COCTEAU'S CIRCLE - Australian Chamber Orchestra - Llewellyn Hall - Canberra

 

Richard Tognetti (conducting) -Stefan Cassomenos (Piano) - Le Gateau Chocolat 
performing - "Cocteau's Circle"

Music Director and Violin: Richard Tognetti – Staging Director: Yaron Lifschitz

Costume Designer: Libby McDonnell – Interstitial Music Composer: Elena Kats-Chernin

Maitre d’ and Voice: Le Gateau Chocolat – Soprano: Chloe Lankshear

Australian Chamber Orchestra – Llewellyn Hall, Canberra – 22^nd November 2025

Reviewed by BILL STEPHENS

Richard Tognetti with The Australian Chamber Orchestra.

It seems that Jean Cocteau was as famous for the company he kept as he was for his contribution to the art scene of twentieth century Paris. 

A prolific poet, playwright, novelist, designer, film director, visual artist, ambulance driver and critic, Cocteau pushed boundaries with his collaborations with the likes of Picasso, Diaghilev, and Stravinsky, while providing inspiration for composers such as Ravel, Debussy, and George Gershwin.  

Even also for twenty-first century boundary-pushers like Richard Tognetti and Yaron Lifschitz, who between them, conceived this mesmerising concert, which received the final performance of its national tour in Canberra.

A sense of ennui might have been expected among the musicians, who, the previous evening, had performed a gala concert in the Sydney Opera House to celebrate exactly 50 years since the orchestra’s establishment in 1975. But that would have underestimated the professionalism of this extraordinary ensemble of musicians, because no such mood was discernible.  

Indeed, the mood was festive, even casual, as the musicians took the stage to perform Elena Kats-Chernin’s “Pre-show: Intermission Music”, one of several specially commissioned pieces from Kats-Chernin, dotted through the program to provide clever musical segues connecting the disparate compositions which made up the program.

Works by Georges Auric, Igor Stravinsky, Arthur Honegger, and other composers who sought artistic freedom beyond traditional conventions were showcased.  

The Soldiers Tale (  L’Histoire  du soldat: Ragtime) , inspired by a story of a young soldier who sold his violin to the devil; and Three pieces for a String Quartet (trois pieces pour quator a cordes)  displayed Stravinsky’s use of dissidence, as did Honegger’s, Wedding Party on the Eiffel Tower (Les Maries de la tour Eiffel: Marche funebre).

While the superbly rendered orchestral selections illustrated the inventiveness of the more forward-thinking composers of the day, an inspired choice to include British shapeshifting drag performer, Le Gateau Chocolat, and soprano, Chloe Lankshear in the program, allowed reference to the work of iconic cabaret artists like Josephine Baker and Edith Piaf and their role in popularising the works of those composers.  

Le Gateau Chocalat and the Australian Chamber Orchestra.

Le Gateau Chocolat represented the subversive Black avant-garde artists who flocked to Paris during this period. His deconstructions of George Gershwin’s “Oh Lady Be Good”, from the musical of the same name, “I loves You Porgy” from Porgy and Bess, then later his compelling version of Janis Ian’s “Stars”, echoed the type of performance that attracted Cocteau to the cabarets of Paris.

He also offered visual splendour with his extravagant costumes, each more dazzling than the last, along with poems and monologues.   

Lankshear, by contrast, stayed with her chic black trousers and tuxedo, preferring to fascinate with her voice and personality which perfectly reflected those of artists of the period who appeared in operettas like Henri Christine’s Phi-Phi, from which she offered a stylish rendition of “Bien Chapeautee”.

Chloe Lankshear - Stefan Cassomenos (piano) and the Australian Chamber Orchestra.

Later, Lankshear captivated with a swooning version of “Les Chemins de l’amour” (The Ways of Love”), written by Francis Poulenc for Yvonne Printemps to sing in the play “Leocadia”, and a heart-stopping rendition of Lili Boulanger’s “Pie Jesu” which Boulanger dictated from her deathbed to her sister, Nadia.  

Performed without interval, before an artfully lit translucent curtain, floor candles and haze, the concert flowed uninterrupted for a riveting 90 minutes, arriving at the major work of the evening, an exhilarating performance of Darius Milhaud’s effervescent, “Le Boeuf sur le toit” (An Ox on the Roof”) written to accompany a Charlie Chaplin movie, but premiered as a ballet choreographed by Jean Cocteau in 1920.

