tag:blogger.com,1999:blog-66546606414466912182024-03-18T23:24:24.624+11:00Canberra Critics CircleCanberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comBlogger3843125tag:blogger.com,1999:blog-6654660641446691218.post-7896069895668900252024-03-18T23:23:00.001+11:002024-03-18T23:23:50.824+11:00JUNGLE BOOK reimagined ADELAIDE FESTIVAL 24<p> </p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOK4gBUkFXBTrm2z4p3fUqB2JxeewWAewzqF4kq_TlQSfXlwF22udYEwSNjLDDy_Yh21-vROwnxaPBEg1518Q4RQHjVUHYrto8epWlRPpDoYed5gxTlqTX3bPQj1nwImVrN41ouUQdIvgquhRNsZKIISGz5ha3Zi4wu1i9b0jakLSXV6_t4ClaRfRyFtle/s1140/jungle-book-reimaged-%20with%20mowgli-credit-ambra-vernuccio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="660" data-original-width="1140" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOK4gBUkFXBTrm2z4p3fUqB2JxeewWAewzqF4kq_TlQSfXlwF22udYEwSNjLDDy_Yh21-vROwnxaPBEg1518Q4RQHjVUHYrto8epWlRPpDoYed5gxTlqTX3bPQj1nwImVrN41ouUQdIvgquhRNsZKIISGz5ha3Zi4wu1i9b0jakLSXV6_t4ClaRfRyFtle/w400-h231/jungle-book-reimaged-%20with%20mowgli-credit-ambra-vernuccio.jpg" width="400" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">Jungle Book reimagined</b>.
<b>Adapted from the story by Rudyard Kipling</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: aktiv-grotesk, "serif";"><span style="font-size: large;">Director/Choreographer Akram Khan<b> </b> </span></span><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span><o:p></o:p></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: aktiv-grotesk, "serif";"><span style="font-size: medium;">Creative Associate/Coach Mavin Khoo<b> </b>Writer Tariq Jordan<b> </b>Dramaturgical
Advisor Sharon<b> </b>Clark<b> </b>Composer Jocelyn Pook<b> </b>Sound
Designer Gareth Fry.<b> </b>Lighting
Designer Michael Hulls<b> </b><br />
Visual Stage Designer Miriam
Buether<b> </b>Art Direction & Director of Animation Adam Smith<b> </b>(YeastCulture)<b> </b>Producer/Director
of Video Design Nick Hillel
(YeastCulture)<b> </b><br />
Rotoscope Artists/Animators Naaman
Azhari, Natasza Cetner & Edson R Bazzarin Rehearsal
Directors Nicky Henshall, Andrew
Pan & Angela Towler (Tour)<b> </b></span><span style="font-size: 12pt;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: aktiv-grotesk, "serif"; letter-spacing: 0.85pt; text-transform: uppercase;"><span style="font-size: medium;">DANCERS</span></span><span style="color: black; font-family: aktiv-grotesk, "serif";"><span style="font-size: medium;">: Maya Balam MeyongTom Davis-DunnHector
FerrerHarry Theadora Foster<br />
Filippo FranzeseBianca MikahilMax RevellMatthew SandifordElpida SkourouHolly
Vallis<br />
Jan Mikaela Villanueva.Lani Yamanaka. The Festival Theatre. Adelaide Festival
Centre. Adelaide Festival 2024. March 15-16 2024</span><span style="font-size: 12pt;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Reviewed by Peter
Wilkins <o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5KFtrocIn4hug9HEHa05FUmpqoXKijWOAnlxRkQKIwnOgoVK1bLvXhgtZABNdCnOphm-mJY7j5I4iV5PvrEnC-OTkqT2q1WvCXTlmd7OBu9Eh-6iOwjriQNs65v4_5beeg-r99mKEaU7LQsalwR65enE_n9IXcIPic_jXBPnvf41MC3pNsTstmf1O5Z2Z/s1140/jungle-book-reimaged-2-credit-ambra-vernuccio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="660" data-original-width="1140" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5KFtrocIn4hug9HEHa05FUmpqoXKijWOAnlxRkQKIwnOgoVK1bLvXhgtZABNdCnOphm-mJY7j5I4iV5PvrEnC-OTkqT2q1WvCXTlmd7OBu9Eh-6iOwjriQNs65v4_5beeg-r99mKEaU7LQsalwR65enE_n9IXcIPic_jXBPnvf41MC3pNsTstmf1O5Z2Z/w400-h231/jungle-book-reimaged-2-credit-ambra-vernuccio.jpg" width="400" /></a></div><br /><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"><br /></span><p></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Akram Khan’s work is
always nothing short of extraordinary and his current production of <i>Jungle Book
reimagined </i>is no exception. Brilliant, vibrant and expressive dancers superbly
recreate the world of Rudyard Kipling’s story of Mowgli (Jan Mikaela Villanueva).
Khan’s vision imagines a world where climate change, natural disaster and world
conflict have decimated the human race and animals roam the suburbs and institutions
of deserted, crumbling cities. In Khan’s version of the popular book Mowgli is
a climate change refugee, torn from her mother’s arms while attempting to
survive the rising waters and perilous weather patterns. She finds herself in
deserted cities occupied by animals and kidnapped by the Bandar-Log, lab
monkeys who are desperate to become human. A struggle ensues to kidnap and
control Mowgli and learn the secret of becoming human. With the help of Chili
the Kite, Bagheera, the albino panther, Baloo the bear and Kaa the rock python,
Mowgli is saved and destroys the outcast human who kills Chili with his gun.<o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ5mbK_3BQLyicns2yQbmqO35LaYmPO59MuZ4Bg45EvnM-WwyZKjttlf5-yzkxIgfx9ogENgSvLkx0SZP6Ze8A3gl0Nhd5GOetNoVWCC0I5NjiGr3zg3l9Gb6kIHRSvhVA_p7LnZgdvuOiDSTCr3-DYidaWrJpIqNeYryzcq8nU0VyxTxYN2k2x9Hfvh7C/s1140/jungle-book-reimaged-cityscape-credit-ambra-vernuccio%20(1).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="660" data-original-width="1140" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ5mbK_3BQLyicns2yQbmqO35LaYmPO59MuZ4Bg45EvnM-WwyZKjttlf5-yzkxIgfx9ogENgSvLkx0SZP6Ze8A3gl0Nhd5GOetNoVWCC0I5NjiGr3zg3l9Gb6kIHRSvhVA_p7LnZgdvuOiDSTCr3-DYidaWrJpIqNeYryzcq8nU0VyxTxYN2k2x9Hfvh7C/s320/jungle-book-reimaged-cityscape-credit-ambra-vernuccio%20(1).jpg" width="320" /></a></div><span style="font-family: aktiv-grotesk, "serif"; font-size: 12pt;">Khan, who once played
Mowgli as a child in an Indian dance production, recalls the inspiration of his
childhood in a production that is magical in its staging and visionary in its
telling. He urges humanity, like Mowgli, to end the savagery of the human race
and restore the jungle to its former beauty and innocence He pleads for a
harmony among species. </span><span style="font-family: aktiv-grotesk, "serif"; font-size: 12pt;"> </span><span style="font-family: aktiv-grotesk, "serif"; font-size: 12pt;">His dancers
inhabit the characters of their animals, capturing the essence of their
movement with remarkable skill and agility. This is the performance of a
phenomenal company of dancers, totally absorbed by the nature of their animal,
On the Festival Theatre stage, Khan’s imagination assumes epic proportions.
Animation conjures a world of projected visions of animals passing through the
cityscape. Herds of elephants and giraffes pass across the screen. Mice scurry
along the stage’s edge Chili appears in the sky only to be shot down by the
solitary human outcast. The feathers of the dead kite float to the earth and
other species of birds appear to bear the lifeless body away. This is the magic
of storybooks, a world of wonder and imagination.</span><p></p><p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4C3DpYkrteamCceTtwnZt0wkkel55njoX0vcuipdlb8QICzvIiDg1NxydGaQxAF9aqpQ21sYy2dqcd-tCBwbLcxgrIDtvPCTbxKARRjEe-iaGeC3DXHUOb571_6JWaBem9mL9eJmC1eANcdWRYSWABow9wRk2bE4klplZscKzA4Z-2DJ-UcrHYGOvM-ux/s8040/jungle%20book%204.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="5360" data-original-width="8040" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4C3DpYkrteamCceTtwnZt0wkkel55njoX0vcuipdlb8QICzvIiDg1NxydGaQxAF9aqpQ21sYy2dqcd-tCBwbLcxgrIDtvPCTbxKARRjEe-iaGeC3DXHUOb571_6JWaBem9mL9eJmC1eANcdWRYSWABow9wRk2bE4klplZscKzA4Z-2DJ-UcrHYGOvM-ux/s320/jungle%20book%204.jpeg" width="320" /></a></div><span style="font-family: aktiv-grotesk, "serif"; font-size: 12pt;">The entire production
with the dancers’ physical transformation into animals, the black and white animation
and expressionistic depiction of buildings, underscored by Jocelyn Pook’s
atmospheric composition and creatively illuminated by Michael Hull’s lighting
design lends the production a cinematic quality. Audiences are transported beyond
their reality and into the world of a fable. Child and adult become one. Human and
animal become one and Khan’s incandescent imagination teaches us that we are
all inhabitants on this planet, but the human, more than any other species has
like Mowgli the power to transform and heal.</span><p></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Jungle Book reimagined</span></i><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";"> is a theatrical triumph, an inspiring fusion of
dance, music, theatre and technology.<span style="mso-spacerun: yes;"> </span>It
offers hope for the future and<i style="mso-bidi-font-style: normal;"> </i>a
lesson for the present. So as not to be overwhelmed by its imagery and its rich
narrative I would suggest that audiences would benefit even more from Kahn and
his company’s theatrical gift by reading the synopsis before attending the
production. Bettter still, read the story and marvel at Kipling’s hope for
humanity and then be thrilled and uplifted by Akram Khan’s <i style="mso-bidi-font-style: normal;">Jungle Book reimagined</i> <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; letter-spacing: .85pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; letter-spacing: .85pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;"><o:p>Additional Credits </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; letter-spacing: .85pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;">ASSISTANT
ANIMATORS: </span><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">Nisha Alberti.Geo Barnett.Miguel Mealla
Black.</span><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-bidi-font-weight: bold;">Michelle Cramer.Jack Hale.Zuzanna
Odolczyk. Sofja Umarik</span> <o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; letter-spacing: .85pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;">VOICE
ACTORS</span><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">:<span style="mso-bidi-font-weight: bold;">Tian-Lan Chaudhry</span>.<span style="mso-bidi-font-weight: bold;">Joy Elias-Rilwan</span>. <span style="mso-bidi-font-weight: bold;">Pushkala Gopal</span>.<span style="mso-bidi-font-weight: bold;">Dana Haqjoo</span>. <span style="mso-bidi-font-weight: bold;">Nicky
Henshall</span>.<span style="mso-bidi-font-weight: bold;">Su-Man Hsu</span>.<span style="mso-bidi-font-weight: bold;">Kathryn Hunter</span>.<span style="mso-bidi-font-weight: bold;">Emmanuel Imani.</span> <span style="mso-bidi-font-weight: bold;">Divya
Kasturi</span>.<span style="mso-bidi-font-weight: bold;">Jeffery Kissoon</span>.<span style="mso-bidi-font-weight: bold;">Mavin Khoo</span>.<span style="mso-bidi-font-weight: bold;">Yasmin Paige</span>.<span style="mso-bidi-font-weight: bold;">Max Revell</span>.<span style="mso-bidi-font-weight: bold;">Christopher Simpson</span>. <span style="mso-bidi-font-weight: bold;">Pui Yung Shum</span>. <span style="mso-bidi-font-weight: bold;">Holly Vallis</span>.<span style="mso-bidi-font-weight: bold;">Jan Mikaela
Villanueva</span>.<span style="mso-bidi-font-weight: bold;">Luke Watson</span>.<span style="mso-bidi-font-weight: bold;">3rd year students of Rambert School</span><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Producing Director <span style="mso-bidi-font-weight: bold;">Farooq Chaudhry<b> </b></span><br />
Executive Director <span style="mso-bidi-font-weight: bold;">Isabel
Tamen </span><br />
Project Manager <span style="mso-bidi-font-weight: bold;">Mashitah Omar<b> </b></span><br />
Technical Director <span style="mso-bidi-font-weight: bold;">Zeynep Kepekli<b> </b></span><br />
Technical Manager <span style="mso-bidi-font-weight: bold;">Michael
Cunningham<b> </b></span><br />
Touring Production Manager & Prop Maker <span style="mso-bidi-font-weight: bold;">Marek Pomocki<b> </b></span><br />
Lighting Engineer <span style="mso-bidi-font-weight: bold;">Stephane Dejours<b> </b></span><br />
Sound Engineer <span style="mso-bidi-font-weight: bold;">Philip Wood<b> </b></span><br />
Video Technician & Projectionist <span style="mso-bidi-font-weight: bold;">Matthew Armstrong </span><br />
Technical Stage Manager <span style="mso-bidi-font-weight: bold;">Samuel
Collier </span><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Images <span style="mso-bidi-font-weight: bold;">Camilla Greenwell & Ambra Vernuccio</span><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><o:p> </o:p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span style="mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><o:p> </o:p></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-44027365172283032722024-03-18T17:28:00.000+11:002024-03-18T17:28:24.422+11:00Birds and Nature - A Photographer’s Perspective<p><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">Exhibition
Review: Photography | Brian Rope</span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">Birds
and Nature - A Photographer’s Perspective| Binh Le Thanh<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">Kyeema
Gallery at Capital Wines, Gladstone Street, Hall | 7 March - 7 April 2024<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">This
is Binh Le Thanh’s first exhibition. It essentially falls into two parts – one is
all about birds in nature. The other set of images are astrophotography – also
known as astronomical imaging – which is the photography or imaging of
astronomical objects, celestial events, or areas of the night sky.</span></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">The
artist’s website reveals that he grew up surrounded by books about the famous photographers
Art Wolfe and Frans Lanting, which he says brought him closer to nature. Nowadays
he likes nothing better than spending hours “in the woods” watching birds and
listening to the sound of the wind in the trees while taking in all the beauty
of the wilderness.</span></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">When
I asked how he got started in photography, Le Thanh told me his parents introduced
him to it and encouraged him. Indeed, we learned that we had very similar
experiences of picking up and using cameras from the days of our early childhoods.</span></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">Le
Thanh, says that, for him, photography is about capturing the unique moments
and feelings he has experienced with wildlife, the smell in the air, the
intense mood within the silence and serenity of nature. In other words, it’s a
way of preserving his memories enabling him to revisit those precious moments.
