comedy. It’s both. It is the forked tongue of satire, the sting in the tail, rattling with snappy jibes at the American Dream, spitting out the gay man’s wit and scorching his one hour act with the flames of dire prophesy and a burning contempt  for the coke addicts, the fentanyl dealers, gay conversion and political correctness. “I am an empath. I feel” Mills says as he turns his slick act on the audience, probing the sex lives, and the Well Woman medication for tiredness or the Wellman drug to boost vitality. The lady beside me is in hysterics. The master raconteur has his audience in his grasp. His humour lets loose the left field oddity of his city, the cataclysmic collapse of the greatest city in the world. 

His comedy is laced with the bitter taste of premonition of an era of decay and a collapsing madhouse world. The middle aged comedian in a conventional suit rails against conformity and indifference. “Don’t be sensible “ he exhorts. This is the consummate stand up comedian, the oracle of his tribe, the satirist with the sting. But it is the cabaret artist who twists the tone with song. The ominous hiss of the snake between the verses of Tender Woman Let Me In is songwriter Oscar Brown’s warning to the world of the dangers that await those who allowed Trump in and threaten to let in Pauline Hanson. Mills is a storyteller, weaving a cautionary tale. Tom Waits’s Hooker in Minneapolis is sung to a hushed room and the violence and degradation of Odyssey’s version of Native New Yorker reminds us of an underbelly , scarred raw by the despairing and despondent. Mills delivers his message with chilling effect only to relieve the tension with a joke and a friendly farewell to his ideal Adelaide audience.

So, is this cabaret, a cabaret iconoclast in a plain suit on stage with his accomplished accompanist Dave McEvoy, spicing the laughter with tales of sexual behaviour and gay pride excess, cajoling audiences with cheeky interaction and turning laughter to contemplative silence? The choice of songs is purposeful and powerful and we are left to consider our place in a changing and challenging world. This is Mills the cabaret artist, part anarchist, part prophet leaving us to leave the Banquet Room with the impact of his show resting solidly on our conscience.

The show is going to the Hayes Theatre in Sydney. It is funny, witty, shocking and a perfect example of stand up comedy meets cabaret. Don’t miss it if you are able to catch a brief Sydney season.   

Photos by Claudio Raschella  

Travelling North

 

Travelling North by David Williamson.  Canberra REP at Canberra REP Theatre, June 11 – 27 2026

Reviewed by Frank McKone
June 13

Creatives
Directed by Cate Clelland
Set Design: Cate Clelland
Costume Design: Clare Middleton, Darcy Abrahams, Cate Clelland
Lighting Design: Craig Muller; Sound Design: Nev Pye
Properties: Brenton Warren

Cast
Frances – Danielle Spiller; Frank – Pat Gallagher
Sophie – Margeaux Arundel-Williams; Helen – Matilda Millar-Carton
Joan – Stephanie van Lieshout; Freddy Wicks – Steven Kennedy
Saul Morgenstein – Adrian Breen
Wedding Celebrant – Kumar Kartikey Gupta
Gallery Attendant – Grace Cassidy

Though, from my past experience in companies similar to REP, I fully appreciate the effort that has gone into this presentation of Travelling North, with its thirty-three very short scenes.

Because Cate Clelland has chosen to darken the stage and move often large pieces of furniture on and off between almost all scenes, nearly half of our time in the audience is taken up in scene changes.  

Though this may seem a cheap joke, half-way through Act I the word “pedestrian” came to mind – referring to all the walking on and off; and meaning the effect as a theatrical experience, as opposed to, say, “engaging”.

I therefore cannot recommend REP’s production of Travelling North.

On the other hand, I did review the touring production done by Christine Harris and HIT Productions, presented in Canberra at the Tuggeranong Arts Centre in 2008.

I wrote then that Bruce Myles’ “direction suits this small-scale venue, bringing out qualities of character and personal relationships more successfully than I remember from early productions on larger stages where Williamson's one-liners were funny but less engaging.”

How did he do it?   Canberra REP’s stage is not exactly large, and could have used a design like this:

An AI search is informative: 
For the 2008 national touring production of David Williamson’s Travelling North—produced by HIT Productions and directed by Bruce Myles—the creative team faced a unique challenge. The play’s "filmic" structure demands rapid movement across dozens of short scenes. Furthermore, as a 14-week national tour, the set had to be physically adaptable enough to pack down and fit into 33 different metropolitan, regional, and remote venues across Australia.