This item was delivered with such infectious joie de vivre by the orchestra, that it was impossible not to be captivated by its ability to retain the impeccable balance between instruments for which it is justly celebrated, while seemingly abandoning itself to the playful mood of the music.

The thunderous applause which greeted this performance was gently subdued by a superb rendition by Lanshear and Chocolat, of “L’Hymne a l’amour “written by Cocteau’s friend, Edith Piaf following the death of her lover in a plane crash. Piaf herself died just one day ahead of Cocteau in October 1963.

                                                            Images by Daniel Boud.

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

EQUUS

 

 

Equus by Peter Shaffer

Directed by Anne Somes. Associate director Crystal Mahon. Movement director Amy Campbell. Intimacy coordinator and stage manager Jill Young. Set design Cate Clelland. Lighting design Craig Muller. Sound design. Neville Pye. And Patrick Dixon. Live soundscape Crystal Mahon. Costume design. Anne Somes. Director of marketing Olivia Wenholz. Videography amd socialmedia Lachlan Elderton. Production Photography Janelle McMenamin, ACT HUB Season Photography = Ben Appleton – Photox.

Cast: Martin Dysart-Arran McKenna. Alan Strang: Jack Shanahan. Frank Strang/Harry Dalton: Bruce Hardie. Dora Strang: Janie Lawson.Hesther Salomon: Crystal Mahon. Jill Mason: Lily Welling. A Nurse: Caitlin Bissett. Nugget/Young horseman: Sam Thomson. Horses: Jamie Johnson. Finlay Forrest. Samara Glesti. Bianca Lawson. Robert Wearden.  Free Rain Tjheatre. ACT HUB. November 12-22.

Reviewed by Peter Wilkins

 

It is more than fifty years since I saw the original production of Peter Shaffer’s startling psychological drama Equus. Last night the memories flooded back as I watched Ann Somes’ remarkably deft production for Free Rain Theatre at ACT HUB. Somes’ production loses none of the theatrical power or intellectual enquiry of the original. The play has been staged as a minimalist investigation of action and motive with actors playing horses and the character actors seated Brechtian like at the rear of the stage awaiting the entrance of their character. ACT HUB’s intimate theatre space provides the ideal experience for total immersion in this gripping production.

Arran McKenna as Martin Dysart. Crystal Mahon as Hesther Salomon

 

 

 

Shaffer first heard of the case of a seventeen year old youth being charged for blinding six horses in a stable during a conversation in a pub. Curiosity ignited Shaffer’s imagination and enquiry.  The play focuses on the relationship between Alan Strang (Jack Shanahan) and the child psychiatrist Martin Dysart (Arran McKenna) who agreed to take on the case after being urged by magistrate Hesther Salomon (Crystal Mahon) to remove the young man’s pain. Throughout the process, Dysart is forced to confront his own existential dilemma and personal conflicts. If in the process he removes Strang’s pain, what is left of the young man’s obsession with and passion for horses? What does it mean to make him”normal”? What is lost and what price must Dysart pay in this great struggle to restore reason over individual instinct.?

Jack Shanahan as Alan. Arran McKenna as Dysart.

 In a series of short scenes Shaffer constructs an intriguing scenario. Circling the central relationship between the psychiatrist and his patient is Alan’s relationship with his highly religious mother, his atheist father, who bans his son from having television in the house, the horse Nugget (Sam Thomson) with whom he shares a bond of sacred devotion and Jill, whose innocent seduction of Alan provides the catalyst for an act of horrific consequence. We are left in this tightly directed production to observe and assess  the complexity of human emotion and intellect. The questions will remain long after one has left the theatre. The final image of Alan covered with a blanket that hides the cured result of Dysart’s shattering role play leaves us with the lingering question “Why me?, “Why him”

Sam Thomson as Nugget. Lily Welling as Jill Jack Shanahan asAlan

Somes has selected an outstanding cast. McKenna as Dysart inhabits the torment and self doubt of his practice. Alan is the scalpel that exposes his fpsychiatrist’s vulnerability and fear. Shanahan’s Strang is a coiled wire ready to fling open and snap. From ecstasy to excruciating emotional pain, Shanahan charts a challenging journey that leaves an audience riveted in the blinding scene and Dysart’s brutal exorcism.  Shanahan and Dysart are strongly supported by Mahon as the empathetic magistrate, Lawson as the mother,  Bruce Hardie as the father and Lily Welling as the innocent and natural girlfriend. No-one, not even Caitlin Bissett as the nurse remains untouched by the single act of brutal cruelty; not even the horses, and I am left after Free Rain’s thought provoking production asking myself, “What has changed since that first production.?”