His Instagram presence describes him as a nature shooter who happens to love
the night sky.</span></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">This
is a substantial exhibition of good quality framed prints. However, I feel there
are too many in the show. Most are hung very close together in the small gallery
space, whilst some are hung in various available smaller areas of walls in the
wine tasting part of the venue. I suggest the artist would have benefitted from
having an experienced curator plan the placement of his works – and to cull
them down so that individual works might be better viewed and explored. I would
also recommend having speakers at exhibition openings who have a good
understanding of photography. That would enable visitors attending to hear some
good commentary about the works and the purpose behind them.</span></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">Some
other excellent photographers active in both fields - birds and
astrophotography – have complimented this artist on these artworks. One has said
the prints are breathtaking, the colours good and realistic, and the
combination of subjects and backgrounds clever and harmonious. Getting the
colours right is important to portray birds accurately. All good nature photographers
will quickly draw attention to colours that are too saturated or simply not
right. I am no expert, but the colours in this artist’s works appear to be spot
on to me.</span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZbggqG4D2aKc-FYs3POXPShiZydwg2j_-f7gjZQLzcoKS-_XssVmlDJRJHcjJrOQ1q6oCmPuA4XJIqISshvVi3XyUfxu6RjkkQn4A009vdXCM4X2EiCbbuxQitW9dBB2lDf28EtauIi-EwvB04ss1k_CT5TFbroSpABTdb86FU_SrzVD5xIPNO5mIvhVm/s2048/Goldenheaded400x500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZbggqG4D2aKc-FYs3POXPShiZydwg2j_-f7gjZQLzcoKS-_XssVmlDJRJHcjJrOQ1q6oCmPuA4XJIqISshvVi3XyUfxu6RjkkQn4A009vdXCM4X2EiCbbuxQitW9dBB2lDf28EtauIi-EwvB04ss1k_CT5TFbroSpABTdb86FU_SrzVD5xIPNO5mIvhVm/w512-h640/Goldenheaded400x500.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif; font-size: 13.3333px;">Golden Headed © Bien Le Thanh</span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnVf3iFmq3AsxNEEYUeLt0j8WnSfMbgT7PkrK22t2ygKGkWMQEWBXU96a3UuK_29aSXe-20IuAQqx1_7MwswdOJ638KL5blUxkSzcSkEFYj5rs0vQ341msl9w7OIPFglwJsVefirYdlxBMVpI70CyA82vd9MkkA9O4ib2n9pOCfRrmQbW5HMQAaWvUsqfF/s2048/brownthornbill1_400x500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnVf3iFmq3AsxNEEYUeLt0j8WnSfMbgT7PkrK22t2ygKGkWMQEWBXU96a3UuK_29aSXe-20IuAQqx1_7MwswdOJ638KL5blUxkSzcSkEFYj5rs0vQ341msl9w7OIPFglwJsVefirYdlxBMVpI70CyA82vd9MkkA9O4ib2n9pOCfRrmQbW5HMQAaWvUsqfF/w512-h640/brownthornbill1_400x500.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif; font-size: 13.3333px;">Brown Thornbill © Bien Le Thanh</span></td></tr></tbody></table><br /><p align="center" class="MsoNormal" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf4EhK-bHd8dqSaMa-iws3Af3_2SwMouL8UL9SUPcG9RJpi-J1ShjiMqkAiVttdmurAbjO7UTgbL3ltmVQgJ_5EEQdlIQRXAZQ419hqxt19NxzKuw4jeCHpMSWntAX41IprNqkl_JFjTkV8DoHReWTdsHD-r8Caa4AFkrdPyMbSJ8jXs2E8DUZppVPD68n/s2048/Redcapped_mum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1638" data-original-width="2048" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf4EhK-bHd8dqSaMa-iws3Af3_2SwMouL8UL9SUPcG9RJpi-J1ShjiMqkAiVttdmurAbjO7UTgbL3ltmVQgJ_5EEQdlIQRXAZQ419hqxt19NxzKuw4jeCHpMSWntAX41IprNqkl_JFjTkV8DoHReWTdsHD-r8Caa4AFkrdPyMbSJ8jXs2E8DUZppVPD68n/w640-h512/Redcapped_mum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif; font-size: 13.3333px;">Red Capped Mum © Bien Le Thanh</span></td></tr></tbody></table></p><p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">The
astro images are composed very well and reveal the artist’s technical skills. I
was told by another gallery visitor who also is into astro photography that one
of the locations photographed requires a walk (at night) over uneven ground from
a carpark for a good hour. It also has to be the right time of year when specific
features will be present in the night sky. Of course, the photographer must also
carry all the right gear with which to get the desired image.</span></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">Le
Thanh has chosen some excellent locations for his astro shots, including a
number that feature country dwellings and churches.</span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;"><o:p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl2taPc2ZcQtGnWGuq-keFOCwRlLi0WCZEwiHmwhmBPRk8dw6PswrEqNW9kCjXeAjOWkJ7iRvNn6hyEKmBPEo7UV-X7x7ec4qci8HxNz9tI5pf-NAbSvJNSzmPF-j_B5lojYy6hvEuiootWv78k4aFadHQqy-Wpy20khmEnEieZe43ECfxI_fhOyc5sBy4/s2048/Westerman%20upload.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1290" data-original-width="2048" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl2taPc2ZcQtGnWGuq-keFOCwRlLi0WCZEwiHmwhmBPRk8dw6PswrEqNW9kCjXeAjOWkJ7iRvNn6hyEKmBPEo7UV-X7x7ec4qci8HxNz9tI5pf-NAbSvJNSzmPF-j_B5lojYy6hvEuiootWv78k4aFadHQqy-Wpy20khmEnEieZe43ECfxI_fhOyc5sBy4/w640-h404/Westerman%20upload.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10pt;">Westerman </span><a name="_Hlk161667856" style="font-family: "Times New Roman";"><span style="font-family: Calibri, sans-serif; font-size: 10pt;">©</span></a><span style="font-family: "Times New Roman";"><span style="font-family: Arial, sans-serif; font-size: 10pt;"> Bien Le Thanh</span></span></td></tr></tbody></table></o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHLectEpgCHr3xJYqPeFXRk8mKdVolfMRIayZDH0YbznA96eC1_lJg82oJwk48aH4hNRTZCOgnV44koNz46YgYjn508Y8u0Dru7jtc9qg2r3ByGL0McAQZBdWuMefehPb7F_FoH0xUlKsv1DSg6ylCRk15j0lGIVF5qThQgYBhphjnG31qX8guzwB5XX37/s2048/St.Thomas_400x500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHLectEpgCHr3xJYqPeFXRk8mKdVolfMRIayZDH0YbznA96eC1_lJg82oJwk48aH4hNRTZCOgnV44koNz46YgYjn508Y8u0Dru7jtc9qg2r3ByGL0McAQZBdWuMefehPb7F_FoH0xUlKsv1DSg6ylCRk15j0lGIVF5qThQgYBhphjnG31qX8guzwB5XX37/w512-h640/St.Thomas_400x500.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif; font-size: 10pt;">St Thomas </span><span style="font-family: Calibri, sans-serif; font-size: 10pt;">©</span><span style="font-family: Arial, sans-serif; font-size: 10pt;"> Binh Le Thanh</span></td></tr></tbody></table>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">Other
astro shots show beautiful landscapes.</span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;"><o:p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjqEQ4mB_t4FvkbNmWTnYHWiSXoZIRFuGoMtjzB9laX2aq5m2spSltNyVoJDzzKJvAPVPet9cgBQWozEVh5SUqhOuq4rckZ7-xHKGaRD3f6ypx1ttaOVC60YzNQ-JRRS3gEfxrRQRuXX6HQxpHOsal69oiINoKzSyFERguZmKjetRtUO4hrV6a7UzB2Za4/s2048/Harden.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1463" data-original-width="2048" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjqEQ4mB_t4FvkbNmWTnYHWiSXoZIRFuGoMtjzB9laX2aq5m2spSltNyVoJDzzKJvAPVPet9cgBQWozEVh5SUqhOuq4rckZ7-xHKGaRD3f6ypx1ttaOVC60YzNQ-JRRS3gEfxrRQRuXX6HQxpHOsal69oiINoKzSyFERguZmKjetRtUO4hrV6a7UzB2Za4/w640-h458/Harden.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 13.3333px;">Canola near Harden © Binh Le Thanh</span></td></tr></tbody></table></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;">So,
whether your interests are specifically birds or nature or astro, or photographic
art generally, this is an exhibition you can enjoy, whilst also checking out
some good quality wines.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: Arial, sans-serif; font-size: 12pt;">This
review is also available on the author's blog <a href="https://brianropephotography.wordpress.com/2024/03/18/birds-and-nature-a-photographers-perspective/" target="_blank">here</a>.</span></p>
<p class="MsoNormal"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt;"><o:p> </o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-4186924863097070902024-03-18T13:18:00.003+11:002024-03-18T18:01:07.614+11:00MONACHOPSIS<p><a name="_Hlk74751005"><b><span face=""Arial",sans-serif" style="font-size: 12pt;">Exhibition Review: Photography | Brian Rope</span></b></a></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk74751005;"><b><span face=""Arial",sans-serif" style="font-size: 12pt;">MONACHOPSIS | Hilary
Wardhaugh<o:p></o:p></span></b></span></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk74751005;"><a name="_Hlk69132820"><b><span face=""Arial",sans-serif" style="font-size: 12pt;">CCAS
Manuka |</span></b></a></span><b><span face=""Arial",sans-serif" style="font-size: 12pt;"> 14 – 24 March 2024<o:p></o:p></span></b></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">Speaking
at the opening of her exhibition, local long-established career professional
photographer, Hilary Wardhaugh, announced it was the first step in her new
career as an artist. There was much laughter and positive response to that. Having
long believed artists can emerge later in their life journeys – without
undertaking formal tertiary art studies – I was delighted.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">Wardhaugh
has been capturing images for around 27 years, specialising in portrait, event,
editorial and branding photography. But now, she proclaimed, a separate artist career
was also underway.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">In
fact, this photographer’s website states that, more than a photographer, she
considers herself an artist, activist/provocateur, volunteer and creator of
community. It says her creative endeavours bring people together in the pursuit
of a better world, her interest involves the human condition: irony and
contradiction - and she also pursues topical and creative projects to highlight
a theme or an issue, most recently climate change.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">Wardhaugh
has curated many projects involving women and photography; for example, </span><i style="font-family: Arial, sans-serif; font-size: 12pt;">Loud
and Luminous</i><span face="Arial, sans-serif" style="font-size: 12pt;"> (with Mel Anderson as co-Creator) and most recently a climate
change project, </span><i style="font-family: Arial, sans-serif; font-size: 12pt;">The #everydayclimatecrisis Visual Petition</i><span face="Arial, sans-serif" style="font-size: 12pt;">, which
achieved global recognition. Those projects have clearly demonstrated this photographer
is an artist, activist, etc.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">So
this artist is very passionate about using photography as activism and
demonstrating that through artistic, provocative and innovative means. And that
is just what she is doing with this solo exhibition.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">I
had not previously heard the word monachopsis so turned to online sources seeking
its meaning. I learned it is a new word, coined by writer John Koenig in his </span><i style="font-family: Arial, sans-serif; font-size: 12pt;">Dictionary
of Obscure Sorrows</i><span face="Arial, sans-serif" style="font-size: 12pt;">. It describes the feeling of being maladapted to your
surroundings, like a seal on a beach. Monachopsis is temporary for most people
and diminishes when the unfamiliar becomes familiar and new routines and
unknown faces become norms.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">I
now know I have personally experienced monachopsis as a result of being in a
new and not familiar situation. I’m sure everyone else has had the same type of
experience. But have we had quite the type of experience Wardhaugh has put
before us here?</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">The
journey that has culminated in this exhibition actually began in June 2016 when
Wardhaugh saw the Queanbeyan River’s bank was littered with what she has
described as “the detritus of the capitalist Anthropocene era”, and as a “grim
testament to our collective negligence.” The sight stirred within her “a potent
blend of horror and introspection.”</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">However,
these exhibited artworks were created later. Wardhaugh visited Indonesia’s
Bintan Island, and Greece’s Santorini. Again, the artist saw vast quantities of
waste on beaches. I only saw pristine beaches on those two islands when I
visited them many years ago; clearly our personal experiences depend on where
we go and when.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">So,
this exhibition of artworks by this emerging artist is very much a response to experiences,
revealing her hope that nature might reclaim those beaches.</span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZL1drelzLZ_xBuGr57Jj7aG7epTkrrhX6JeEHfg-VVpMpbkrK9Mhp4WFYHC6-hJx73L4iaTc_CTMePlxz5Y4BNZs0ZnL03AMJt8H_JY2VWDtk_JXtTdjd9U8P4iTMEUKjGREF-FiDOXj-0bC3jMkX8HpJJX4gbHcSRwRXfpZgTtd7GJi1x-aLrPMz4T8q/s2000/monachopsis-hilaryWardhaugh-0005.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZL1drelzLZ_xBuGr57Jj7aG7epTkrrhX6JeEHfg-VVpMpbkrK9Mhp4WFYHC6-hJx73L4iaTc_CTMePlxz5Y4BNZs0ZnL03AMJt8H_JY2VWDtk_JXtTdjd9U8P4iTMEUKjGREF-FiDOXj-0bC3jMkX8HpJJX4gbHcSRwRXfpZgTtd7GJi1x-aLrPMz4T8q/w640-h640/monachopsis-hilaryWardhaugh-0005.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face="Arial, sans-serif" style="font-size: 13.3333px;">Portrait of a discarded plastic sunscreen bottles cultivated by molluscs on Bintan © Hilary Wardhaugh<br /></span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjORfTsqqEP5xhNlDmOOJhjSfn4gsaD22OGJteh4pSjamEGBIMVQti8ZTAx67zUDt0fR6Sg1ZxCZrbkKv0Ms0X54WA75wWqg20G7W5xDRAkipCXOYFnyzyk5s9gQ0LoGuLXwi44oEIpXll1V1hHn-zXeIa9Pc9LdIlGgsbCTF98x-drKhU1I_DfYIcSXlee/s2000/monachopsis-hilaryWardhaugh-0012.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjORfTsqqEP5xhNlDmOOJhjSfn4gsaD22OGJteh4pSjamEGBIMVQti8ZTAx67zUDt0fR6Sg1ZxCZrbkKv0Ms0X54WA75wWqg20G7W5xDRAkipCXOYFnyzyk5s9gQ0LoGuLXwi44oEIpXll1V1hHn-zXeIa9Pc9LdIlGgsbCTF98x-drKhU1I_DfYIcSXlee/w426-h640/monachopsis-hilaryWardhaugh-0012.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face="Arial, sans-serif" style="font-size: 13.3333px;">Feral car reclaimed by prickly pear on Santorini © Hilary Wardhaugh</span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6yNRpYTdwdjny99K4faFOcN-aPSmmE4r8OMTLaKEpsYz46wczy2FeWKq6CWy4URpY2lKaRzD595kGfsFS08EHmsp8fMafnHm-dMJYyEAtxqHuFxZnUSmPSlL_ENt7wb6FjzPPmtcpoKfavReTR841Q7i66HIAVzcnLMpP_7fICPCMu7SsOez5prKAHbQ/s2000/monachopsis-hilaryWardhaugh-0010.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv6yNRpYTdwdjny99K4faFOcN-aPSmmE4r8OMTLaKEpsYz46wczy2FeWKq6CWy4URpY2lKaRzD595kGfsFS08EHmsp8fMafnHm-dMJYyEAtxqHuFxZnUSmPSlL_ENt7wb6FjzPPmtcpoKfavReTR841Q7i66HIAVzcnLMpP_7fICPCMu7SsOez5prKAHbQ/w640-h426/monachopsis-hilaryWardhaugh-0010.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face="Arial, sans-serif" style="font-size: 13.3333px;">Derelict building spoiling the natural landscape on Santorini © Hilary Wardhaugh</span></td></tr></tbody></table>
<p class="MsoNormal"><span face=""Arial",sans-serif" style="font-size: 12pt;">The
artist has also created a site-specific artwork, placing digital copies of
waste objects she found onto a long decal laid on the gallery floor. Her aim was
to make exhibition visitors reflect on their responsibility to our planet.
During the opening numerous visitors unintentionally walked on that artwork.<o:p></o:p></span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">There
is a very large print filling the entire end wall of the gallery space. And there
is to be a closing ticketed event with composer </span><a href="https://www.instagram.com/ruthleemartin/" style="font-family: Arial, sans-serif; font-size: 12pt;">@ruthleemartin</a><span face="Arial, sans-serif" style="font-size: 12pt;"> who has
created three new pieces of music in response to the exhibition.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">Everything
in this splendid exhibition encourages reflection about human impact on the
environment. It transports us into that unsettling place to which monachopsis
refers. Wardhaugh’s belief that art can provoke valuable conversations and lead
to meaningful action underpins her purpose. And she has most successfully achieved
what she set out to do.</span></p>
<p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;">This
review (in an abbreviated form) was first published by Canberra City News on 17
March 2024 </span><a href="https://citynews.com.au/2024/hilary-wardhaugh-artist-flashes-into-view/" style="font-family: Arial, sans-serif; font-size: 12pt;" target="_blank">here</a><span face="Arial, sans-serif" style="font-size: 12pt;">.