To solve this, set designer Shaun Gurton and lighting designer Glenn Hughes devised a highly functional, smart, and minimalist staging environment, The Set Design Minimalist Framework: 

Shaun Gurton opted for an elegant, understated, and functional design. Rather than trying to construct multiple realistic rooms, the stage relied on clean lines and abstract spacing.

Portable Architecture: Because it was built for rigorous regional touring, the physical structures were lightweight and easily transportable. The design used simple multi-purpose spatial markers (like steps, platforms, or sparse furniture) that could easily adjust to fit varying stage sizes across Australia.

Thematic Focus: By stripping away heavy clutter, the design purposefully shifted the entire audience focus onto the spiky dialogue and personal interactions [and] avoided heavy, traditional physical set tracking or long curtain pauses. Scenes dissolved into one another with actors carrying small props or altering their positioning smoothly.(My emphasis).

The action of the play is mostly limited to three locations [with] Frank and Frances' holiday getaway positioned at stage right.

The result for HIT in 2008 was, in my review: “The audience's sustained applause on opening night expressed our appreciation not only for the skills of the director and actors but, I think, for a production which brought the best out of Williamson.  Very satisfying.”

I honestly could not write the same conclusion about the performance I saw on Saturday.

TRAVELLING NORTH

 

Written by David Williamson

Directed by Cate Clelland

Canberra REP production

Canberra REP Theatre, Acton to 27 June

 

Reviewed by Len Power 13 June 2026

 

David Williamson’s Travelling North tackles questions around ageing and its impact on relationships, families and love. Although it was written in 1979, and the world has changed a lot since then, those same questions are still valid today.

When newly retired engineer, Frank, and his somewhat younger girlfriend, Frances, decide to move to and live together in the tropical north, their adult children from previous marriages express concerns. Frank has always been a bit of a bully and Frances needs to learn to take charge of her own life. They have to find new ways to deal with issues that arise between them in their new relationship and when ageing and ill-health overtake Frank, difficult decisions must be made by both of them.

The director, Cate Clelland, has achieved fine results with the actors’ characters. Pat Gallagher gives a colourful performance as Frank, a man with a bluff exterior who is quite vulnerable underneath. Gallagher creates a complex man who is immediately recognizable and his love for Frances, underneath all the bluster, is touching and nicely played.

Danielle Spiller (Frances) and Pat Gallagher (Frank)

As Frances, Danielle Spiller portrays a woman with many self-doubts and guilt feelings from the past. Her luminous performance captures all aspects of this quiet, good woman who, through her relationship with Frank, becomes a person able to be true to herself and her needs.

Margeaux Arundel Williams (Sophie), Danielle Spiller (Frances) and Matilda Millar-Carton (Helen)

Matilda Millar-Carton gives a strong performance as Helen, the forthright and bitter daughter of Frances. Margeaux Arundel Williams, as the more conciliatory and balanced of Frances’s daughters, Sophie, gives an equally fine performance.

Adrian Breen (Saul), Pat Gallagher (Frank), Danielle Spiller (Frances) and Steven Kennedy (Freddy)

Steven Kennedy deftly makes Freddy, the lonely and over-helpful next door neighbour of Frank and Frances up north, funny and a little sad. Adrian Breen is very funny as Frank’s long-suffering doctor, Saul Morgenstein, and Stephanie van Lieshout gives a fine knowing and accepting performance as Frank’s daughter, Joan. In addition, there are nice, quirky cameo performances by Kumar Kartikey Gupta as the wedding celebrant and Grace Cassidy as the gallery attendant.

The play presents a difficulty in its staging with 33 small scenes. While the set design clearly delineated scenes taking place in the north and south, it created problems with the frequent changes necessary for props and furniture. While it was done as efficiently as possible, it became annoying especially towards the end of the play, breaking involvement in the story.

 

Photos by Ross Gould

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 DEEP BLUE SEA

 

Written by Terence Rattigan

Directed by Tony Knight

Chaika Theatre

At ACT HUB Theatre, Kingston to 27 June

 

Reviewed by Len Power 12 June 2026

 

When you’re caught between the Devil and the deep blue sea, finding the strength to keep on living may prove to be impossible.

In Terence Rattigan’s play, set in the post-war austerity of 1950s London, Hester Collyer is found barely alive after a suicide attempt in her cheap apartment. What prompted her action, and her continuing struggle with emotional isolation, is at the heart of this play about human relationships.