Perhaps a deeper understanding of what it is to be human!

 

THE ALMIGHTY SOMETIMES

 

The Almighty Sometimes by Kendall Feaver

Lachlan Houen – Director/Producer/Lighting Designer Caitlin Baker – Set/Costume Designer. Marlene Radice – Sound Designer/Composer. Sarah Chalmers – Voice and Text Coach. Kristy Griffin – Movement Coach. Lucy van Dooren – Stage Manager. Olivia Boddington – Marketing Assistant.

Cast:  Winsome Ogilvie – Anna. Elaine Noon – Renee. Robert Kjellgren – Oliver. Steph Roberts – Vivienne

Q The Locals. The Q. Queanbeyan Performing Arts Centre. November 19-22.

Reviewed by Peter Wilkins

Elaine  Noone 9Renee) and Winsome Ogilvie (Anna)
in Kendall Feaver's The Almighty Sometimes

          Lachlan Houen’s production of Kendall Feaver’s award winning play The Almighty Sometimes is not easy to watch, which is exactly why this powerful and compelling drama about mental illness is must see theatre. The direction is tight and sensitive. The setting by Caitlin Baker is simple and yet evocative against a lit cyclorama and with screeds of inscribed paper flowing from the flys to the floor below. Marlene Radice;s subtle score lends an air of discomfort to the possibility of the unpredictable.  Houen’s lighting is sombre, illuminating a sense of foreboding.

Anna and Renee in The Almighty Sometimes

Feaver’s dialogue resounds with the voice of authenticity, crying out from the heart as the four characters struggle with Anna Jean Phillips’s mental condition. As Anna Winsome Ogilvie gives an extraordinary performance plumbing the depths of spontaneous and confused outbursts. From the 17-year-old teenager on medication to the eighteen-year-old suffering withdrawal and seeking independence from her mother Renee, played with the plaintive helplessness of a distraught parent by Elaine Noone, Ogilvie presents a victim tangled in a search for answers and escape. Ogilvie gives an emotionally charged performance that demands engagement.  Hers is a performance of enormous promise as an actor to watch out for. She is ably supported by Noone and boyfriend Oliver, adroitly played with awkward bewilderment by Robert Kjellgran on crutches. Steph Roberts is the child psychiatrist Vivienne who has been treating Anna since the age of eleven. Roberts exudes professional ethic, bound by her role to remain detached and yet fascinated by Anna’s flood of creative imagination in her childhood stories. 

Robert Kjellgran as Oliver

Feaver immerses her audience in dilemma. We are presented with conflicting emotions and needs. No person is an island. Cause and consequence are flip sides of the same condition and an excellent ensemble cast grapples with the impact of Anna’s condition on their own lives. We are faced with questions that provide no resolution. Anna’s dramatic and destructive withdrawal emphasises the benefits of medication in controlling the erratic outbursts or illogical argumentation. And yet they remain a symbol of dependency, depriving Anna of identity and free will. The heart aches for Renee, a mother fraught with inability to cope. Anna is no longer the child under the child psychiatrist’s treatment. Each character, Anna, Oliver, Renee and Vivienne are caught in a spiraling vortex of uncertainty. Oliver can leave. Vivienne can pass Anna on to an adult psychiatrist, but for Anna and her mother, as with everyone who faces the struggle with a mental condition, hope rests in Feaver’s play with trust in medical advice, love and support. 