It is also available on the author's blog <a href="https://brianropephotography.wordpress.com/2024/03/18/monachopsis/" target="_blank">here</a>.</span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span face="Arial, sans-serif" style="font-size: 12pt;"><br /></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-1144114788481981572024-03-18T12:05:00.000+11:002024-03-18T12:05:01.463+11:00The Great Divide<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_R0HDUwnNT8Nj2DL4rn8wHB8s9ER2qNjcUuIROsz8Eil9FHaw5JzYzCnKrhvLKq1t7RxdQqRriQ6lbcyCMlqx_iXNa2UYuqi6GpAZTkU_yMNMNGxqr9mrSriUdZhaP4OX4vFIea5oA0cKnPx8cr6GsG10ivdMRp0kt7gGEhF9mKowCKO62sRuQN7osekH/s881/TheGreatDivide%20cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="881" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_R0HDUwnNT8Nj2DL4rn8wHB8s9ER2qNjcUuIROsz8Eil9FHaw5JzYzCnKrhvLKq1t7RxdQqRriQ6lbcyCMlqx_iXNa2UYuqi6GpAZTkU_yMNMNGxqr9mrSriUdZhaP4OX4vFIea5oA0cKnPx8cr6GsG10ivdMRp0kt7gGEhF9mKowCKO62sRuQN7osekH/w640-h350/TheGreatDivide%20cover.jpg" width="640" /></a></div><b><i>The Great Divide</i></b> by <b>David Williamson</b>. Currency Press, 2024. Ensemble Theatre, Sydney, March 8 – April 27, 2024.<br /><br />Reviewed by <b>Frank McKone</b><br />March 16<br /><br /><b>Creatives</b><br /><br /><b>Playwright</b>: Davide Williamson AO<br /><b>Director</b>: Mark Kilmurry; <b>Asst Director</b>: Julia Robertson<br /><b>Set & Costume Designer</b>: James Browne<br /><b>Lighting Designer</b>: Veronique Benett; <b>Sound Designer</b>: Daryl Wallis<br /><b>Stage Manager</b>: Erin Shaw; <b>Asst Stage Manager</b>: Alexis Worthing<br /><b>Costume Supervisor</b>: Renata Beslik<br /><br /><b>Cast</b><br /><br /><b>Penny Poulter</b> – Emma Diaz;<b> Rachel Poulter</b> – Caitlin Burley<br /><b>Alex Whittle</b> – Georgie Parker; <b>Grace Delahunty</b> – Kate Raison<br /><b>Brian / Joel</b> – James Lugton; <b>Alan Bridger</b> – John Wood<br /><br /><br /><br />Among David Williamson’s highly successful earlier plays, <b><i>The Club</i></b> (1977) was all about the same ‘great divide’ as now, in 2024. But <b><i>The Great Divide</i></b> is the better play, and hits at the social crux of the issue with greater force.<br /><br /><i>The Club</i> was all about men maintaining the traditions of Australian Rules Football against the threat of commercial profiteering. Williamson’s Melbourne origin made this a necessary plea for an Australian cultural icon, saying “My original intention for <i>The Club</i> was that it was a satire of male competitive behaviour and ruthlessness when power and success were dangled before us. So originally it was a satire of bad male behaviour towards each other.” <br /><br />This was in an interview – <i>We speak to the playwright about how one of his most revered works has aged over the last forty years</i> – when, in 2019, the State Theatre Company of South Australia presented <i>The Club</i> with an all female cast. <br /><a href="https://medium.com/behind-the-curtain/david-williamson-on-the-club-34606386beaa">https://medium.com/behind-the-curtain/david-williamson-on-the-club-34606386beaa</a> <br /><br />Williamson supported the move, saying “<i>one of the things that The Club will underline is how much values have shifted or, at least, should have shifted.</i>”<br /><br />In 2020 – <a href="https://www.theguardian.com/stage/2020/jan/11/david-williamson-on-retirement-politics-and-critics-for-years-i-couldnt-go-to-an-opening-night">https://www.theguardian.com/stage/2020/jan/11/david-williamson-on-retirement-politics-and-critics-for-years-i-couldnt-go-to-an-opening-night</a> – as his <i>Family Values</i> and <i>Crunchtime</i> were being staged, he announced his intention to write no more plays. Yet “<i>In March 2024 the Ensemble stages his new play The Great Divide while in September 2024 the State Theatre Company of South Australia opens with another of his new plays The Puzzle.</i>” <br />[ <a href="https://davidwilliamsonplaywright.com/biography">https://davidwilliamsonplaywright.com/biography</a> ] <br /><br /><br /><i>The Puzzle</i> remains a puzzle as yet, but, because by interval at <i>The Great Divide</i> I found myself already being reminded of <i>The Club</i>, I am guessing that that female casting stirred a deeper need for a more crucial issue – maintaining Australia’s unique environment: social and natural – as seen from the perspective of how women deal with competitive behaviour and ruthlessness when power and success are in the offing.<br /><br />In Australia there is the Great Dividing Range, separating the east coast of the continent all the way from Victoria to Cape York – an image representing the issue of essential concern as commercial forces destroy our environment – literally as fossil fuel burning overheats the planet. In the play, just the title is enough to remind us of the enormity of what Penny Poulter will need to do to save “an almost idyllic life in one of Australia’s best kept secrets, Wallis Heads”.<br /><br />In the action we see the equal enormity of Alex Whittle (clearly referencing Gina Rinehart, Australia's richest woman with an estimated $36.7 billion fortune), who sees only ‘development’ of the environment as the way to stimulate the economy – meaning profiteering by and for the wealthy, including herself.<br /><br />And then we see how this massive conflict – still often satirical in form and stirring us to laughter – is played out in the life of Rachel Poulter, Penny’s 16-year-old daughter, facing her sense of responsibility to herself, her family and her future. And indeed, our future.<br /><br />It must seem odd to <b>John Wood</b>, after playing in the original <i>The Club</i>, to play now in <b><i>The Great Divide</i></b>, where football is certainly not such a big issue as in 1977. Especially as he so successfully plays the bemused male, mayor of Wallis Heads Council, trying so hard to bridge the gap between the proposed investment opportunity offered (are rather demanded) by Whittle, and the strength of support in the community for Poulter – not only for never allowing the natural beauty of their environment to be lost, but equally for working in real terms for reducing economic inequality. Penny Poulter is a genuine battler, a mum left to raise her daughter by a recalcitrant ex and determined to change the world for the better.<br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK7sJd7bHCUdF80DBrkjQ2rDq-92QjrLw1LX9DIL6pBi8QoP0Pd8YJ42D_V7FjD_fZfrLoFkyBOaU0kJ9Spq2S6CkoPl-YPfn-yWBg840x-WlVQ5-g2jboaM23VtmY1lGif8TQegNNEpnmapXcreIzaz61apbVOtBHbrQ263klV8GGGztbseWJ8l2EG_ju/s1920/TheGreatDivide_PhotoBrettBoardman%20Brian%20and%20Alan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1281" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK7sJd7bHCUdF80DBrkjQ2rDq-92QjrLw1LX9DIL6pBi8QoP0Pd8YJ42D_V7FjD_fZfrLoFkyBOaU0kJ9Spq2S6CkoPl-YPfn-yWBg840x-WlVQ5-g2jboaM23VtmY1lGif8TQegNNEpnmapXcreIzaz61apbVOtBHbrQ263klV8GGGztbseWJ8l2EG_ju/w268-h400/TheGreatDivide_PhotoBrettBoardman%20Brian%20and%20Alan.jpg" width="268" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Lugton and John Wood<br />as journalist Brian and mayor Alan Bridger<br />in <i>The Great Divide</i>, Ensemble 2024<br /></td></tr></tbody></table><p></p><p>The role of the journalist, played very correctly by <b>James Lugton</b> both as the small-town newspaper man and national tv interviewer, is an element not presented in <i>The Club</i> – and at this point in our struggle to regulate social media platforms, such as Meta, is absolutely relevant to the future, even, of democracy.</p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5zMs4w6NY-C68hcA3QJPVt5bm4X_53FiIGEHBz8CjdPXDxyh28olSe6RbRU0XJ4-rvgXwZvq-rtS-rRdHBM4w17Y1WLn-UsgFGw3Ne_Lj26ozmDfrv3_CMslkV0hOlWSvc65s6xQBBQ0-qK2-ZByxg-em4WK4nBxbsiqIwI4bFSXDJzcKfjGOpWUYJ6-J/s1920/TheGreatDivide_PhotoBrettBoardman%20Grace%20and%20Alex.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1281" data-original-width="1920" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5zMs4w6NY-C68hcA3QJPVt5bm4X_53FiIGEHBz8CjdPXDxyh28olSe6RbRU0XJ4-rvgXwZvq-rtS-rRdHBM4w17Y1WLn-UsgFGw3Ne_Lj26ozmDfrv3_CMslkV0hOlWSvc65s6xQBBQ0-qK2-ZByxg-em4WK4nBxbsiqIwI4bFSXDJzcKfjGOpWUYJ6-J/w400-h268/TheGreatDivide_PhotoBrettBoardman%20Grace%20and%20Alex.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kate Raison as PA Grace Delahunty and Georgie Parker as Alex Whittle<br /><i>The Great Divide</i>, Ensemble 2024<br /></td></tr></tbody></table><p> </p><p> </p><p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQh5QyccfGpPJBQJ60sVrGBnsZJyx50_nf0DVnbvhf906UzsCeE9-8EroAF4aTJfvOT7LUjvBfcw1kFTj6cm1HJX8PlQM1WEigt-imWyJ4yyRwCxYS4yu55ua0BXabieA1ZB72CduLfGkCQypOx3gXb3cOKglFw9l9nuuQV34tAtxMnhrsG_735qPZRjWN/s1920/TheGreatDivide_PhotoBrettBoardman%20Penny%20and%20Rachel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1281" data-original-width="1920" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQh5QyccfGpPJBQJ60sVrGBnsZJyx50_nf0DVnbvhf906UzsCeE9-8EroAF4aTJfvOT7LUjvBfcw1kFTj6cm1HJX8PlQM1WEigt-imWyJ4yyRwCxYS4yu55ua0BXabieA1ZB72CduLfGkCQypOx3gXb3cOKglFw9l9nuuQV34tAtxMnhrsG_735qPZRjWN/w400-h268/TheGreatDivide_PhotoBrettBoardman%20Penny%20and%20Rachel.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Emma Diaz as Penny Poulter and Caitlin Burley as Rachel Poulter<br /><i>The Great Divide</i>, Ensemble 2024<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdylDyKv9I0W7l76odQbFmmnNgZCXA65Sh_SYq9OKVCCSOjwFEIbG22s6GeSnoT2heesJfx1AIpDxkTQKNU_mN19HnhBVfo6Ivo3vsmx2sg5hCVg-4WyRZVESjYm8HItKbCW2Nze7E1Zt3ecbM9LLezD9UAWvm7BzY95gZN2gNnt9Ce-O1e-pvBghnAzbc/s1920/TheGreatDivide_PhotoBrettBoardman%20Alex%20and%20Penny.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1447" data-original-width="1920" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdylDyKv9I0W7l76odQbFmmnNgZCXA65Sh_SYq9OKVCCSOjwFEIbG22s6GeSnoT2heesJfx1AIpDxkTQKNU_mN19HnhBVfo6Ivo3vsmx2sg5hCVg-4WyRZVESjYm8HItKbCW2Nze7E1Zt3ecbM9LLezD9UAWvm7BzY95gZN2gNnt9Ce-O1e-pvBghnAzbc/w400-h301/TheGreatDivide_PhotoBrettBoardman%20Alex%20and%20Penny.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Georgie Parker as Alex Whittle and Emma Diaz as Penny Poulter<br /><i>The Great Divide</i>, Ensemble 2024<br /></td></tr></tbody></table><p></p><p></p><p></p><p><br /></p><p style="text-align: right;"> Photos by Brett Boardman<br /></p><p>What makes <b><i>The Great Divide</i></b> better than <i>The Club</i> as a drama is Williamson’s perceptive writing of the women’s complex emotions and the intensity that the situation develops. Each of the four actors <b>Emma Diaz</b> as the mother and social activist; <b>Caitlin Burley</b> as her equally determined daughter on the cusp of adulthood; <b>Georgie Parker</b> with her own story of financial and political power; and <b>Kate Raison</b> as Whittle’s PA with so much more to offer both her employer and her competitor – each create characters we feel about remarkably strongly. <br /><br />We begin expecting a social satire – after all, this is <b>David Williamson</b>, isn’t it? We end knowing so much more clearly what our society does – doesn’t do – for these women. <br /><br />And we all need to know. So don’t miss <b><i>The Great Divide</i></b>.<br /><br /></p><p><br /></p><p><br /></p><p> </p><p> </p><p> </p><p> </p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-84802489198677197242024-03-18T10:24:00.001+11:002024-03-18T10:25:31.763+11:00WAYFINDER ADELAIDE FESTIVAL 24<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXMe09CX2L8JWFVSCyUbOp7aGMLvHZA690-AQnh7tP9oSuY3rs-lw8t4PK-3BHZ6W6nlmLIqQctxfXs6Mhczl0ho6RLfQxncHvv1C-FMXTuTYin7Cqo6kasXzz4z-ruTjrfsQz9nXEIYcya5RfnXU0X2DTaBSAceAfyo7O_iv36jWZfuni7CAtUgG7tPkT/s9351/wayfinder%20banner.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5468" data-original-width="9351" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXMe09CX2L8JWFVSCyUbOp7aGMLvHZA690-AQnh7tP9oSuY3rs-lw8t4PK-3BHZ6W6nlmLIqQctxfXs6Mhczl0ho6RLfQxncHvv1C-FMXTuTYin7Cqo6kasXzz4z-ruTjrfsQz9nXEIYcya5RfnXU0X2DTaBSAceAfyo7O_iv36jWZfuni7CAtUgG7tPkT/w400-h234/wayfinder%20banner.jpeg" width="400" /></a></div><br /><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"><u><span style="text-decoration: none;"> </span></u></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"><b>Wayfinder</b></span></p>
<p class="MsoNormal" style="text-indent: -0.5in;"><b><span face=""aktiv-grotesk","serif"" style="background: white; color: black; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> <span style="font-size: medium;"> </span></span><span style="font-size: medium;">Concept, direction and
choreography,</span></span></b><span style="font-size: medium;"><b><span face=""aktiv-grotesk","serif"" style="background: white; color: black; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"> </span></b><span face=""aktiv-grotesk","serif"" style="background: white; color: black;"> Amber Haines & Kyle Page</span>, <b><span face=""aktiv-grotesk","serif"" style="font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Lighting
Design</span></b><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"> Niklas Pajanti</span><span face=""aktiv-grotesk","serif"" style="color: black;">, <b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Composition</span></b><b><span face=""aktiv-grotesk","serif"" style="background: white; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"> </span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Hiatus Kaiyote</span></span>, <b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Sound Art & Design</span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"> Byron J. Scullin</span></span>, <b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Sound Sculpture Design, Construction & Implementation</span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"> Robert Larsen & Nicholas Roux</span>.</span>
<b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Visual Design</span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"> Hiromi Tango</span></span>, <b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Design Associate</span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"> Chloe Greaves</span>.</span> <b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Design Assistant</span></b><b><span face=""aktiv-grotesk","serif"" style="background: white; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"> </span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Jeanette Hutchinson</span></span>, <b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Polyrhythm Consultant</span></b><b><span face=""aktiv-grotesk","serif"" style="background: white; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"> </span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;">Naomi Jean</span></span>. <b><span face=""aktiv-grotesk","serif"" style="background: white; font-weight: normal; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-bidi;">Performers/Choreographers</span></b><span style="background: white;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"> Marlo Benjamin, Sabine Crompton-Ward, Tiana
Lung, Damian Meredith, Callum Mooney, Darci O’Rourke, Tara Jade Samaya, Felix
Sampson & Michael Smith</span>. Dance North. The Space. Adelaide Festival
Centre. <span> </span>Adelaide Festival 24. March
15-17</span></span></span></p>
<p class="MsoNormal" style="text-align: justify;"> </p>
<p class="MsoNormal" style="text-align: justify;">Reviewed by Peter Wilkins</p>
<p class="MsoNormal" style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjatrLOHvQw7brgWoLbj1JzpF8c9qJZ0-hIcLnGjPESHUKp2sNYPtJSrj04KuGsmksk-zgFd9t4dZwHtULULbB_OH8r3IwH0BTsMmuCM74HZTnsY2AJzRhnHUVlDfENCtzi1WacpMhKy2Yv_fKudRLsPeWiRdkn1rB6sB59Tbw6nVnl0KvrxDj2RGD4AQNF/s9351/wayfinder%20banner.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5468" data-original-width="9351" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjatrLOHvQw7brgWoLbj1JzpF8c9qJZ0-hIcLnGjPESHUKp2sNYPtJSrj04KuGsmksk-zgFd9t4dZwHtULULbB_OH8r3IwH0BTsMmuCM74HZTnsY2AJzRhnHUVlDfENCtzi1WacpMhKy2Yv_fKudRLsPeWiRdkn1rB6sB59Tbw6nVnl0KvrxDj2RGD4AQNF/w400-h234/wayfinder%20banner.jpeg" width="400" /></a></div><br /><p></p>
<p class="MsoNormal" style="text-align: justify;">Dancenorth Australia explodes
with colour and movement in an opening sequence that bursts with the energy of
youth. The young company of dancers erupt in a tribal celebration of clan
pulsating with free abandon. It is the street dance of the young generation
thrusting and pulsating with the defiance and individuality of their tribe. It
is also the rite of passage of the new generation, seeking out the light, and
discovering their way through life and stamping their identity through the
vitality of their dance.</p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9WM-yKhZQbaHtz8IoECvRmvug0EGK_05IzatrmitSjfcBmtqwLkvZGospCfZg_Uf2Mo-gZk7CQfVaTT9YIocT-txdyIJzMUCFtlV6BijxWrM7_vyXlQrPPWzZNODFCywafXlhu9-muLePrGB13bqAik7LDj5H0q914XUc4kxWGiMqHIYs05LCPuyIZ5qG/s11430/wayfinder%20heading.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="7624" data-original-width="11430" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9WM-yKhZQbaHtz8IoECvRmvug0EGK_05IzatrmitSjfcBmtqwLkvZGospCfZg_Uf2Mo-gZk7CQfVaTT9YIocT-txdyIJzMUCFtlV6BijxWrM7_vyXlQrPPWzZNODFCywafXlhu9-muLePrGB13bqAik7LDj5H0q914XUc4kxWGiMqHIYs05LCPuyIZ5qG/s320/wayfinder%20heading.jpeg" width="320" /></a></div> Wayfinder is at times
contagiously exuberant and at other times, pensive and questioning. Confidence
and doubt create a thread through the work. At times choreographers Amber
Haines and Kyle Page weave patterns of a close and reliant community and at
other times during the journey in solo work and floor work expose the fear and
uncertainty of the doubtful mind. The performance is backed by jazz/punk band
Hiatus Kaiyote and their song <i style="mso-bidi-font-style: normal;">Get Sun</i>
is an expression of the doubting heart. This is the world of angst and
confusion. In a performance striving for answers, the dancers move through
moments of self-expression, reliance on the group and finally a celebration of arrival
at acceptance. <p></p>
<p class="MsoNormal" style="text-align: justify;">The inclusion of lamps which are
held by the audience as well as the dancers at the moment of understanding and
the long brightly coloured streamers immerse the stage in clolour and light.
Japanese –Australian visual artist Hirori Tango’s imaginative design makes <i style="mso-bidi-font-style: normal;">Wayfarer</i> a feast for the eyes in the
Adelaide Festival Centre’s Space Theatre.<span style="mso-spacerun: yes;">
</span>Wayfarer is a visual delight, whether bursting with exuberance in the opening
ensemble sequence, or focusing on the solo dancer and their journey or
returning to the group work and finally bouncing on the gym mat over a
trampoline that converts into a wall that must be climbed to arrive at the end
of the search. </p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKBRfiDCw4PapYPjL7X4Ia1QkYAL3As4D2bWSGKSkaMzfg7TzY82Bdi5QGbJvFWv7K95tgWVOJeV02rvDf1QGM1ouJK173vDzV_gZ_8_GAdHoJcABJ1HlvucpLqFyll7wZJHVxiqZEg9wnjlc933Pg8mdCeR5sLX_ytn9-vZnbyjvhHltrpWuYOZ7EbOdf/s11430/wayfinder1.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="7624" data-original-width="11430" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKBRfiDCw4PapYPjL7X4Ia1QkYAL3As4D2bWSGKSkaMzfg7TzY82Bdi5QGbJvFWv7K95tgWVOJeV02rvDf1QGM1ouJK173vDzV_gZ_8_GAdHoJcABJ1HlvucpLqFyll7wZJHVxiqZEg9wnjlc933Pg8mdCeR5sLX_ytn9-vZnbyjvhHltrpWuYOZ7EbOdf/s320/wayfinder1.jpeg" width="320" /></a></div> Occasionally during the one hour
performance the sequences are too long and repetitive. The visual surprise
loses its impact after the blossoming image of arms and legs swaying in the
space is too extended as is the rhythmic thumping of hands upon the mat.