There are outstanding, highly believable performances by the whole cast of eight in this production.

Jenna Roberts gives a terrifying vulnerability to the central role of Hester Collyer. The pain this woman is feeling is profound. Her playing of this woman’s emotional crisis and her reactions to the other characters shines with clarity and honesty. She has achieved a very real, raw and courageous performance.

Sol Mason plays Hester’s lover, Freddie Page, a man who is unable to move on from the 1940s in his views on life, work and relationships. There is pain, an outdated sense of bravado and a lack of understanding portrayed in Mason’s nicely tuned performance.

As Miller, the ex-doctor with a possibly shady past, Karen Vickery gives a no-nonsense performance with a hint of warmth and vulnerability under the surface. Her multi-layered characterization is very well-played.

Michael Sparks plays Hester’s ex-husband, Sir William Collyer, as a man who clearly wants her back but lacks the understanding of her emotional needs. His performance is finely nuanced, and especially impressive in his non-verbal reactions.

There is fine work, too, from Kate Blackhurst as the brisk landlady, Mrs Elton, Blue Hyslop as Freddie’s war-time friend who hasn’t changed either and Meaghan Stewart and Jack Shanahan as the nosy but kind-hearted neighbours, Ann and Philip.

Tony Knight’s expert direction of this production has ensured that the interaction of these colourful characters stays very real throughout. Presented on a set with the audience on two sides, he has achieved a notable intimacy between cast and audience. Rattigan’s play, written in 1952, is literate and emotionally involving in this excellent 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/.

 

 

The Deep Blue Sea

 

The Deep Blue Sea by Terence Rattigan.  Chaika Theatre at ACT Hub, Kingston, Canberra

June 12 - 27 2026
Reviewed by Frank McKone
June 12

Creatives

Creatives
Director: Tony Knight
Asst Director & Costume: Ylaria Rogers
Design: Michael Sparks
Artworks: Leigh Penton & Kerry Wode/Lillian Vickery & John Vickery
Light & Stage Management: Disa Swifte
Sound: Neville Pye; Composition: Paris Scharkie
Properties & Medical Consultant: Yanina Clifton
Intimacy Consultant: Jill Young

Cast
Hester – Jenna Roberts; Mrs Elton – Kate Blackhurst; Miller - Karen Vickery
Philip – Jack Shanahan; Ann – Meaghan Stewart
Sir William Collyer – Michael Sparks; Freddie Page – Sol Mason
Jackie Jackson – Blue Hyslop



Terence Rattigan’s 1950s’ play is about what it means to love someone, what it means to be loved by someone, and what it means when love fades, and life seems to no longer have any purpose.

These are the experiences of the central character: a woman, Hester, a demanding role played  with sensitivity and fine detail by Jenna Roberts, through all the vicissitudes from self-loathing to hope.

As the two men in her life, the staid successful Judge Sir William Collyer and the one-time military test pilot, adventurous Freddie Page – Michael Sparks and Sol Mason respectively – match Roberts’ acting skill, providing strength and balance in the drama’s through-line to Hester’s achievement of true independence.

And, all the other characters in her milieu – other tenants in the block of flats where Hester lives, the unit cleaning-woman, a down-graded medic, and Freddie’s air force friend – establish their status and position as they relate to her, influencing how she progresses from near suicide to taking up her artistic work in a positive frame of mind.

This Chaika production of The Deep Blue Sea is very successful first because of the quality of the directing.  Tony Knight has clearly understood the need for the style appropriate for the period and situation that Rattigan has written into the script – almost as if it were a Noel Coward witty comedy as the play begins, which then mutates into serious reality.

In addition, playing at The ACT Hub, with the audience grouped at each end, and the sitting room setting across the space between them, allows us to feel as if we are almost in the room with the characters – reminding me of that other famous intimate theatre, Ensemble Theatre in Sydney.

The careful mimimal use of external sound – the quiet piano – and lighting underdone – but just right – reinforced the sense of quality theatre on the principle of less is more.

Finally, the choice of a play about love and marriage difficulties from a time before today’s social media disaster is an important contribution to recognising the value of real-time person to person life – in a time now when youth suicide is on the increase.

A production not to be missed.