 

Steph Roberts as Vivienne

The Almighty Sometimes is a touching and important account of mental illness and its impact on families and society. It is both timely and relevant and is an advocate for empathy and awareness. “You are not alone” a sign says as you enter the theatre. There is support and help and Kendall Feaver’s play opens a window to the light.  Q The Locals is to be highly commended for the courage to present such a significant and finely staged production of Feaver’s play. If edited down to a little over an hour a touring version to schools and community organizations of The Almighty Sometimes would be an ideal and necessary community theatre piece. Whether a two-hour mainstage work or a shorter community theatre version The Almighty Sometimes is a play never to be ignored.

Photos by PHOTOX    

 

 

 

Low Pay? Don't Pay!

 

Low Pay? Don’t Pay! New translation by Joseph Farrell of Can’t Pay? Won’t Pay! by Dario Fo.  
Canberra REP November 20 – December 6, 2025

Reviewed by Frank McKone
Nov 21

An uproarious new version of Dario Fo's frenetic farce Can't Pay? Won't Pay! which, although set in Italy, has an all too familiar ring to it. Housewives Antonia and Margherita, fed up with high prices in the supermarket, take matters into their own hands and start shoplifting. Keen to keep their light-fingered antics from their husbands, Giovanni and Luigi - not to mention the police - the women are forced to resort to more and more inventive hiding places, and more and more elaborate cover stories, in this legendary comedy. Nobel prize winner Dario Fo [was] Italy's leading contemporary playwright, renowned for his hilarious satires including Accidental Death of an Anarchist. He has re-written his classic farce Can't Pay? Won't Pay! to take into account the global banking crisis and this translation, by world-leading Fo scholar Joseph Farrell, hints at UK current affairs too, including the credit crunch and MPs' expenses scandal. Although first written in 1970, this updated farce is still very relevant to today's state of affairs. (https://www.amazon.sg/Low-Pay-Dont/dp/140813103X) 

Directed by Cate Clelland
Written by Dario Fo, translation by Joseph Farrell (Hachette 2010)

CAST
Maddie Lee – Toni        Chloe Smith – Maggie
Lachlan Abrahams – Joe    Rowan McMurray – Lou 
Antonia Kitzel – The  Actor 

Ensemble
Ben Zolfaghari - Stephanie van Lieshout - Ariana Barzinpour - Georgie Bianchini Rucha Tathavadkar - Sterling Notley - Rosemary Gibbons - Paul Jackson

CREATIVES
Cate Clelland: Set Designer; Stephen Still: Lighting Design
Neville Pye: Sound Design; Darcy Abrahams: Costume Design
Rosemary Gibbons: Properties Coordinator
Russell Brown OAM I Special properties construction

PRODUCTION
David Goodbody: Stage Manager: John Stead: Production Manager
Lachlan Ruffy: Assistant Director; Russell Brown OAM: Set Coordinator Elizabeth Goodbody: FoH Coordinator & Council liaison
TEAMS
Sets: Russell Brown OAM, Andrew Kay, Brian Moir, Wolfgang Hecker,
Eric Turner, John Klingberg
Wardrobe:Darcy Abrahams, Wardrobe Wenches
Lighting: Anne Gallen, Ashley Pope, Lennard Duck, Liz de Totth Sound: Andrea Garcia, Imogen Holland, John Maguire
Properties & Set Dressing: Rosemary Gibbons
Stage Crew: Emily Backhouse, Julie Barnes, Mae Schembri
Front of House: REP members & volunteers
Artwork & Promotons: Tiana Johannis Design, Helen Drum
Marketing: Victoria Dixon, Helen Drum 
Program: Helen Drum 
Promotional & Foyer Images: Ross Gould, Victoria Dixon


https://socialistworker.co.uk/obituaries/dario-fo-a-committed-revolutionary-who-stood-against-the-state 2016 

Italian dramatist Dario Fo, who has died at the age of 90, was one of the great artistic and political revolutionaries of the 20th and 21st centuries.

His death has prompted hollow eulogies from some members of the Italian ruling class. Make no mistake, however, the bourgeoisie despised Fo and the feeling was entirely mutual.

Fo’s great plays, such as Accidental Death of an Anarchist, Can’t Pay? Won’t Pay! and Mistero Buffo (a one-man piece that confirmed Fo’s brilliance as an actor), are both spectacularly funny and savage in their satire of the rich and powerful.

So what on earth are all these people in the Canberra Repertory Theatre, based in the centre of Australian Government, doing?