Overall, though, Haines and Page have created a visually and aurally effective
expressive dance, ideally suited to the concerns and feelings of the young
company.<p></p>
<p class="MsoNormal" style="text-align: justify;"><i style="mso-bidi-font-style: normal;">Wayfarer </i>offers the young a joyous journey of identification. It is
infectious in its energy and vibrant in its imagery. It comes as no surprise
that a largely young audience leapt to their feet to give a standing ovation to
the dancing messengers of their tribe.<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></p><p class="MsoNormal" style="text-align: justify;">P<span style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;">hotos by Amber Haines. Interestingly enough these are not the fluorescent street kid clothes worn by the dancers </span></span></p>
Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-26164057527391916502024-03-17T12:32:00.001+11:002024-03-18T10:29:35.411+11:00ANTIGONE IN THE AMAZON ADELAIDE FESTIVAL 24<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="text-align: justify;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidTWecJfc1usLEQ2IxB1mTYc0SsMR710LyQnO0w_SuAcG9CiEBIuP_EfMcx3ikOeKciYfkXKqGUdSSma3NFf9OUGy5jBZFS4JjpyYZkj-lkjhamaCNPw56BcuTOBMWNQ8gzxROJH7iOOG1wdxDaO-y-fbaj9mzi7GhNJXji86q0S4_RIDmtKpv6FdiabOh/s1945/antigoneamazonheading.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1300" data-original-width="1945" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidTWecJfc1usLEQ2IxB1mTYc0SsMR710LyQnO0w_SuAcG9CiEBIuP_EfMcx3ikOeKciYfkXKqGUdSSma3NFf9OUGy5jBZFS4JjpyYZkj-lkjhamaCNPw56BcuTOBMWNQ8gzxROJH7iOOG1wdxDaO-y-fbaj9mzi7GhNJXji86q0S4_RIDmtKpv6FdiabOh/w400-h268/antigoneamazonheading.jpeg" width="400" /></a></div><br /><p></p><br /><p></p>
<p class="MsoNormal" style="text-align: justify;"> <b><span style="font-size: large;">Antigone in the Amazon</span></b></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;">Concept and direction. Milo
Rau.Text Milo Rau and Ensemble. Dramaturgy Giacomo Bisordi. Dramaturgical
collaboration. Douglas Estevam and Martha Kiss Perrone. Assistant dramaturgy
Kaatje de Geest and Carmen Hornbostel. Collaboration to concept, research and
dramaturgy Eva Maria Bertschy.Musical composition Flip Rediger and Pablo
Casella.Set Anton Lukas. Costumes Gabriela Cherubini, Jo de Visscher and Anton
Lukas. Lightin Dennis Diels. Video Moritz von Dungern. Produced by NT Gent and
Movimento dos Trabalhadores. (MTS) <span> </span>Adelaide
cast: Pablo Casella, Frederico Araujo, Janne Desmet and JoeriHappe. On Screen:
Kay Sara, Gracinha Donato, Celia Maracaja, Choir of militants of Movimento do
Trabalhadores Rurais sem Terra (MST), and as Tiresias, Ailton Krenak. Dunstan
Playhouse. Adelaide Festival<span> </span>March 15-17
2024</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;">Reviewed by Peter Wilkins </span></p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qhpnpPlp96gZwo65FUm7S5ZCAJRsKrEVGboq3hy59UbSKczqjeAariSpakvijfmLN1_RKXONPxaZBLvc6G_j9VD-PUdZKPaHY6_s8mgsJ7eTPe9JJkkliOllDUF8zFTF5x_dP2FyaGGyGx8Lc_XxG2xMVoPzOLj0W6m7-20dt3ds1n0AFYOWCWdHrDr-/s2048/antigoneamazon1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1560" data-original-width="2048" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qhpnpPlp96gZwo65FUm7S5ZCAJRsKrEVGboq3hy59UbSKczqjeAariSpakvijfmLN1_RKXONPxaZBLvc6G_j9VD-PUdZKPaHY6_s8mgsJ7eTPe9JJkkliOllDUF8zFTF5x_dP2FyaGGyGx8Lc_XxG2xMVoPzOLj0W6m7-20dt3ds1n0AFYOWCWdHrDr-/s320/antigoneamazon1.jpeg" width="320" /></a></div><br /><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal" style="text-align: justify;">Milo Rau’s production of <i style="mso-bidi-font-style: normal;">Antigone in the Amazon</i> is protest
theatre at its heart. It lays bare the brutality and injustice of the dysfunctionalstate.
It rails against the forces of evil. It shines a glaring light on the plight of
the indigenous people of the Amazon forest and the landless workers forced from
their homes and deprived of dignity and their rights. <i style="mso-bidi-font-style: normal;">Antigone in the Amazon</i> fuels the fire of fury against a state that
brutalizes its citizens, destroys its nation’s beautiful landscape, drives a
wedge between its wealthy and its poor and creates a society of outcasts. It is
impossible not to feel outrage. Only the heartless would not be deeply moved by
the treatment of citizens marginalized by a dictatorship or a fascistic elected
government.</p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK_pTbxeo7rDFSVmWA_oklonIu64igSrabmC3iTdeMOuI-X5Sl57FO_QG4pKkcl65AOGVsbxF5FdFQ8I6Cx9nHjdSKvzC4acDfbn1x8OpwKEYvddDT2GhO3lFxqFY1ThK4PIQtPx1q88Y_Qld0l2lP12n14UBTcyuEOOdBEE5vzNTfYmwqpOZc3O_w9JeG/s2048/antigoneamazon3.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1560" data-original-width="2048" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK_pTbxeo7rDFSVmWA_oklonIu64igSrabmC3iTdeMOuI-X5Sl57FO_QG4pKkcl65AOGVsbxF5FdFQ8I6Cx9nHjdSKvzC4acDfbn1x8OpwKEYvddDT2GhO3lFxqFY1ThK4PIQtPx1q88Y_Qld0l2lP12n14UBTcyuEOOdBEE5vzNTfYmwqpOZc3O_w9JeG/s320/antigoneamazon3.jpeg" width="320" /></a></div> <i style="mso-bidi-font-style: normal;">Antigone in Amazon</i> has been adapted by Rau and the Ensemble from
Sophocles’ fifth century play about Antigone, who breaks the law of the state
to bury her brother Polyneices against the command of the king Creon to leave
the body for the beasts of the earth to feed upon. The parallels, almost 3000
years after Sophocles with the massacre of 19 protesting members of the
Landless Worker’s Movement on April 17 1996 in the Brazilian state of Parta are
uncanny and frightening. Antigone’s suicidal protest reverberates with chilling
impact as Brazilian activists and Belgian theatre ensemble NT Gent restage the
1996 massacre. Survivors collaborate with the performers including activist and
Trans actor Frederico Araujo who plays Polyniices and Antigone on stage <span style="mso-spacerun: yes;"> </span>and one of the murdered protestors on video.
The choir is conducted by Pablo Casella in the video of the horrific reenactment.
He provides a guitar accompaniment to the performance on stage .<p></p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXpRY5Isgf8EPITmmdsgeVu3PdFkhLmQrLLwMCoGl2RIbi5MKg0MI_M1zFi5j2-HE046IF8m9R85JMSrlst0EgF89zsJrYcf9qDNlW2NO6f1o73LGXC8m0ASmMM0RUp8B4JKQjTnMnv2C2k8cS93EjZnyXPidgglNbxJPjU-tmT1vGIdbX89lqXZenwDY/s2048/antigoneamazon4.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1560" data-original-width="2048" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXpRY5Isgf8EPITmmdsgeVu3PdFkhLmQrLLwMCoGl2RIbi5MKg0MI_M1zFi5j2-HE046IF8m9R85JMSrlst0EgF89zsJrYcf9qDNlW2NO6f1o73LGXC8m0ASmMM0RUp8B4JKQjTnMnv2C2k8cS93EjZnyXPidgglNbxJPjU-tmT1vGIdbX89lqXZenwDY/s320/antigoneamazon4.jpeg" width="320" /></a></div> Rau’s production combines
Sophocles’ tragedy on stage with the video of the reenactment and a performance
of Sophocles’ play for the indigenous people of the Amazon forest. As the
government builds huge highways through the Amazon to transport gold and iron ore,
the people who live in the forest are gradually being displaced from their
land. It is the plight of the indigenous to be the victims of greed and
prejudice. At times actors on stage interact with actors or members of the
choir on the video, film and theatre. Casella underscores the action on stage
with his guitar, conveying an immediate reality. The audience is thrust into
the immediacy of the relationship between Sophocles’ drama and the contemporary
tragedy played out on the video. The response to the callous shooting of the defenseless
members of MST is gut-wrenching. Performances erupt with the raw emotions of
people who understand the brutality in a country scarred by revolutions,
military dictatorships and corrupt government. In a moment of utter anguish,
Araujo flays about in the dirt upon the stage, screaming as the clouds of dust
float through the air. It is a moment of absolute capitulation to the horror
and despair that permeates the historical reality and the Greek tragedy.<p></p>
<p class="MsoNormal" style="text-align: justify;">The actors at times slip in and
out of role. They introduce the story of Antigone to the audience at the start
of the play. They describe the process of working with the choir and the people
involved in the reenactment. They talk about their own involvement in working
together. Their theatre is thoroughly committed, even didactic but driven by a
need to inform and a will to reform.</p>
<p class="MsoNormal" style="text-align: justify;">Antigone in the Amazon does not strive
to create catharsis for the audience. That is reserved for the people of Brazil
who participate or witness this hybrid production. It is an inescapable
depiction of the unjust treatment of the poor and disadvantaged. It is
Brechtian in intent and evangelical in its message. As such, it is theatre at
its most instructive, shocking and illuminating, anarchic and compassionate. It
is the theatre of the oppressed that, in the words of Sophocles reminds us that
we must not remain silent because “Much is monstrous yet nothing is more
monstrous than man."</p><p class="MsoNormal" style="text-align: justify;">Photos by Kurt van der Elst <br /></p>
<p class="MsoNormal" style="text-align: justify;">https://www.adelaidefestival.com.au/digital-show-programs/antigone-in-the-amazon-show-program/#credits</p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNormal" style="margin-left: 0.5in; text-align: justify;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-62262610993600736052024-03-15T23:10:00.000+11:002024-03-15T23:10:40.180+11:00MARROW ADELAIDE FESTIVAL 24<p> </p><p><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprqZ49kKNi8VXDKI-NWl6fuF_ToW3uNCtN-BtyACl7iqpGB-H07kudPS_OD77-9NZcjHzcIdynZYqrHRm08N9FNW_rfZ8hZMA-d8BX13sFjHXABIxfD1HvEXB1448jn8XS0ICDbXAQ_h3y6qzqjEcaKCwAqBpY7yTV_eiKPjOr21fzJ9m5Q6e8Lk7v2lN/s4558/marrow%20heading.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4558" data-original-width="3039" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiprqZ49kKNi8VXDKI-NWl6fuF_ToW3uNCtN-BtyACl7iqpGB-H07kudPS_OD77-9NZcjHzcIdynZYqrHRm08N9FNW_rfZ8hZMA-d8BX13sFjHXABIxfD1HvEXB1448jn8XS0ICDbXAQ_h3y6qzqjEcaKCwAqBpY7yTV_eiKPjOr21fzJ9m5Q6e8Lk7v2lN/w266-h400/marrow%20heading.jpeg" width="266" /></a></div><b><span style="font-size: large;">MARROW</span></b><p></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;">Concept and Direction, Daniel
Riley, Choreography Daniel Riley with Australian Dance Theatre’s Company
Artists. Project Elder Major ‘Moogy’ Sumner AM. (Kaurna/Ngarrindjeri). Design
and Lighting Matthew Adey. Costume Design Ailsa Paterson Sound Design James
Howard. Artistic Support Ade Suharto,RachelCoulson.Additional Support Adrianne
Semmens, Andrew Searle and Josh Tyler. Performers Sebastian Geilings, Brianna
Kell, Zachary Lopez, Karra Nam, Patrick O’Luanaigh and Zoe Wozniak. Production
Manager/Puppet Maker. Ninian Donald.<span>
</span>Odeon Theatre. Adlaide Festival 24. March 13-17 2024.</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;">Reviewed by Peter Wilkins </span></p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdFG2ASepAI-EwCqDBcVPT8A7BN9XXQyl_jqXn7so9K7CS5lObx8O9NDSpIVoXqtH54Pkgl9NSj9s4h4MYwocRTSzLvoehFEOYNPzv4uDZfrl02HpAfnkrKIU9YTdHyrguK82ekMmondGPYbbyiSn7OAELkdFK0ew1siwuBhj2gkqiWKes-D0yzGPz2yYk/s7606/marrow%20banner.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5071" data-original-width="7606" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdFG2ASepAI-EwCqDBcVPT8A7BN9XXQyl_jqXn7so9K7CS5lObx8O9NDSpIVoXqtH54Pkgl9NSj9s4h4MYwocRTSzLvoehFEOYNPzv4uDZfrl02HpAfnkrKIU9YTdHyrguK82ekMmondGPYbbyiSn7OAELkdFK0ew1siwuBhj2gkqiWKes-D0yzGPz2yYk/w400-h266/marrow%20banner.jpeg" width="400" /></a></div><br /><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal" style="text-align: justify;">Australian Dance Theatre’s
Adelaide Festival production of <i style="mso-bidi-font-style: normal;">Marrow</i>
is born of a burning passion. It is a dance work that is both raw and complex.
Artistic director Daniel Riley once again brands his work with anger, with
grief, with loss and the cry for change. James Howard’s opening sound design
pulses <br />with unrelenting protest, loud and forceful, echoing through the Odeon
Theatre as the dancers appear driven by an inner obsession and then, contorted,
writhing, ghosts of a past history, spectres of torment and victims of history.