At https://en.wikipedia.org/wiki/The_Deep_Blue_Sea_(play), for further thinking about the significance of Rattigan’s theme, his personal history suggests he intended the implications of Hester’s story should apply to any love experience, not only male-female.  The important issue, it seems to me, is that we all should do our bit to support others through their natural emotional turmoils when their hopes are unfulfilled.  That’s another kind of love.

 

 

 

 

HARMONIC CURVES - RESONANCE

 

Alice Giles, harp, Timothy Kain, guitar

Wesley Music Centre June 7

 

Reviewed by Len Power

 

Resonance was the focus of the latest Harmonic Curves concert. The harp and guitar proved to be the perfect match, showcasing a range of music from the 16^th century to the present day in the hands of two excellent players, Alice Giles (harp) and Timothy Kain (guitar).

Initially inspired by popular music and flamenco to start playing the guitar, Kain’s first classical guitar lessons were with Sadie Bishop at the Canberra School of Music.

After graduating, he studied in Spain and England, winning prizes in Europe for his playing. His performing and teaching activities have taken him all over the world, building an international reputation both as a soloist and chamber musician.

Giles has had a wide-ranging career and has appeared as guest artist at international chamber music festivals.

For the first half of the program, Alice Giles played two solo works composed between 1916 and 1918 by French harpist, Carlos Salzedo – Five Preludes for Harp Alone and Five Studies For Harp Alone. Giles explained that she would be using gestures developed by the composer as part of his Salzedo Method for the harp.

With subtitles such as Iridescence, Introspection, Whirlwind, Mirage and Communion, each part presented a different mood or colour and demonstrated the versatility of the harp as well as the skill of the player. The gestures added an extra stylistic layer to the music and Giles performed both all parts of the two works superbly.

Timothy Kain (guitar) and Alice Giles (harp)

Guitarist, Timothy Kain, joined Alice Giles to present the second half of the program. First, they played Three pieces by Irish composer, Turlough O’Carolan, born 1670, arranged for duo by G. Garcia. These melodic works were delightfully played, and both performers clearly enjoyed playing them.

The duo next played A View From The Eagle’s Nest by Canberra composer Marián Budoš. This Canberra premiere of a 2023 work created a grand atmosphere both melodic and introspective. It proved to be a highlight of the program and the composer, who was in the audience, signalled his appreciation of the duo’s performance.

The final work on the program was the Suite Magica from 2015 by Argentinian composer, Maximo Diego Pujol. This popular work in 4 parts was given a fine performance by Giles and Kain, bringing this excellent concert to a close.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 8 June 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.

THE SAPPHIRES

 

 

The Sapphires  Written by Tony Briggs

Directed by Tony Briggs. Musical Director Nathaniel Andrew. Choreographer Yolande Brown. Set and costume designer Richard Roberts. Lighting Designer Ben Hughes. Video Designer Craig Wilkinson.Sound Designer and Sound System Designer Isaac Ogilvie. Assistant Director Chenoa Deemal. Fight Choreographer NJ Price. Intimacy Coordinator Andrea Moor. Vocal Coach Naomi Andrew. Stage Manager Yanni Dubler. ASM Lialize du Plessis. SM Secondment Tara Kenn. Centre. A co-production of Queensland Theatre Company and the Canberra Theatre Centre. The Playhouse. Canberra Theatre Centre May 30-June. Bookings www.canberratheatrecentre.com.au

Reviewed by Peter Wilkins

  

Director Wesley Enoch has struck gold with the Queensland Theatre Company’s touring production of Tony Briggs’ The Sapphires. An old TV set emits flickering black and white images that depict the setting of the production. Australia is going through enormous change. For the first time the original inhabitants of the land are acknowledged in a referendum that will lead to First Nations people finally being given the vote. Only sixty years ago! Australia has converted to decimal currency and Australian men are drafted to fight in Vietnam. It is against this background that four First Nations Yorta Yorta sisters from the Victorian country town of Cummeragunja are discovered by talent scout Dave Lovelace at a talent quest and persuaded to tour to Vietnam to entertain the troops. Tony Briggs’ endearing play, first produced by the Melbourne Theatre Company in 2004 explodes onto the stage in a co-production by the Queensland Theatre Company and Canberra Theatre Centre.  Since 2004 and the screening of the film, The Sapphires has captured the hearts of audiences everywhere. Moreover, it introduces audiences world wide to the culture that for 65,000 years has revealed its humanity through the power of storytelling and its connection to family, to country and to the endurance and survival of the human spirit. Where once the stories were handed down from generation to generation around a fire, Tony Briggs’ heartwarming account of his mother’s and aunts’ lives as The Sapphires dazzles in a production that employs the technology of our time while never losing the very soul of this uplifting tale. Designer Richard Roberts’ set and costume design, Ben Hughes’s lighting design, Craig Wilkinson’s expressive video design and Isaac Ogilvie’s sound design lift this newly minted version into the realm of the extraordinary. Visually the setting is awesome. The stage is lit to evoke the pulsating energy of the musical numbers and the moments of love or danger. The miking ups the ante shaking the foundations with the singers and the band with musical director Nathaniel Andrew on Guitar, Eli Badger on Bass and James Feagai on Keys. Numbers like Ain’t No Mountain High Enough reverberate with the force of amplification, passion and determination. It is the anthem of dreaming, sung with the force of resilience, survival and powerful confidence in self-belief. Queensland Theatre Company’s production of The Sapphires in collaboration with Canberra Theatre Centre is a stage spectacle for our time. It is a magnet to the story of four amazing First nations soul sisters at the very heart of this amazing piece of theatre. 