Do they really support a Socialist Workers’ Revolution?  

You could certainly think so when the lead actors, Maddie Lee as Toni, Chloe Smith as Maggie, Lachlan Abrahams  as Toni’s husband Joe and Rowan McMurray as Maggie’s husband Lou, actually managed to make us believe in their characters, and even feel sorry for their plight as ordinary workers and wives in our world of continuous inflation, despite the absolutely zany, and therefore very funny, plot.

This is because of the clever way director Cate Clelland has combined an absurdist style of choreographed group work for the workers like police, council workers and so on – led by Antonia Kitzel – with the desperate attempts by the two couples to make sense of it all.

Then the moment finally comes where we understand the point of it all as our set of characters meld back in time with the backdrop picture of the Italian workers Dario Fo originally presented in 1976.

In other words, the message is, nothing has changed.  We can’t forget the intensity of people’s struggle to find toilet paper in 2007.

I don’t know how many REP members are public servants.  Enough I hope to cause more than a laugh or two in the appropriate policy departments in working out ways not only to better balance economic inequality, but also to manage zero damaging emissions of CO2 in the atmosphere before our world becomes even more impossible to live in than Dario Fo imagined.

Low Pay? Don’t Pay! is the kind of ‘comedy’ which must not be missed.

LOW PAY? DON'T PAY!

Written by Dario Fo

Translated by Joseph Farrell

Directed by Cate Clelland

Canberra Rep Production

Canberra Rep Theatre, Acton to 6 December

 

Reviewed by Len Power 21 November 2025

 

It’s a night of total lunacy as the cast of “Low Pay? Don’t Pay!” tackle Dario Fo’s 1974 Italian farcical comedy about a consumer backlash to ever-increasing prices. While it’s all madness on the surface, Fo was unrelenting and unapologetic in his criticism of political and social issues. His style might be crazy, noisy and non-realistic, but the influences of commedia dell’arte, farce and medieval traveling theatre are clearly apparent in his work.

Fo’s work was ferociously attacked at the time, but he was eventually the recipient of the 1997 Nobel Prize for Literature. His plays have been translated into many languages and performed internationally. The title of the original English translation of his play in 1975 by Lino Pertile, “Can’t Pay? Won’t Pay!” has passed into the English language.

Fo encouraged producers and directors of his plays to change the setting to suit their circumstances, so, although the original setting for the play was Milan, Italy, the director of this production, Cate Clelland, has set it in Canberra, which works fine.

From the opening noisy demonstration in front of a supermarket, the action is broadly played by two couples, Joe and Toni, Maggie and Lou and an eight-member ensemble. There is also The Actor, a rather mysterious character.

The whole cast are clearly having fun playing the high-speed, farcical elements of the plot. If it seems a bit uneven at times, it really doesn’t matter. It’s the ideas and messages being presented that matter most in this play. Antonia Kitzel, though, gave a clever performance as the various characters of The Actor.

This production provides an opportunity to experience the work of one of the most influential playwrights of his time. It’s knockabout fun with strong messages underneath. I wonder what Fo would be saying about grocery prices now?

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 Almighty Sometimes

 

The Almighty Sometimes by Kendall Feaver. Off the Ledge Theatre co-presented by The Q, Queanbeyan Performing Arts Centre, 19-22 November 2025.

Reviewed by Frank McKone
Nov 20

Cast and Creative Team

Anna – Winsome Ogilvie
Renee – Elaine Noon
Oliver – Robert Kjellgren
Vivienne – Steph Roberts

Director/Lighting Designer – Lachlan Houen
Stage Manager – Lucy van Dooren
Set/Costume Designer – Caitlin Baker
Sound Designer/Composer – Marlene Radice
Movement Director – Kristy Griffin
Costuming & Marketing Assistant – Liv Boddington
Voice & Text Coach - Sarah Chalmers


Theatre off the ledge is exactly the right way of thinking about this remarkable production of The Almighty Sometimes.  Winsome Ogilvie enacts Anna’s continuous likelihood of emotional collapse in such detail in action, voice and expression of her feelings that one is amazed at her capacity and flexibility as an actor – while also feeling so sorry for Anna caught in the impossible confusion of her mother’s doing everything “right” and maybe even more than might be expected, for her child’s benefit.