Riley’s choreography is uncompromising, compelling in its anguish as a pattern
of interactive movements and solo moments express a struggle that is eternal. His
dancers move in perfect concord with a theme of spiritual resurgence. The grim
vision of a hanging black figure and Karra Nam’s long solo performance to
restore life to the wrongs of the past and the perils of the present offers a
glimpse of hope for a better future.</p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_HRHS1HuimDctbSdJbZlvLoHPv0-pn26s1fV3AVHDy4Sheg24cQvF_qduNIbHSnzkS3WEgTVP8xaZ696Z_8fF34ai4pwFBk-CgG-6ZUf3sVtuUYVA0OSkwVMZYUSqJSJhTp1Yi1HyQcmCqHMWtHEDsuV2-Yv2oh_RW3mjNZuatk1fsa5mE7vO0WegKd7o/s7007/marrow1.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4671" data-original-width="7007" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_HRHS1HuimDctbSdJbZlvLoHPv0-pn26s1fV3AVHDy4Sheg24cQvF_qduNIbHSnzkS3WEgTVP8xaZ696Z_8fF34ai4pwFBk-CgG-6ZUf3sVtuUYVA0OSkwVMZYUSqJSJhTp1Yi1HyQcmCqHMWtHEDsuV2-Yv2oh_RW3mjNZuatk1fsa5mE7vO0WegKd7o/s320/marrow1.jpeg" width="320" /></a></div> <i style="mso-bidi-font-style: normal;">Marrow</i> is a work from the heart of a Wiradjuri man on Kaurna
country. Riley, like so many others, but sadly not the majority of people living
on aboriginal land in South Australia, suffered the cruel opinion of the
opponents to the Voice referendum. His contemporary dancers echo that
disappointment in a work that provides no answers but provokes contemplation. <i style="mso-bidi-font-style: normal;">Marrow</i>, like the nation is left with the
question “Where to now? <span style="mso-spacerun: yes;"> </span>In the dancer’s
loving embraces the words of Noel Pearson resonate in physical compassion –
“Only love can move us now” while the works powerful sound design and Matthew
Adey’s evocative lighting, combined with Riley’s choreography and the youthful
dance of the performers are all inspired by Stan Grant’s advice to “imagine
this country again. <i style="mso-bidi-font-style: normal;">Marrow</i> is
ADT’s<span style="mso-spacerun: yes;"> </span>attempt to recognize the past and
imagine that past wrongs can be righted as Nam removed the dangling figure and
restored the healing power of love in a smoking ceremony. There may be no
answers but there is hope that the past will pass and a better future will
emerge.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPlP_CPwHHutM_cxYhiJJnOkq2esLvRpe-05uyOmZHQJi6jPBSueLsUj__NrQqqg29xQTRs6uQq6H0GwZiWY-N6TraY63E9zTKxMtsTWDW2RPU1XSzZBVxFF7qJjhwICEw884c95uYuR9fcEmd0ENktor4tTva8_yZ-kagWYE39oco8bl3px0K44eH8hJP/s7625/marrow%203.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="5083" data-original-width="7625" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPlP_CPwHHutM_cxYhiJJnOkq2esLvRpe-05uyOmZHQJi6jPBSueLsUj__NrQqqg29xQTRs6uQq6H0GwZiWY-N6TraY63E9zTKxMtsTWDW2RPU1XSzZBVxFF7qJjhwICEw884c95uYuR9fcEmd0ENktor4tTva8_yZ-kagWYE39oco8bl3px0K44eH8hJP/s320/marrow%203.jpeg" width="320" /></a></div><p class="MsoNormal" style="text-align: justify;"><i style="mso-bidi-font-style: normal;">Marrow</i> is a captivating and challenging work. It is possibly too
long and too confined in the Odeon Theatre. I kept imagining it on the
landscape upon the rocks, by the water and among the trees. That is where the
hope lies – with Nature and connection with country and its people. In a world
torn apart by conflict and oppression, <i style="mso-bidi-font-style: normal;">Marrow</i>
reminds us that love and generosity and compassion are crucial to life. They
are the marrow that sustain the blood that flows through our veins. ADT’s
beautifully atmospheric work reminds us in its imagery and the expressive
character of the dancer’s youthful and electrifying movement that the
struggle can be overcome. I was unable to hear a voice-over that was drowned by
the sound. An audience is left to interpret at will, but <i style="mso-bidi-font-style: normal;">Marrow</i> could have helped to make its message clearer through visual
and aural commentary on theme and action. It is a small quibble. Overall <i style="mso-bidi-font-style: normal;">Marrow</i> is a sensitive and carefully
researched and performed work that only too clearly indicates through dance,
music and design the need for the healing power of love and compassion. </p>
<p class="MsoNormal" style="text-align: justify;">It is a message that Riley
repeats when he expresses the hope that exists in the young people from a local
school who were in the audience. Their lives and their understanding have been
enriched by their visit to <i style="mso-bidi-font-style: normal;">Marrow</i> and
the discussions that will ensue after they leave the theatre. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
<p> </p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-79328069539164183192024-03-15T08:55:00.002+11:002024-03-15T08:55:33.697+11:00THE TIME MACHINE ADELAIDE FESTIVAL 24<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgdeaDOXgXviKbpiy-_-4LP67A7giHRfFrEngM1tTGGrWnRT1xgdeq1i-bHu-Ivb_m-DgEAT7oapMk81hc7VPI_bNoxzjzmWUb3sP54aKvbxyEngNqzJGMfFYyNLxOrbHidxkOWZC5uXAjrmXOyU91Az6vhfulSIq5Gjiha25fh-mxK4YWWcn0bvZaXPRC/s2999/time%20machine%20heading.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1999" data-original-width="2999" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgdeaDOXgXviKbpiy-_-4LP67A7giHRfFrEngM1tTGGrWnRT1xgdeq1i-bHu-Ivb_m-DgEAT7oapMk81hc7VPI_bNoxzjzmWUb3sP54aKvbxyEngNqzJGMfFYyNLxOrbHidxkOWZC5uXAjrmXOyU91Az6vhfulSIq5Gjiha25fh-mxK4YWWcn0bvZaXPRC/w400-h266/time%20machine%20heading.jpeg" width="400" /></a></div><br /><p></p><p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><o:p> </o:p></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face="aktiv-grotesk, "serif"" style="color: black;"><span style="font-size: large;">THE TIME
MACHINE</span><span style="font-size: 12pt;"><o:p></o:p></span></span></b></p>
<p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span face="aktiv-grotesk, "serif"" style="color: black;"><span style="font-size: medium;">Founder/Co-ArtisticDirector Elizabeth Streb<b>. </b>Co-Artistic
Director/Director of Corporate Growth &Programs Cassandre Joseph.<b> </b>Chief
Operations Officer Shannon
Reynolds.Technical Director Matt
McAdon<b>. </b>Assistant Technical Director Jelani Lewis<b>. </b>Audio Engineer Paul Piekarz. Co-ArtisticDirector/ActionHero CassandreJoseph.<b> </b>SeniorActionHero JackieCarlson.<b> </b>Action
Hero Nailah Cunningham<b>. </b>ActionHero D’SherrickWilliams.ActionHero Andrea Laisure<b>. </b>Action
Hero Sarah Perez<b>.</b>Action
Hero Kai Rizzuto<b>.</b>Action
Hero Jaylen TaylorAction
Hero Luciany Germán Images Ralph Alswang and Stephanie Berger. Her
Majesty’s Theatre. Adelaide Festival 24.</span><span style="font-size: 12pt;"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span face="aktiv-grotesk, "serif"" style="color: black;"><span style="font-size: medium;">Reviewed by Peter Wilkins</span></span></p><p class="MsoNormal" style="background: white; line-height: normal; mso-margin-bottom-alt: auto; text-align: justify;"><span face="aktiv-grotesk, "serif"" style="color: black;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFpGngsVKb3CfCyFAcPqoShYd-DxizvJ88ZAsvSRb_kMS29PgcEDVjhk5fXJtz9LSNd7y-Qc83fWrghWY_E7tJzbwfr5jJBTPcO0cPrkIa6BIgflSsPEpUCrsBxJMOxGbIpiym57m2fwoYHgy9vZwirB5Qs8ADYGVViKAYY6HIJI8QHh353HHYUGBWKjSB/s2999/time%20macine%20banner.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1999" data-original-width="2999" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFpGngsVKb3CfCyFAcPqoShYd-DxizvJ88ZAsvSRb_kMS29PgcEDVjhk5fXJtz9LSNd7y-Qc83fWrghWY_E7tJzbwfr5jJBTPcO0cPrkIa6BIgflSsPEpUCrsBxJMOxGbIpiym57m2fwoYHgy9vZwirB5Qs8ADYGVViKAYY6HIJI8QHh353HHYUGBWKjSB/w400-h266/time%20macine%20banner.jpeg" width="400" /></a></div><br /><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0in; text-align: justify;"><span face=""aktiv-grotesk","serif"" style="color: black; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Streb Extreme Action’s <i style="mso-bidi-font-style: normal;">The Time Machine</i> is an homage to the
work of Elizabeth Streb and her groundbreaking invention of Extreme Action
physical theatre. Nine dancers cum gymnastic physical theatre performers
demonstrate the routines invented by Strebs in 1985 and developed during a
career spanning fifty years. Her work ranges from the breathtaking to the
dangerous, pushing the limits of physical risk and endurance. Her dancers combine
the grace of the dance with the strength and prowess of the action
hero. They are young, superbly athletic and highly disciplined as they defy gravity
and push the boundaries of dance. Their work is a carefully choreographed
display of trust, timing and tension.<o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0in; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_iGAPp8jZMActxZfdt4JdHxGVgFG2l6Q6KHoieeI60c0aYZQjOD2pEGSUCnWZcpDTAm3SWiUQAhkpk5ZQtu13QIQBTOaQQfhQkAVArSO1KFnop6Uh5fw_4_S2smkJyG2peuHFzC52ccAjs9AeqTTu6XYabmIlFpaQYNhUDHMpEq0SyzMc2ud3hrN4zjC/s6000/time%20machine%201.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_iGAPp8jZMActxZfdt4JdHxGVgFG2l6Q6KHoieeI60c0aYZQjOD2pEGSUCnWZcpDTAm3SWiUQAhkpk5ZQtu13QIQBTOaQQfhQkAVArSO1KFnop6Uh5fw_4_S2smkJyG2peuHFzC52ccAjs9AeqTTu6XYabmIlFpaQYNhUDHMpEq0SyzMc2ud3hrN4zjC/s320/time%20machine%201.jpeg" width="320" /></a></div><span style="background-color: transparent; color: black; font-size: 12pt;">In an opening sequence on the semicircular
cyr, Streb’s action heroes</span><span style="background-color: transparent; color: black; font-size: 12pt;"> </span><span style="background-color: transparent; color: black; font-size: 12pt;">balance on
the base of the radius while senior</span><span style="background-color: transparent; color: black; font-size: 12pt;">
</span><span style="background-color: transparent; color: black; font-size: 12pt;">action hero Jackie Carlson moves the large semicircular wheel from side
to side like a mouse in a lab rat wheel.</span><span style="background-color: transparent; color: black; font-size: 12pt;">
</span><span style="background-color: transparent; color: black; font-size: 12pt;">Above, the dancers balance in a series of gravity defying formations, at
times splaying themselves against the base like .Spiderman as Carlson keeps the
momentum of the large bisected wheel.</span><p></p><p></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0in; text-align: justify;"><span face=""aktiv-grotesk","serif"" style="color: black; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span><span style="font-size: 12pt;">Throughout the performance
Streb’s voiceover explains the routine and takes the audience through time as
each new routine is introduced. </span><span style="font-size: 12pt; mso-spacerun: yes;"> </span><span style="font-size: 12pt;">Crammed
in a small space, a performer’s body becomes a percussion instrument, beating
against the hard surfaces of the space in a rhythmic routine of sound and
movement. In a tribute to the silent movie stars of yesteryear and their
slapstick routines a large pole is swung around as the dancers duck. In memory
of Buster Keaton’s famous deadpan stance as the façade of the house falls on
him, the performers build the suspense as the open window falls upon one
dancer, then another and finally a third. The timing is precise, the
positioning crucial and the audience watches in amazement as the three dancers
emerge unscathed. The entire show is meticulously timed and the routines leave seemingly
bruised bodies in their wake. The cast slam into boards, crash into themselves,
connected by rope, move across the stage on a piece of dowel and finally reach
a climax on the trampoline as they echo Streb’s dream of being born to fly. In
formation they bounce and crash to the mat.</span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0in; text-align: justify;"><span style="mso-bidi-font-style: normal;"></span></p><div class="separator" style="clear: both; font-style: italic; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimF9OejCG99G1Sov-7nf1PECrsNVwRE5AJfr1um-rGjrvJXqFlmBpyizNpaEWdCCmadrMNSbFN2VGup8jAPO02Z_uHkXNdyFlP6Ok1kcKPpxuDzsBwN37KJZLfvpagOVyhGlYvBhg4MZlgc4GqNywzyFygWweM5XKGCkJUYVIO0NdKpngcob0K5YpvF0BK/s3600/time%20machine%202.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2424" data-original-width="3600" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimF9OejCG99G1Sov-7nf1PECrsNVwRE5AJfr1um-rGjrvJXqFlmBpyizNpaEWdCCmadrMNSbFN2VGup8jAPO02Z_uHkXNdyFlP6Ok1kcKPpxuDzsBwN37KJZLfvpagOVyhGlYvBhg4MZlgc4GqNywzyFygWweM5XKGCkJUYVIO0NdKpngcob0K5YpvF0BK/s320/time%20machine%202.jpeg" width="320" /></a></div><i style="font-style: italic; mso-bidi-font-style: normal;"><span face=""aktiv-grotesk","serif"" style="color: black; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The Time Machine</span></i><span face=""aktiv-grotesk","serif"" style="color: black; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> is a display of skill and
physical adroitness. What it lacks is theatrical ingenuity. It lacks the magic
of <span style="mso-bidi-font-style: normal;">Cirque de Soleil</span> or <span style="mso-bidi-font-style: normal;">Gravity and Other Myths</span>. It references
the action movies and the slapstick stunts of the silent movies but fails to
imbue undisputed skill with theatrical flair. It is skill without concept, a
fifty minutes display of highly trained physicality that engaged the yelpers
nearby but would have benefited from a dramaturge to inject theatricality in
the spirit of an action story or a slapstick scenario. At fifty minutes it was
an impressive display of skills, rather than a theatrical moment of magic. <span style="mso-spacerun: yes;"> </span></span><p></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0in; text-align: justify;"><span style="mso-bidi-font-style: normal;"><span face=""aktiv-grotesk","serif"" style="color: black; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><o:p> </o:p></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-35667802823106413302024-03-12T19:29:00.005+11:002024-03-12T19:29:57.885+11:00BLUE ADELAIDE FESTIVAL 24<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wXsCN6HWWqrh2I0UzD2KSWXAiuoGiq3jUPkmpscb_3UO0r3diSeHeGqKMM51hz32T4Imf0phpUotgADBONbjoXQ9Qsq-2EKnqiTANRR3C5H3c0c1alchSLtgGtLYBP_JjiWQdz0RKFON05Lcq4FY28qW8a4Pkqk6PdL_yqLP2teVcGSTFnpPnSuW4Quj/s5931/State%20Theatre%20Company_Blue_Production%20Stils_Scott%20Theatre_photos%20Sam%20Roberts_Feb24%202024_572_HiRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3954" data-original-width="5931" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wXsCN6HWWqrh2I0UzD2KSWXAiuoGiq3jUPkmpscb_3UO0r3diSeHeGqKMM51hz32T4Imf0phpUotgADBONbjoXQ9Qsq-2EKnqiTANRR3C5H3c0c1alchSLtgGtLYBP_JjiWQdz0RKFON05Lcq4FY28qW8a4Pkqk6PdL_yqLP2teVcGSTFnpPnSuW4Quj/w400-h266/State%20Theatre%20Company_Blue_Production%20Stils_Scott%20Theatre_photos%20Sam%20Roberts_Feb24%202024_572_HiRes.jpg" width="400" /></a></div><br /> <p></p><p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: large;">BLUE </span><o:p></o:p></b></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;">Written by Thomas Weatherall.
Directed by Deborah Brown. Set & Costume Designers: Jacob Nash & Cris
Baldwin. Lighting Designer: Chloe Ogilvie. Sound Designer & Composer: Wil
Hughes. AV Designer: David Bergman. Production Manager: Richard Whitehouse.