 

Aurora Liddle-Christie (Kay),Tehya Makani (Julie),Taeg Twist (Gail) Ruby Henaway (Cynthia) 

At its heart of course is the story’s soul, its spirit and its timeless truth. It is a truth revealed in Briggs’ recognizable and engaging script, based as it is on his family. It is in the performance of every member of the cast, skilfully guided by director Enoch to understand the truth in the playing of their characters. Every performance rings with authenticity and professional talent. The four McRae sisters are impeccably cast, each of their characters bonded by family and sisterhood but each an individual. There is Gail, the elder sister (Taeg Twist). She is the organizer, weighed down by a matriarch’s sense of the responsibility to control and protect her sisters. Kay (Aurora Liddle-Christie) is the reliable, responsible sister with the amazing voice. Christie channels Aretha Franklin’s I Say A Little Prayer, while making the song her own. Cynthia (Ruby Henaway) has an eye for the soldiers but it is Kay who finds love in the arms of  American army medic Robby(Cameron Leonard), while hanging upside down in a tree-entrapped parachute. Julie (Tehya Makani) is the vulnerable youngest member of the group. The moment she is lost and facing the racism and threat of the soldier in the darkness is a chilling reflection of the prejudice that still brings shame to the perpetrators of the scourge. 

 

Taeg Twist,Aurora Liddle-Christie,Ruby Henaway, Tehya Makani in The Sapphires

There are excellent performances from tour manager Jack Bannister as the well-meaning, but disorganized Dave Lovelance, immensely likeable in his mishaps and love for Gail. Garret Lyon gives a deliciously comic performance as Jimmy, who left Cynthia without a word after his proposal and found himself drafted into the army to serve in Vietnam. As Robby Cameron Leonard commands an imposing  physical presence with natural ease and conviction. Chris Nguyen gives a lively and mischievous performance as the opportunistic Vietnamese youth seeking whatever means he can to survive in war time. In telling contrast the scene in which he stands before a vacant block where his family and seven sisters lived but now lies completely bare and the family gone is heart wrenching and we see in Nguyen’s performance the tragedy of war for the Vietnamese people.  

This is the true power of Enoch’s direction. He and his cast and creatives have created a fully professional production with thrilling and exciting musical numbers, hilarious comedy at the Jimmy/Cynthia scenes or pathos at Julie’s predicament as she comes to terms with her condition and confronts the danger of a violent war. The Sapphires is the story of real experience. These are real people living out their authentic stories with which we can all identify, irrespective of race, colour or creed, and at its heart is the need for empathy and understanding. Queensland Theatre Company’s production ensures that we leave the theatre in a state of exhilaration and in the knowledge that we are all human. We love, we laugh and we cry. War may tear us apart but who we are, whether black or white, can bring us together. The Sapphires is loud (at times very loud), proud and proof that magnificent theatre can lift the human spirit. In The Playhouse and urged on by Dance Captain (Garret Lyon), a full throttled Finale, echoing with the company’s rendition of Aretha Franklin's Respect, fierily choreographed by Yolande Brown, brought audiences to their feet, clapping loudly and cheering wildly in a standing ovation that is the gift to a production of The Sapphires that must not be missed. 

 

This production is dedicated to the memory of Dr. Naomi Mayers OAM (1941-2026), an original member of The Sapphires, whose voice and strength helped bring this story to life