Now, legally an adult, what will become of Anna?  What was was her “illness” in the first place.  Something we call ADHD I suspect.  As a young child she became an irrepressible story writer, but after her encouraging father died, her mother sought help to, essentially, calm her down and have treatment so that Anna’s obvious intelligence could be directed into her education.  As a teacher herself, this seemed sensible to Renee.

To quote Off the Ledge Theatre: Winner of the Judges’ Award in the prestigious Bruntwood Prize for Playwriting (UK) and the NSW and Victorian Premier’s Prizes for Drama, Kendall Feaver’s captivating play is a profound and compelling study of a young woman trying to discover where her illness ends and her identity begins.
 
As a teacher myself, I wondered if the issue of classifying some behaviours as illnesses, justifying drug treatments as the psychiatrist Vivienne – played very straight by Steph Roberts – does, was from the author’s personal experience.  

A fascinating interview in The Saturday Paper in 2020 (at https://www.thesaturdaypaper.com.au/culture/theatre/2020/11/28/playwright-kendall-feaver/160648200010780) doesn’t reveal the answer, but the importance of the play being presented – which I am sure The Q recognises – is that Anne’s experience, through to what seems to be no more than an isolated life in a ‘home’ from the age of 20, is that it makes a medical/political issue become real.  Made worse by how her blunt behaviour has ruined her possible relationship with old school friend Oliver.

Presenting The Almighty Sometimes is a valuable community contribution by the Queanbeyan Performing Arts Centre and Off The Ledge Theatre to the Australian Capital region.  Canberra has often led new developments in education.  With the expansion of social media on the internet, parent, teacher and children relationships are changing, and creating new and fraught issues, with attempts at control by banning phones in the classroom and even at school at all, and limiting social media accounts to over 16s.

I hope that this production’s short run can be followed by presentation on tour, hopefully with a secondary school program component.  

Establishing one’s identity, always the central concern for teenagers, is what this play is about, and it should not be missed.  I have my own memories as a 7-year-old boy who wrote poetry, and how I was treated - though long before modern psychiatry, no-one thought to class me as ill.  I got my own back when I got into Uni - the only one in my all boys' school class to choose to answer the poetry question.  So there!

Photos supplied:

Psychiatry session with Vivienne

Meeting up again with Oliver

Fraught lunchtime episode

 

One of the worst moments with mother
The Almighty Sometimes
by Kendall Feaver. Off the Ledge Theatre 2025

 

 

 

 

THE ALMIGHTY SOMETIMES

Written by Kendall Feaver

Directed by Lachlan Houen

Off the Ledge Theatre and Q The Locals production

Q Theatre, Queanbeyan to 22 November

 

Reviewed by Len Power 19 November 2025

 

Being an adolescent is hard enough without also dealing with a cocktail of pills that were prescribed to treat a severe childhood mental illness. Would life be better and maybe more exciting and fulfilling without the medication?

That is the question that eighteen year old Anna is grappling with in the play by Australian playwright, Kendall Feaver. This award-winning play looks at this young woman’s struggle to find the true identity which her medication may be masking. The effect on her, and those around her, raises serious issues in this thought-provoking play.

Winsome Ogilvie as Anna

Winsome Ogilvie gives a fine performance in the central and demanding role of Anna. The highs and lows of her character’s struggle are carefully judged and always believable. It’s a compelling and memorable study of a young woman trying to find herself.

Elaine Noon as Renee, the mother

Elaine Noon is very effective as the protective mother, Renee, who has difficulty in relating to her daughter as an adult. Steph Roberts gives a nicely edgy performance of Anna’s long-term doctor who keeps her distance professionally. As Anna’s tentative boyfriend, Robert Kjellgren deftly plays the confusion of youth as well someone trying to understand and deal with Anna’s behaviour.

 Director, Lachlan Houen, has obtained fine, in-depth performances from his cast in this highly emotional drama. It is thoughtfully staged and well-paced. The set by Caitlin Baker simply but effectively fills the large stage at the Q Theatre and her costumes for the cast have been well-chosen.

This is a good production of a compelling play. It’s confronting and makes you think but it’s also a play with humour, heart and a sense of optimism.

 

Photos by PHOTOX

 

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/.