Stage Managers: Gavin Norris & Stephanie Storr. Cast: Callan Purcell as Mark. State Theatre Company South Australia
presents a Belvoir Production. Scott Theatre. February 23 – March 16. Bookings:
adelaidefestival.com.au</span><o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;">Reviewed by Peter Wilkins<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit1lFLIhZ6yKrF6SrQl4rEjusS39cwvDvSVBpu66xqXTbfA1lyoOIOSz8HRoH-FVbj6uJ9i_8oStixSisOeT6QZ_bQIpGBg1pRPXLaRD8-k9poFhz6xDJVQmzCAP2WBY33dLp27eItiUGl7SX4fSZBUvldugOSi6rx-TEEbbZP3CgSw2rNWM2ynyBU-rFv/s5869/State%20Theatre%20Company_Blue_Production%20Stils_Scott%20Theatre_photos%20Sam%20Roberts_Feb24%202024_932_HiRes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3913" data-original-width="5869" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit1lFLIhZ6yKrF6SrQl4rEjusS39cwvDvSVBpu66xqXTbfA1lyoOIOSz8HRoH-FVbj6uJ9i_8oStixSisOeT6QZ_bQIpGBg1pRPXLaRD8-k9poFhz6xDJVQmzCAP2WBY33dLp27eItiUGl7SX4fSZBUvldugOSi6rx-TEEbbZP3CgSw2rNWM2ynyBU-rFv/w400-h266/State%20Theatre%20Company_Blue_Production%20Stils_Scott%20Theatre_photos%20Sam%20Roberts_Feb24%202024_932_HiRes.jpg" width="400" /></a></div><br /><p class="MsoNormal" style="text-align: justify;">Thomas Weatherall’s <i>Blue</i> is a deeply personal work, a memory
monologue that plumbs the pain and confusion of grief and depression. A seascape ripples across the blue water as
the soulful songs of Billie Holiday play through the theatre. It is the blue of
healing, of tranquility and serenity. It is also the blue of the stormy and
perilous seas. It is the blue of the dark clouds of depression and the shadowy
depths of the human psyche. Mark (Callan Purcell) is an aspiring writer like his
unpublished mother to whom he is a loyal and loving son. He has recently moved
out of home and into a shared apartment with housemate Effie. No longer living
in the childhood home, Mark and his mother exchange letters between them to
maintain the shared love of writing and their bond of devotion.</p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSyqHAaeI3a9ufhHD03w7WwLceYidJWILEC6HJMnAmqVF5h0Nhsle4WBz5lE93gk1cqms5K2stigaxNZ6q48FhCtbI72JP6idfhPZaSKqDoLplN5vALTXPRamBifGM67jdwf5zqSEBlaYJUEQNMuJqWLPs5XQRkMRGdmLJ8VnOv7KbsDPOHQmc-S4BDH7/s6377/State%20Theatre%20Company_Blue_Production%20Stils_Scott%20Theatre_photos%20Sam%20Roberts_Feb24%202024_335_HiRes.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4252" data-original-width="6377" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSyqHAaeI3a9ufhHD03w7WwLceYidJWILEC6HJMnAmqVF5h0Nhsle4WBz5lE93gk1cqms5K2stigaxNZ6q48FhCtbI72JP6idfhPZaSKqDoLplN5vALTXPRamBifGM67jdwf5zqSEBlaYJUEQNMuJqWLPs5XQRkMRGdmLJ8VnOv7KbsDPOHQmc-S4BDH7/s320/State%20Theatre%20Company_Blue_Production%20Stils_Scott%20Theatre_photos%20Sam%20Roberts_Feb24%202024_335_HiRes.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Callan Purcell as Mark in <i>Blue</i></td></tr></tbody></table><p class="MsoNormal" style="text-align: justify;">Writer Weatherall invites us
gently into Mark’s story as Jacob Nash and Cris Baldwin’s atmospheric design of the ocean’s blue water across the
cyclorama slowly changes to the plastered walls of the apartment. Mark begins
to recount the events of his life that have taken him from the delights of the
soothing water and times with his elder brother to the suffocating depression
of loss and grief. <i>Blue</i> is no cry for
help or heart-wrenching insight into the deep abyss of depression. It is one
man’s experience, told honestly and without judgement. There are the moments of
anger and denial; the search for support and comfort and the realization that
life goes on, even when the most important things in life are gone. <i>Blue</i> is Mark’s journey of struggle and
acceptance, and the importance of love in confronting the challenge of
depression and grief. Above all there is the realization that there are
circumstances that cannot change, such as the brother’s drowning, the mother’s
death and the abandonment of the father. And yet, there is always hope, hope
that Mark’s relationship with Effie will afford the comfort and the change to
resolve the depression that he has recognized since the age of twelve.</p><p class="MsoNormal" style="text-align: justify;"><o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;">Weatherall offers hope in the
comfort of immersion in the cool blue water or the arms of a loved one. There
is no raging against depression’s storm in Weatherall’s direct and truthful
writing. There is no descent into the desperate reliance on medication and
treatment. There is optimism in Weatherall’s narrative and Purcell’s natural
and appealing performance. There is no solution, no holy grail to wipe away the
pain, but there is compassion and Weatherall, director Deborah Brown and actor
Purcell leave us with the impression that Mark will survive, and life will go
on.<o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;"><i>Blue</i> is effective in its simplicity. Brown’s direction is simple
and intelligent. She is ably assisted by her creative team, including Nash and
Baldwin’s design, David Bergman’s AV design, Wil Hughes sound design and
composition and Chloe Ogilvie’s lighting design. Brown allows Purcell to be in
the moment and tell the story truthfully and engagingly, skillfully drawing out
the moments of drama and those of quiet contemplation. Blue offers cause for
optimism where there is love and support and the healing power of the ocean. Mark’s journey has been a difficult one, but writer
Weatherall and the Belvoir production leaves me with the feeling that Mark is
one of the lucky ones.<o:p></o:p></p><p class="MsoNormal" style="text-align: justify;"><br /></p>
<p class="MsoNormal" style="text-align: justify;"><o:p></o:p></p><p class="MsoNormal" style="text-align: justify;"> </p><p class="MsoNormal" style="text-align: justify;"><o:p></o:p></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-48108838807040185082024-03-12T14:06:00.004+11:002024-03-12T14:06:57.789+11:00GRAND THEFT THEATRE ADELAIDE FESTIVAL 24<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIlGNe92DL1qtnkjsAEGTHrTRTn8wGeZHeKCSzwIch3fdpUiAChrGuY7n58msmJf_dbTiCe7KANIk9atWwusV5ahGb7WkDorrBY-7r85WxFmCIocmzGxkTH742ZIMaV55bT_CX-dZS994BpFyP12XHuNO8QYYBan0lw2G2yMablzZoPhaDQDYyuKaXx5SI/s5568/_DSC3414.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3712" data-original-width="5568" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIlGNe92DL1qtnkjsAEGTHrTRTn8wGeZHeKCSzwIch3fdpUiAChrGuY7n58msmJf_dbTiCe7KANIk9atWwusV5ahGb7WkDorrBY-7r85WxFmCIocmzGxkTH742ZIMaV55bT_CX-dZS994BpFyP12XHuNO8QYYBan0lw2G2yMablzZoPhaDQDYyuKaXx5SI/s320/_DSC3414.jpg" width="320" /></a></div><br /><p></p><p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;">Grand Theft Theatre<o:p></o:p></b></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif";">Created and performed
by <span style="mso-bidi-font-weight: bold;">Claire Bird, Ava Campbell,
Williams Strom, Dominic Weintraub, Hugo Williams & David Williams.<b> </b></span> Producer <span style="mso-bidi-font-weight: bold;">Suzie Franke. </span>Associate
Producers <span style="mso-bidi-font-weight: bold;">Dominic Weintraub &
Hugo Williams. </span>Lighting Designer <span style="mso-bidi-font-weight: bold;">Suzie<b> </b>Franke<b>. </b></span>Image <span style="mso-bidi-font-weight: bold;">Wild Hardt. Latvian Hall Talava, Adelaide Festival 24. March 8-11 2024.<o:p></o:p></span></span></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; mso-bidi-font-weight: bold;">Reviewed by Peter Wilkins<o:p></o:p></span></p><p style="background: white; margin-top: 0in; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSfLTLuPJpWW7gNZLnsviL4HUIVIfs8w659ybyWO75rU7Gbq_S1aU3ythU0bz8cCVyL4ASNzVB_qKpY-frVIRuytNm1Qyrhe8fQoFivMd4ndmQHq0svY_b-Zxk23mxbkIaiP2vvSjja9iMDgSBR3hqXryhj8Z2a4miRzpwa9zd-iPEqip-c4JRxy5gIg_7/s5427/_DSC3371.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3618" data-original-width="5427" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSfLTLuPJpWW7gNZLnsviL4HUIVIfs8w659ybyWO75rU7Gbq_S1aU3ythU0bz8cCVyL4ASNzVB_qKpY-frVIRuytNm1Qyrhe8fQoFivMd4ndmQHq0svY_b-Zxk23mxbkIaiP2vvSjja9iMDgSBR3hqXryhj8Z2a4miRzpwa9zd-iPEqip-c4JRxy5gIg_7/s320/_DSC3371.jpg" width="320" /></a></div><br /><span style="color: black; font-family: "aktiv-grotesk","serif"; mso-bidi-font-weight: bold;"><br /></span><p></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; mso-bidi-font-weight: bold;">Pony Cam Collective has established a reputation as an experimental theatre
company with political bite drawing on the theatre traditions and conventions
of clowning, physical theatre and immersive performances At this year’s
Adelaide Festival they have devised a show that still draws on their training
in bouffon grotesque clowning, but <i style="mso-bidi-font-style: normal;">Grand
Theft Theatre</i> is a more personal and reflective confession on the ability
of theatre to transform and evoke the power of memory. The idea to use the
recollection of influential theatre experiences to demonstrate the role of
theatre in shaping our character and our view of the world is simple. It is an
experience that every audience member can share. It is Pony Cam’s skill in
instantly constructing a community of theatregoers and theatre lovers.<o:p></o:p></span></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; mso-bidi-font-weight: bold;">As the audience enters the Latvian Hall (Talava) they are met by one of
the performers and asked to write on a label the title of a favourite or
impressionable theatre work that they <span style="mso-spacerun: yes;"> </span>remember having an enormous impact on them.
They stick the label to their front and throughout the various short intermissions
between segments they are invited to look at other labels and talk about the
works with fellow audience members. It is a clever ploy at interaction, but
also an ingenious way of inviting audiences to be aware of how theatre can have
such a profound effect upon people’s lives and consequently the state of
society. <o:p></o:p></span></p><p style="background: white; margin-top: 0in; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfe0QOri9RaIJxixjHtpaaoO6Q6KehEzs96a6o8lFKKWjjicbVFi7e_vEVDCcYE0PZZChrPM1GQ5oxr3Y86nsGyV6czSmR6GwxuJ4e5aa4j_LuvOFrJwp5szi5hpxg9x68AtxHM2rMCbErg0x4fVHo-kkufWkV-UZGOL25nyqCwzVhI5vq7Ap13b5J-ob5/s4607/_DSC3327.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2852" data-original-width="4607" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfe0QOri9RaIJxixjHtpaaoO6Q6KehEzs96a6o8lFKKWjjicbVFi7e_vEVDCcYE0PZZChrPM1GQ5oxr3Y86nsGyV6czSmR6GwxuJ4e5aa4j_LuvOFrJwp5szi5hpxg9x68AtxHM2rMCbErg0x4fVHo-kkufWkV-UZGOL25nyqCwzVhI5vq7Ap13b5J-ob5/s320/_DSC3327.jpg" width="320" /></a></div><span style="font-family: aktiv-grotesk, "serif";">Grand Theft Theatre has all the trademarks of a group devised workshop,
cleverly conceived and expertly executed.</span><span style="font-family: aktiv-grotesk, "serif";">
</span><span style="font-family: aktiv-grotesk, "serif";">Chairs are clumped together at the outset when the six talented
performers introduce the show led by theatre maker David Williams randomly
espousing the intellectual properties of the theatre while the other actors
warm up behind him leading into a movement routine. Williams is then joined by the
other members of the ensemble all pronouncing simultaneously their views until
they remove t-shirts to reveal the </span><span style="font-family: aktiv-grotesk, "serif";"> </span><span style="font-family: aktiv-grotesk, "serif";">title
of the show on their shirts.</span><p></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; mso-bidi-font-weight: bold;">Each segment of the performance is interspersed with a six minute
intermission during which audience members are encouraged to mingle and share
memories or go to the bar while the cat rearrange the chairs, finally ending up
<span style="mso-spacerun: yes;"> </span>at the end of the performance with the
chairs on the stage and the actors in the hall for the final segment. Complacency
and predictability are cunningly avoided as Pony Cam introduces performances that
have had an influence on their lives. Ava Campbell introduces a scene from
Simon Stone’s shock inducing production of Thyestes. Claire Bird demonstrates her
physical theatre prowess by standing on her head for minutes and recounting the
performance art of Betty Grumble. <span style="mso-spacerun: yes;"> </span>Hugo
Williams mimics projectile vomiting in a show that drove audiences out of the
door. Dominic Weintraub graphically describes a naked performer exposing and
fingering his arse in front of an audience. Cambell and the company launch into
a feminist rendition of <i style="mso-bidi-font-style: normal;">He had it coming</i>
from <i style="mso-bidi-font-style: normal;">Chicago </i>and a swipe at injustice
with <i style="mso-bidi-font-style: normal;">Look Down</i> from <i style="mso-bidi-font-style: normal;">Les Miserable</i>. Greek tragedy, experimental
drama, popular musicals and a touch of gory Gran Guinol all build a portrait of
humanity in many guises. It is all food for an audience to ponder. It was
obvious from the reactions to the company’s Adelaide Festival 24 medley of
magic moments that this was a theatre audience aux fait with many of the
performances at this year’s festival.<o:p></o:p></span></p><p style="background: white; margin-top: 0in; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpDCdGUALsHetqEVfjcTV9wYUpCB1s3Fwy7YtvhYcRNOmFadvkUFd6_OrxklFkh1knWhez7zriUUmLmfr-Z3gRroAwxarvzS6Ma0RfA3OFal0u4GT7ny2FF4ge_q5TqCWDAPq31Dfv84FKGv5ukbA1W8GprQxniFNP33DzL_SA5sZu1Np6BmeOrM8S3MH2/s5438/_DSC3284.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3625" data-original-width="5438" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpDCdGUALsHetqEVfjcTV9wYUpCB1s3Fwy7YtvhYcRNOmFadvkUFd6_OrxklFkh1knWhez7zriUUmLmfr-Z3gRroAwxarvzS6Ma0RfA3OFal0u4GT7ny2FF4ge_q5TqCWDAPq31Dfv84FKGv5ukbA1W8GprQxniFNP33DzL_SA5sZu1Np6BmeOrM8S3MH2/s320/_DSC3284.jpg" width="320" /></a></div><span style="font-family: aktiv-grotesk, "serif";">It is the final segment that resonates most powerfully and movingly with
the audience when the actors reflect on the personal experience of death of a
loved one after seeing a production. In an evening of excerpts and revelations,
Pony Cam\s </span><i style="font-family: aktiv-grotesk, "serif";">Grand Theft Theatre</i><span style="font-family: aktiv-grotesk, "serif";"> of purloined
experiences is a funny, moving and thought provoking testament to theatre’s
influence. It has neither a plot line nor a continuing narrative in the
accepted tradition of the drama or the well made play, but it tumbles with
ideas and a clever and original concept performed with youthful energy and
exuberance. And for those who fondly remember the theatre that impacted on
their lives they will leave Pony Cam’s </span><i style="font-family: aktiv-grotesk, "serif";">Grand
Theft Theatre</i><span style="font-family: aktiv-grotesk, "serif";"> with a deeper appreciation of the role that theatre has played
in their lives.</span><p></p><p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; mso-bidi-font-weight: bold;">Photos by Ron Van Der Vegt</span></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif";"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;"><span style="color: black; font-family: "aktiv-grotesk","serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><o:p> </o:p></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-28575310149720109632024-03-12T12:35:00.001+11:002024-03-12T12:35:16.046+11:00BOLD Bites 2024 Festival<p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJZsTF6inUBnum7O8AGuRQnYdLVDQ_H3e9Jz-7Pc5kNXOD2i2xRvN44oOsosrjn2i4VEkGQCDE1Okap5s6-wI-rX9-ty6K4CDnFPIsMJqZmC0MGINsryAVUBOzA3z2Hqq4XUFPA7jt3L1MV5PvbgBiGdaFWpKMRApXqmD1dwXGQf08elEVfBwdGA9vyXHT/s4032/Gemma%20McKeown%20Liz%20Lea.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2732" data-original-width="4032" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJZsTF6inUBnum7O8AGuRQnYdLVDQ_H3e9Jz-7Pc5kNXOD2i2xRvN44oOsosrjn2i4VEkGQCDE1Okap5s6-wI-rX9-ty6K4CDnFPIsMJqZmC0MGINsryAVUBOzA3z2Hqq4XUFPA7jt3L1MV5PvbgBiGdaFWpKMRApXqmD1dwXGQf08elEVfBwdGA9vyXHT/w640-h434/Gemma%20McKeown%20Liz%20Lea.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Gemma McKeown (c) and members of GOLD - Photo: Liz Lea</i></b></td></tr></tbody></table><br /><p></p><p><b>Produced and Curated by Liz Lea - Various venues around Canberra - 8th - 10th March.</b></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><b> Reviewed by BILL STEPHENS</b><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">In case you
haven’t noticed, it’s autumn in Canberra and that means Festival time.
Certainly not the biggest, but possibly among the most influential, was the
BOLD Bites 2024 Festival. This festival has a particular focus on intercultural
and intergenerational dance, and this year took the opportunity to celebrate
International Women’s Day. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Curated by
local dance dynamo, Liz Lea, the BOLD Festival has become an annual affair
aimed at bringing together dance aficionados of all genres of dance to meet,
perform, discuss and swap ideas and opinions on all things dance. <o:p></o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiL2esDOim355evkgV4N-U7DzL9Z3u5IKiBh7W32yNArKpp5TPfsR7LD9ip8xJtyr6-9PkvEGc2Zwwc0AgHZNArJjb0xpiSsCrJ4iYNMg5wPUJSOlaBkqaZmCt7J2b3ZugY1O0KQcFz84U2hw67WOdG-fek8cinQYJzBZ6Al6arzJaAyCWs5ZQIaojUcQX/s3233/2024%20BOLD%20Bites%20Festival%20organiser%20Liz%20Lea%20relaxing%20with%20Kiri%20Morcombe%20during%20a%20break.%20Photo%20Lorna%20Sim.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2425" data-original-width="3233" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiL2esDOim355evkgV4N-U7DzL9Z3u5IKiBh7W32yNArKpp5TPfsR7LD9ip8xJtyr6-9PkvEGc2Zwwc0AgHZNArJjb0xpiSsCrJ4iYNMg5wPUJSOlaBkqaZmCt7J2b3ZugY1O0KQcFz84U2hw67WOdG-fek8cinQYJzBZ6Al6arzJaAyCWs5ZQIaojUcQX/w640-h480/2024%20BOLD%20Bites%20Festival%20organiser%20Liz%20Lea%20relaxing%20with%20Kiri%20Morcombe%20during%20a%20break.%20Photo%20Lorna%20Sim.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Kiri Morcombe with BOLD Festival organiser, Liz Lea.Photo: Lorna Sim</i></b></td></tr></tbody></table><br /><span style="font-size: 12pt; line-height: 115%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">This year financial
restrictions dictated some scaling down, hence the word ‘Bites’ in the title. Nevertheless,
the ever-resourceful Lea managed to gather together an impressive roster of
performers, speakers, both International and local, and enough workshops to
keep even the most energetic of the attendees busily engaged. These took place in
locations as varied as the Canberra Museum and Gallery, The National Film and
Sound Archive, the Canberra Dance Theatre, the QL2 Dance Theatre and the Gorman
Arts Centre gardens.</span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUdqHs9SR9DW6ZpJsgACSXLOtT7HEQEerFszQBLGUOTDKUwMbwxHuga6Pu61gtldHnuquS15EqU_MizH7fNa6o-d2nbFfjH3dnY9q-1uV5lH1aU1NqUXHSItaA9HHAPdB1nXCxYCfB4C5Y3Sy7HWP81RewSIG9uB_u7eDUue1vxB1ss3O9-v_tdlhOsHJ/s377/b25lY21zOmYwNTY0YjBhLTNkNjUtNDIxMC05NWIwLTIzMzI0MTA2YWI4MTpjY2M3ZWQ1OS1lMmVhLTQ4NDUtYTM4Yi.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="377" data-original-width="299" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUdqHs9SR9DW6ZpJsgACSXLOtT7HEQEerFszQBLGUOTDKUwMbwxHuga6Pu61gtldHnuquS15EqU_MizH7fNa6o-d2nbFfjH3dnY9q-1uV5lH1aU1NqUXHSItaA9HHAPdB1nXCxYCfB4C5Y3Sy7HWP81RewSIG9uB_u7eDUue1vxB1ss3O9-v_tdlhOsHJ/w318-h400/b25lY21zOmYwNTY0YjBhLTNkNjUtNDIxMC05NWIwLTIzMzI0MTA2YWI4MTpjY2M3ZWQ1OS1lMmVhLTQ4NDUtYTM4Yi.webp" width="318" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Morag Deyes OBE</i></b></td></tr></tbody></table><span style="font-size: 12pt;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 12pt;">Among many highlights
was an extended informal dance class conducted by Morag Deyes OBE, who until
recently was the Artistic Director of Dancebase, Scotland’s National Centre for
Dance in Edinburgh. </span><span style="font-size: 12pt; mso-spacerun: yes;"> </span><span style="font-size: 12pt;">Later, while being
interviewed by dance critic and author, Dr. Michelle Potter, during one of several
public conversations conducted by Potter, Deyes surprised everyone with the
revelation that she had been a dancer with the Lindsay Kemp Dance Company and a
member of the cast of his notorious production, “Flowers”, when it performed in
Edinburgh.</span></p><p class="MsoNormal"><span style="font-size: 12pt;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xEr9xsmz6DrkFsfpV9WXA3RTphavjaRepEKFxKpB69WAl8SaxuIi1ByXF3BESCa-ZBbmui9kSzJysmRaCFlMKavwKYk5y7s4Ob-DzhkflvfGVUKpYAQfR7e4jGOsC4h1_lWdNTrHgO-nR37iMXyq7Gr-LNNvVHb2e6n9ylFnrZElLDMuefPOHYyHsieX/s3024/Ruth%20Osborne%20and%20%20Elizabeth%20Cameron%20Dalman%20at%20the%20BOLD%20Bites%20Festival.%20Phot%20Lorna%20Sim%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2125" data-original-width="3024" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xEr9xsmz6DrkFsfpV9WXA3RTphavjaRepEKFxKpB69WAl8SaxuIi1ByXF3BESCa-ZBbmui9kSzJysmRaCFlMKavwKYk5y7s4Ob-DzhkflvfGVUKpYAQfR7e4jGOsC4h1_lWdNTrHgO-nR37iMXyq7Gr-LNNvVHb2e6n9ylFnrZElLDMuefPOHYyHsieX/w640-h450/Ruth%20Osborne%20and%20%20Elizabeth%20Cameron%20Dalman%20at%20the%20BOLD%20Bites%20Festival.%20Phot%20Lorna%20Sim%202.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Ruth Osborne OAM with BOLD Festival Patron Elizabeth Cameron Dalman OAM. <br />Photo: Lorna Sim</i></b></td></tr></tbody></table><br />
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Potter’s conversation
with Festival patron and dance pioneer, Elizabeth Cameron Dalman OAM, revealed
fascinating details of Dalman’s strong connection with Lake George (Weerewa)
and how that connection influenced the establishment of Dalman’s famed dance retreat,
Mirramu. Mirramu and Dalman were also the focus of a new film by Sue Healey,
Lake Song, which received its world premiere at the festival. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">In still
another conversation Potter shared some fascinating insights on dance criticism
with author and critic, Emma Batchelor. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Your
correspondent had the privilege of conducting the last conversation of the conference
with youth dance pioneer, Ruth Osborne OAM, who at the end of this year will
retire after 25 years as Artistic Director of QL2 Dance. Ruth charmed her
audience with her reflections on Legacy and the circumstances that flamed her
passion for youth dance. </span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="3840" data-original-width="5760" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd_AJuLOYUg8bI9XA7eEQ55EzIPGgbRe_2b-DJ7dQW3YA8fpwm5bASc9ZiCJJL8WqEA2bEZigL1zYB3w6uKEmJJ6mZG8RXtXSkS6hzrv61uxg0yabEO5BatcfztmF7TavE5we5UdtO0ZPC0TrVZY899bFd7343X6aCEWliof8VeL_j1tblBYfhVEs2F0Ky/w640-h426/Ruth%20Osborne%20in%20conversation%20with%20Bill%20Stephens%20during%20%20the%202024%20BOLD%20Bites%20Festival-%20Image%20Lorna%20Sim.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Ruth Osborne OAM being interviewed by Bill Stephens OAM. Photo: Lorna Sim</i></b></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd_AJuLOYUg8bI9XA7eEQ55EzIPGgbRe_2b-DJ7dQW3YA8fpwm5bASc9ZiCJJL8WqEA2bEZigL1zYB3w6uKEmJJ6mZG8RXtXSkS6hzrv61uxg0yabEO5BatcfztmF7TavE5we5UdtO0ZPC0TrVZY899bFd7343X6aCEWliof8VeL_j1tblBYfhVEs2F0Ky/s5760/Ruth%20Osborne%20in%20conversation%20with%20Bill%20Stephens%20during%20%20the%202024%20BOLD%20Bites%20Festival-%20Image%20Lorna%20Sim.jpg" style="margin-left: 1em; margin-right: 1em;"><b><i></i></b></a></span></span></div><span style="font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"><br /> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12pt;">Among the workshops,
indigenous dancer, Tammi Gissell explored the power of connection to country,
self and identity, through the lens of LGBTQI+ experience. Health and welfare
coach; Liz Wenzing led a Yoga session, while dancer Vaidehi Subramanyan
conducted a workshop focussing on the eye, neck and facial movements integral
to the Bharatanatyam technique. There was a session devoted to dance films,
particularly those of film maker, Sue Healey, and a number of talks and films
streamed during the festival which are still available on the BOLD Festival
website, including one by 107 year-old dance legend, Eileen Kramer and another
by former Canberran, Stephanie Burridge who is now based in Singapore.</span><span style="font-size: 12pt; mso-spacerun: yes;"> </span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">One of the
most popular sessions of the festival was one entitled a BOLD Sharing at which
several Canberra dance companies including The Canberra Dance Party, <span style="mso-spacerun: yes;"> </span>the Chamaeleon Collective and the First
Nations contemporary dance group, Project Dust, performed on the lawns of the
Gorman Arts Centre. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><b> An edited version of this review first published in CITY NEWS on 11th March 2024</b></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-5568016914478885552024-03-11T11:09:00.002+11:002024-03-11T11:15:43.107+11:00QUI A TUE MON PERE (WHO KILLED MY FATHER ADELAIDE FESTIVAL 2024<p> <!--[if !mso]>
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</p><p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="mso-no-proof: yes;"><br /></span></b></p>
<p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhwkGK2sWoh4C8029qfsUymby4j59NHsaqU5AyegYR-wfaZWB1jTmiUsUWznwuccZJoT3vY9h0Sypc1LuIpTt3FXdQClgQi0xWUgc9_xH2msI2_1YwGWT5ZeO3Z3rPQOjIWtjZuejodTQrssRDYe_NH9xbuinL3QasnpLVXTh6wOphZXPth19b2om4xpUT/s5561/qui%20heading.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3461" data-original-width="5561" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhwkGK2sWoh4C8029qfsUymby4j59NHsaqU5AyegYR-wfaZWB1jTmiUsUWznwuccZJoT3vY9h0Sypc1LuIpTt3FXdQClgQi0xWUgc9_xH2msI2_1YwGWT5ZeO3Z3rPQOjIWtjZuejodTQrssRDYe_NH9xbuinL3QasnpLVXTh6wOphZXPth19b2om4xpUT/w400-h249/qui%20heading.jpeg" width="400" /></a></div><b><span style="font-size: large;"> </span></b><p></p><p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: large;">Qui a tue mon pere (Who Killed My Father)</span></b></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="color: black; font-family: "Calibri", "sans-serif";"><span style="font-size: medium;">Director <strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Thomas Ostermeier,</span></strong>
Writer & Performer <strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Édouard Louis</span></strong>,
Video<b> </b><strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Sébastien Dupouey & Marie Sanchez</span></strong><b>,<span> </span></b>Stage
Designer <strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Nina Wetzel</span></strong>,<span> </span>Costume Designer <strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Caroline Tavernier</span></strong>,<span> </span>Composer <strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Sylvain Jacques</span></strong><b><br />
</b>Dramaturg<b> </b><strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Florian Borchmeyer & Elisa Leroy</span></strong><b>, </b>Production/Dramaturg <strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Elisa Leroy & Anne Arnz</span></strong>, Lighting Designer <strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Erich Schneider</span></strong>,
<span class="smalltext">Photos </span><strong><span style="font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">© Jean-Louis
Fernandez. Schaubuehne Berlin and Theatre de<span>
</span>la Ville Paris. Dunstan Playhouse. Adelaide Festival Centre. Adelaide
Festival 24. March 8-10 2024.</span></strong></span></span></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><strong><span style="color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Reviewed by Peter
Wilkins</span></strong></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5SE8EsrGd6H-oavqzsxtOUjh674trXBRiq67glQ5h_RsZoKcA93mlwNzdD8HrzN_ZZwe0kVwMrbJtzBU2sdZk-KT4FfEkKeQxj_1ZnwvuJLUxiSRV9P8UbcnM1BsIkOGBH8DfoXiGfMMGokbvIg1fnNs4Awv61PVp5t8l9yvtIn6iSoSgsybO9LsAHurh/s2611/qui3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="1330" data-original-width="2611" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5SE8EsrGd6H-oavqzsxtOUjh674trXBRiq67glQ5h_RsZoKcA93mlwNzdD8HrzN_ZZwe0kVwMrbJtzBU2sdZk-KT4FfEkKeQxj_1ZnwvuJLUxiSRV9P8UbcnM1BsIkOGBH8DfoXiGfMMGokbvIg1fnNs4Awv61PVp5t8l9yvtIn6iSoSgsybO9LsAHurh/s320/qui3.jpeg" width="320" /></span></a></div><br /><span style="color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-no-proof: yes;"><br /></span><strong><span style="color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></strong><p></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><strong><span style="color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Edouard Louis sits at
a laptop at the rear of the stage. For anyone who may not have read his memoir,
Ruth Wilson Gilmore’s statement projected upon the screen behind him should
have offered a clue to the tenor of Louis’s book and the Schaubuehne production
with the Theatre de la Ville.</span></strong></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-font-kerning: 18.0pt; mso-hansi-theme-font: minor-latin;">“Racism, specifically, is
the state-sanctioned or extralegal production and exploitation of
group-differentiated vulnerability to premature death.” States Ruth Wilson
Gilmore. It serves as a portent <span style="mso-spacerun: yes;"> </span>to be
heeded.This is not solely confined to racism. Its pernicious attitude can be
directed at homosexuals, like Louis, at the poor like his mother and father and
brother, at the workers like those at the factory where his father worked and
at any who through their own misfortune look to the state and the law for
support. <i style="mso-bidi-font-style: normal;">Qui a tue mon pere?</i> appears
at first to be a young man’s account of the relationship with a distant father.
It is the child’s desperate need for affection. It is his search for attention
and longing for acceptance. </span></p><p style="background: white; margin-top: 0in; text-align: justify;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-font-kerning: 18.0pt; mso-hansi-theme-font: minor-latin;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOc7-v6GXx6wmI4yA3BghY6dpcCK3RpxasIxRrtlJW-Tey6vxxYusQb6boBlQNPiRsL85v5CHAGGHjdyU8ATf76s7hsQksqMjL0CMtfBQ2JHl1C3AtKV6-KT4tmNbOWKhBxgSS1bmtUDlesJhY2Lo7bjOXyqlRc0R_nyVWhWy_zZJ_KEFQWrp0LnNSl12n/s5548/qui2.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3621" data-original-width="5548" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOc7-v6GXx6wmI4yA3BghY6dpcCK3RpxasIxRrtlJW-Tey6vxxYusQb6boBlQNPiRsL85v5CHAGGHjdyU8ATf76s7hsQksqMjL0CMtfBQ2JHl1C3AtKV6-KT4tmNbOWKhBxgSS1bmtUDlesJhY2Lo7bjOXyqlRc0R_nyVWhWy_zZJ_KEFQWrp0LnNSl12n/s320/qui2.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Edouard Louis in Qui a tue mon pere</i><br /></td></tr></tbody></table> Under Thomas Ostermeier’s fluid and purposeful direction, Louis lives out his life on stage and before
the empty chair in which his father always sat. He would play out Aqua’s <i style="mso-bidi-font-style: normal;">Barbie Girl</i> with no response. He would
let loose before an unresponsive father with Whitney Houston’s <i style="mso-bidi-font-style: normal;">I Will Always Love You </i>from his
favourite film <i style="mso-bidi-font-style: normal;">The Bodyguard</i>, which
ironically after much pleading his father finally gave him. It is a vexed and
complex<span style="mso-spacerun: yes;"> </span>relationship, played out against
the backdrop of rural landscapes, poor French villages and the smoking stacks
of the industrial region. It is the landscape of poverty, of the working class and
of the state’s disadvantaged.<span style="mso-spacerun: yes;"> </span>It is the
land of the prejudiced against foreigners and faggots. Louis guides us through the
struggles of a people marginalized and ignored. </span></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><br /><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-font-kerning: 18.0pt; mso-hansi-theme-font: minor-latin; mso-no-proof: yes;"></span><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-font-kerning: 18.0pt; mso-hansi-theme-font: minor-latin;">When a steel container falls
on Louis’s father at the factory where he works, damaging his back and leaving
him bedridden, the full significance of his father’s incapacity becomes cruelly
apparent. Louis’s father becomes the discarded and the derided. He is forced to
work as a street cleaner, bearing the pain in order to satisfy the state’s
demands. It is here that Ostermeier and Louis turn the domestic drama into a
political and social expose, a furious outrage against the elite and the
privileged the powerful and the influencers. Louis has discarded his Barbie
outfit of his childhood for a superhero’s mask and cape to battle the
oppressors. He and his father are united in their grievance. In an ultimate
final condemnation, Louis reveals the state’s actions in removing benefits,
changing working conditions, removing support for victims of industrial
accidents, forcing people back into the labour market and providing tax cuts to
the wealthy. Neither Ostermeier nor Louis stoke the rage. There is no need. As
Louis cites each unjust act he pins up the photos of the Presidents and Health
Ministers from Jaques Chirac to Emanuel Macron who have made his father’s life
unbearable. “ Why are their names never named?” he asks.</span></p>
<p style="background: white; margin-top: 0in; text-align: justify;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-font-kerning: 18.0pt; mso-hansi-theme-font: minor-latin;">Qui a tue mon pere (Who
killed my father??is a powerful and moving indictment of <span style="mso-spacerun: yes;"> </span>a society built on wealth and privilege and
not compassion and humanity. It has been caringly and poignantly directed by
Ostermeier. It does not brandish the flaming torch of outrage. It is for the
audience to carry that forward with the father’s final words ringing in their
ears, “We need a revolution.”</span><span style="color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></p>
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<p class="MsoNormal" style="text-align: justify;"> </p>
Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-11696824706270539502024-03-11T10:58:00.001+11:002024-03-11T10:58:43.832+11:00THE UKELELE MAN ADELAIDE FRINGE 2024<p> <!--[if !mso]>
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</p><p class="MsoNormal" style="text-align: justify;"><span style="mso-no-proof: yes;"><img height="20" src="file:///C:\Users\Peter\AppData\Local\Temp\msohtmlclip1\01\clip_image002.jpg" width="40" /></span><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsGu1ZyK45n942kMx6LCUK0nftSE6WhtO4ODjG2JhFHayIVwC2tVO0ev6JoHBUOAPMBjjMLKnmj0tUl649d5VujT0DzpdCzbwhUixQa5T13r3UTikVXYFqcBmHRZlEBT_8263Lz5gSu2JCyTPcvp3ey3mfWhVTJTwYVlGiicIdoiwo6HSI_8vlao-Lthh/s1200/UKULELE_MAN_1920x1080_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsGu1ZyK45n942kMx6LCUK0nftSE6WhtO4ODjG2JhFHayIVwC2tVO0ev6JoHBUOAPMBjjMLKnmj0tUl649d5VujT0DzpdCzbwhUixQa5T13r3UTikVXYFqcBmHRZlEBT_8263Lz5gSu2JCyTPcvp3ey3mfWhVTJTwYVlGiicIdoiwo6HSI_8vlao-Lthh/w400-h200/UKULELE_MAN_1920x1080_1.jpg" width="400" /></a></b></div><p></p><p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><br /> </b></p><p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;">The Ukelele Man – The story of George Formby.</b> </p>
<p class="MsoNormal" style="text-align: justify;">Written and performed by Marcel
Cole. Featuring Katie Cole. Directed by Mirjana Ristevski. Star Theatres.
Adelaide Fringe. March 4-9 2024</p>
<p class="MsoNormal" style="text-align: justify;">Reviewed by Peter Wilkins</p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-tab-count: 2;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii38iM_NstgbAWIzj0S61FdwBS3xXaPXCuhlYha8N-z1ZhWvgJ2IlyxgM2m3RMDoeAdG2cjAc1Iknax14MKOKNzw9VofJwBhPHK1nM6C039Iy3n8-dzYq4NkzAEqsL-f9CqNcMPFNWg9QVkQVi5dJ9oM9YU4IeAySN28G7qXRGi8qbFOW96Uy-JXrkFbzb/s1200/ukelele%20man%203.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii38iM_NstgbAWIzj0S61FdwBS3xXaPXCuhlYha8N-z1ZhWvgJ2IlyxgM2m3RMDoeAdG2cjAc1Iknax14MKOKNzw9VofJwBhPHK1nM6C039Iy3n8-dzYq4NkzAEqsL-f9CqNcMPFNWg9QVkQVi5dJ9oM9YU4IeAySN28G7qXRGi8qbFOW96Uy-JXrkFbzb/w400-h200/ukelele%20man%203.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marcel Cole as George Formby<br /></td></tr></tbody></table><br /> </span><br /></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"> The Ukelele Man, - The story of George Formby</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;">Written and
performed by Marcel Cole and featuring his real life mother Katie Cole in
supporting roles is a theatrical gem. It sparkles with talent and glows with
entertainment. Winner of the Adelaide Fringe’s Best Cabaret Award, this
brilliant banjolele show about the life of British star entertainer George
Formby will strum the strings of your heart and take you on a whirlwind tour of
the ukulele man’s amazing life.</span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-tab-count: 2;"> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvsrrruDNXQ67wiAfjUY1eYZpMc6-DON-6X_iV5qAb704A-qEHoFD4D6cdbXi_mV_9cJ3XJeCnoO0VsVfblhHBPjO8bGzMQKZM-K4PMy6pkHAua-VfttUVdJtezZ0ZcvUng_FRQgWNz49a8Ftjxnhe0iv-BO_3szcshS_NTh8T4CVLxdEh1II44rmcoxP/s600/uke4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvsrrruDNXQ67wiAfjUY1eYZpMc6-DON-6X_iV5qAb704A-qEHoFD4D6cdbXi_mV_9cJ3XJeCnoO0VsVfblhHBPjO8bGzMQKZM-K4PMy6pkHAua-VfttUVdJtezZ0ZcvUng_FRQgWNz49a8Ftjxnhe0iv-BO_3szcshS_NTh8T4CVLxdEh1II44rmcoxP/s320/uke4.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Katie Cole as Beryl in <i>The Ukelele Man</i><br /></td></tr></tbody></table><br /></span>I remember Formby with his little
ukulele in his hand, but Cole’s performance and remarkable account of Formby’s
fame, fortune and rollercoaster life left me in awe of Formby’s stardom, his
unique talent as a musician, entertainer and film actor. Above all, Cole
captured the very essence of Britain’s highest ranking entertainer and money
earner of the mid twentieth century. Cole is no actor simply standing on a
stage and recounting the life of Formby. He is Formby. It is Formby telling a
bewitched audience about his childhood and his entertainer father George Formby
Senior, his lack of education, his wartime experience entertaining the troops
in France, his marriage to his entertainer/manager wife Beryl played<span style="mso-spacerun: yes;"> </span>with wonderful eccentricity by Katie Cole,
who also plays supporting character an accompanies Cole with piano, violin and
ukulele.We learn that after a nervous breakdown when his fame fades, Beryl
declares him insane and commits him to a lunatic asylum. It is a testament to
his<span style="mso-spacerun: yes;"> </span>resilience and his popularity that
Formby revives his fortunes and gains renewed fame in the swinging Sixties as
the Beatles are beginning to make their mark.</p><p class="MsoNormal" style="text-align: justify;"> Formby lives again in this
magical show about the shy and bashful star of stage, radio TV and film. It’s
enough to make me rush for a Formby rush on You tube and recall that naughty
but oh so nice <i style="mso-bidi-font-style: normal;">When I’m Cleaning Windows</i>
or remember the thrill of <i style="mso-bidi-font-style: normal;">leaning at a
lamp post at the corner of the street as a certain little lady goes by. Oh me.
Oh my</i> <i style="mso-bidi-font-style: normal;">I hope the little lady comes by.
</i>Cole invites an audience largely of yesteryearers to sing along and it is
obviousl that they not only remember thelittle man from Wiggan but are only too
eager to join in with a chorus that they know<span style="mso-spacerun: yes;">
</span>from long ago. Cole, under the astute direction of Mirjana Ristevski,
hits a perfect note every time with his adroit mastery of the uke and the
banjulele and his convincing command of the Wiggan brogue. </p>
<p class="MsoNormal" style="text-align: justify;">The Ukelele Man is sheer
entertainment and joyful fun. In a life of ups and downs Formby remains an
inspiration to struggling artists and a role model for those with the talent to
entertain. Cole is brilliant. He plays superbly, moves mercurially, taps
skillfully and inhabits the character with absolute conviction. In the intimate
space of the Star Theatre I was transported to the vaudeville of Formby Senior
when the recording of his song was played. I was taken to the country halls of
England and the airwaves of the radios of times past. A wave of nostalgia swept
over me as Cole and Katie brought a bygone era to life. It will warm the
cockles of every heart. </p>
<p class="MsoNormal" style="text-align: justify;">The Ukelele Man has been touring
and may well pass your way. If it , dow whatever needs to be done to get a
ticket. Not only will you learn of the amazing life and talent of a simple
bloke from Lancashire. You will be transported, uplifted and entertained by
Marcel Cole’s brilliant performance of the Ukelel Man. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></p>
Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-47331353861234804752024-03-10T17:05:00.001+11:002024-03-15T16:59:11.429+11:00A Midsummer Night's Dream<br /><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4mZzdtS7exWG4StQmUyPw-mS-zzzmXLlD8CgOoz4Tf3XuWhgfDoFglaQuhAgGA22Z0M23ocNe3I0ejLVg6K_f4cE1PvKmNOo71_WHXPw7f6Vej0wQC0i0Xr1oDtCuR5qma6tv7yEsQGAJ2_5Jp0I7MCTDfagGV2uSdK_ZbYemUvf0F5WJnvek70ypTzs_/s784/AMND%20Bell%202024%20cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="784" data-original-width="544" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4mZzdtS7exWG4StQmUyPw-mS-zzzmXLlD8CgOoz4Tf3XuWhgfDoFglaQuhAgGA22Z0M23ocNe3I0ejLVg6K_f4cE1PvKmNOo71_WHXPw7f6Vej0wQC0i0Xr1oDtCuR5qma6tv7yEsQGAJ2_5Jp0I7MCTDfagGV2uSdK_ZbYemUvf0F5WJnvek70ypTzs_/w444-h640/AMND%20Bell%202024%20cover.jpg" width="444" /></a></div><b><i>A Midsummer Night’s Dream</i></b> by <b>William Shakespeare</b>. Bell Shakespeare at Sydney Opera House Playhouse, March 2 –30, 2024.<br />(Production Patron: Katie Page, CEO Harvey Norman)<br />West Australia – April 9; Victoria – April 25-May 11; Canberra – Jun 7-15; Northern Territory Jun 29<br /><br />Reviewed by <b>Frank McKone</b><br />March 9<br /><br /><b>Creatives</b><br /><br /><b>Director</b>: Peter Evans;<b> Associate Director</b>: Julia Billington<br /><b>Set and Costume Designer</b>: Teresa Negroponte<br /><b>Lighting Designer</b>: Benjamin Cisterne<br /><b>Composer and Sound Designer</b>: Max Lyandvert<br /><b>Movement, Intimacy and Fight Director</b>: Nigel Poulton<br /><b>Voice Director</b>: Jack Starkey-Gill; <b>Dramaturg</b>: James Evans<br /><br /><b>Cast 2024</b><br /><br /><b>Puck</b>: Ella Prince (they); <b>Hermia/Snug</b>: Ahunim Abebe; <b>Helena/Starveling</b>: Isobel Burton<br /><b>Demetrius/Snout</b>: Mike Howlett; <b>Lysander/Mechanical</b>: Laurence Young<br /><b>Oberon/Theseus/Flute</b>: Richard Pyros; <b>Titania/Hippolyta/Quince</b>: Imogen Sage<br /><b>Bottom/Egeus</b>: Tom Matthews (understudy for Matu Ngaropo)<br /><br />An announcement apologised for Mat Ngaropo, unable to perform because of injury.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgTo5IIQhPGhAQu35N-eLnY2HRBU85-tIJs9arfrp2G9HnfkoD8iaPgIilm9bMRsYj_PARb8pi0CZUe9n-1skgGjBPRRJTUZP5f5joGH9o75ZY-gVRQB6tF7EbYSZHAnE2-RpMYIpcPNgPZVuvHXl9bmlLUc6OzUNAr5cvYNJjp9Kz5tk8e1vr0W8GjbyX/s1569/AMND%20Ass's%20Head.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="721" data-original-width="1569" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgTo5IIQhPGhAQu35N-eLnY2HRBU85-tIJs9arfrp2G9HnfkoD8iaPgIilm9bMRsYj_PARb8pi0CZUe9n-1skgGjBPRRJTUZP5f5joGH9o75ZY-gVRQB6tF7EbYSZHAnE2-RpMYIpcPNgPZVuvHXl9bmlLUc6OzUNAr5cvYNJjp9Kz5tk8e1vr0W8GjbyX/w640-h294/AMND%20Ass's%20Head.jpg" width="640" /></a><br />______________________________________________________________________________<br />Despite now well-known actor <b>Steve Bisley</b> giving me the funniest death of Pyramus I could hope for in my Wyong High School production of Pyramus and Thisby from <i>A Midsummer Night’s Dream</i> (1967), in the longest possible inch-by-inch collapse before staying dead for the longest time through Thisby’s <br /> <i>Asleep, my love? / What dead, my dove?</i> <br />speech, until she at last acts with <br /> <i>Come, trusty sword; Come, blade, my breast imbue</i>, <br /><br />I’m going to have to admit that Peter Evans, Julia Billington and especially Nigel Poulton have out-sworded my directing skills. <br /><br />Despite Tom Matthews having to come in at short notice as the inimitable Bottom playing Pyramus, with Richard Pyros as Flute playing Thisby, the difficulties of Matthews’ stabbing himself with a full length sword, Pyros’ extracting the sword, and then stabbing him/herself in an entirely different way, made the most extraordinary laugh-out-loud scene. <br /><br />Bell Shakespeare in this production of <b><i>A Midsummer Night’s Dream</i></b> have achieved William Shakespeare’s satiric intention – all set, literally, in <i>Athens, and a Wood near it</i>. And what a surprising all wooden backdrop and properties set it is, thanks to the imagination of Teresa Negroponte.<br /><br />Laugh as we may, so we should, and indeed we did from the gathering of the characters in Scene I: <br />Theseus: <i>Stir up the Athenian youth to merriments;</i><br /> <i>Awake the pert and nimble spirit of mirth…</i><br />through to Puck’s exhortation to<br /> <i>Give me your hands, if we be friends,<br /> And Robin shall restore amends.</i><br /><br />But Theseus also introduces us to issues, as relevant to the youth of today as in Shakespeare’s day, as he speaks to his fiancee Hippolyta – Queen of the Amazons – saying:<br /> <i>Hippolyta, I woo’d thee with my sword,<br /> And won thy love doing thee injuries;<br /> But I will wed thee in another key,<br /> With pomp, with triumph, and with revelling.<br /></i><br />There’s that sword. How can that pomp and revelling be a triumph, if love is won by doing injuries? What are the realities of love and life when we look at the news today of family and international violence? <br /><br />But at another level, Shakespeare in this fantasy play of fairies and play-acting, is saying to us, come off your high horses, take a look at yourselves through the medium of the arts. Realise that what we believe to be true is never an excuse for doing injuries to those who believe differently.<br /><br />On ABC Radio National on the very morning while driving to Sydney to see <i>A Midsummer Night’s Dream</i>, I heard <b>Anwar Ibrahim</b> tell Geraldine Doogue and Hamish Macdonald how essential it is for people to stop automatically taking sides for and against in every politically complex situation:<br /><br /><a href="https://www.abc.net.au/listen/programs/global-roaming/malaysia-prime-minister-anwar-ibrahim/103482398">https://www.abc.net.au/listen/programs/global-roaming/malaysia-prime-minister-anwar-ibrahim/103482398</a> <br /><i>Sitting down with Geraldine and Hamish on the sidelines of the ASEAN-Australia Special Summit, Malaysian Prime Minister Anwar Ibrahim revealed his desire for Australia to adopt a more 'mature' approach on China, his frustration at Western 'hypocrisy' concerning Gaza, achieving 'spiritual enlightenment' through Shakespeare and why being Prime Minister is no 'bed of roses'.<br /></i><br />This is exactly why seeing Bell Shakespeare’s production is important. Andy McLean writes in their program:<br /><br /><i>The overall effect gives a whole new meaning to the phrase “painfully funny”. Make no mistake, A Midsummer Night’s Dream is more a black comedy than a golden idyll…. It’s all hilarious of course. But there’s something about the games that the fairies play and the fun they have which points to the potential for danger. One suspects that Puck would do far worse (and certainly not bother to put things right) were they not bound by the will of Oberon. Yet it’s precisely because of this danger that we laugh so much.</i><br /><br />And there’s the measure of the excellent quality of this production. The acting – which includes a huge amount of physical theatre as well as wonderfully precise clarity of expression in each actor’s speaking – is exactly in the style needed to take the play just the right amount beyond realism into a kind of Brechtian ‘alienation effect’ which is both funny and illuminating at the same time.<br /><br />And that makes the extra little push into farce so funny as Pyramus manages to kill himself with such a long sword, and Thisby follows suit – in almost a kind of spoof of <i>Romeo and Juliet</i> (which Shakespeare had recently written). The curtain call becomes an enormously enjoyable celebration of the actors’ success – in itself a great positive statement about the value of art, on William and Bell Shakespeare’s part.<br /><br />A terrific show, not to be missed.<br /><br /><p></p><p></p><p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7_4Jitqk8yIsJrkI0yMeuBzYfkUCAMwVYgwkCawgjZTm1UAgaroTkiV4tTuIKnEXK-yjk94wJHOyL73f5A0CtRhdiRgIVSL25Fq7oUCjY0Kw6bz76iVduip3EbNRvhJmIjB060dj6nhzDymE0EBg7XyNKurB07V7DCLzXpHu-PXcu73VUkKsqV40aJ3l/s1152/AMND%20cast%202021.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="1152" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7_4Jitqk8yIsJrkI0yMeuBzYfkUCAMwVYgwkCawgjZTm1UAgaroTkiV4tTuIKnEXK-yjk94wJHOyL73f5A0CtRhdiRgIVSL25Fq7oUCjY0Kw6bz76iVduip3EbNRvhJmIjB060dj6nhzDymE0EBg7XyNKurB07V7DCLzXpHu-PXcu73VUkKsqV40aJ3l/w640-h334/AMND%20cast%202021.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bell Shakespeare 2021 cast as the Rude Mechanicals<br />A Midsummer Night's Dream by William Shakespeare<br /></td></tr></tbody></table><br /><br />Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-84356016643963921922024-03-10T13:54:00.000+11:002024-03-10T13:54:24.032+11:00THE PROMISE<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mD5Bf2zQIqbuQudJoY9S_IO01wfBizF0Q14CgTWjBQpV1GQJOj2iOlkb-58e_SFeS64pbCp2cgHTzSlQZ9_8eg4ejAw6FU-H7bR0ePIL-6iEYOH4yeIdH558oCtkcaFLAEBsOv80FgcepuG2WIQfVvDTDpAxWPqcPoJCbmxrbQA0iS77Jw5D3kOUbdjt/s624/Picture1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="624" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mD5Bf2zQIqbuQudJoY9S_IO01wfBizF0Q14CgTWjBQpV1GQJOj2iOlkb-58e_SFeS64pbCp2cgHTzSlQZ9_8eg4ejAw6FU-H7bR0ePIL-6iEYOH4yeIdH558oCtkcaFLAEBsOv80FgcepuG2WIQfVvDTDpAxWPqcPoJCbmxrbQA0iS77Jw5D3kOUbdjt/w640-h374/Picture1.jpg" width="640" /></a></div><br /><p></p><p style="background: white; margin-top: 0cm; text-align: justify;"><b><span lang="EN-US" style="color: black; font-family: "aktiv-grotesk",serif;">Concept
by <strong><span style="font-family: "aktiv-grotesk",serif;">Chloe Lamford
& Wende</span></strong>. Created by <strong><span style="font-family: "aktiv-grotesk",serif;">Chloe Lamford, Wende, Isobel Waller-Bridge & Imogen
Knight</span></strong>. Words by <strong><span style="font-family: "aktiv-grotesk",serif;">E.V.
Crowe, Sabrina Mahfouz, Somalia Nonyé Seaton, Stef Smith & Debris Stevenson</span></strong>.
Performed by <strong><span style="font-family: "aktiv-grotesk",serif;">Wende,
Nils Davidse, Emma King & Midori Jaeger</span></strong>. Electronic
Producer <strong><span style="font-family: "aktiv-grotesk",serif;">Jan van
Eerd</span></strong>. Additional Arrangement <strong><span style="font-family: "aktiv-grotesk",serif;">Fiona Brice</span></strong>.
Assistant Director <strong><span style="font-family: "aktiv-grotesk",serif;">Izzy
Rabey</span></strong>. Creative Producer <strong><span style="font-family: "aktiv-grotesk",serif;">Wouter van Ransbeek</span></strong>. Theatre
Producer/Business Management <strong><span style="font-family: "aktiv-grotesk",serif;">Ulrike
Bürger-Bruijs</span></strong>. Production Manager <strong><span style="font-family: "aktiv-grotesk",serif;">Tim van der Does. Stichting Wende and
Royal Court Theatre London and International Theater Amsterdam.. Adelaide
Festival. The Space. Adelaide Festival Centre. March 7-10 2024<o:p></o:p></span></strong></span></b></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span lang="EN-US" style="color: black; font-family: "aktiv-grotesk",serif;">Reviewed by
Peter Wilkins <o:p></o:p></span></strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXoXNMtU5Zc-bXnKKrRQTemendp6cZJqON7TA4o_na2bO0jUMMR_ZjxsRV93M4Uw2pBswYpH_tjBTxbhAVm1XvdmDAQaJXmg1mEiGB6OhRWXe63KRdAXkbOrY9RVenWaBLHWqsX-4YE45oRMH1S0PD90sh4LX8PvMs7mH8k_-MNGnl_p0f2mUbr9pf_nF/s1430/Picture2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1073" data-original-width="1430" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXoXNMtU5Zc-bXnKKrRQTemendp6cZJqON7TA4o_na2bO0jUMMR_ZjxsRV93M4Uw2pBswYpH_tjBTxbhAVm1XvdmDAQaJXmg1mEiGB6OhRWXe63KRdAXkbOrY9RVenWaBLHWqsX-4YE45oRMH1S0PD90sh4LX8PvMs7mH8k_-MNGnl_p0f2mUbr9pf_nF/w640-h480/Picture2.jpg" width="640" /></a></div><br /><p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span lang="EN-US" style="font-family: aktiv-grotesk, serif; font-weight: normal;">Singer Wende is a force of nature with a
voice that can summon a cyclone of song or a gentle breeze of melody, Wende’s
one woman musical <i>The Promise</i> at The
Space Theatre is an exhilarating explosion of emotions that can only be given a
voice in song. She embodies one woman’s song with universal resonance in a
world of questions about who we are and what we want. She sings the song of the
woman in numbers such as <i>Good Women</i>
by Sabrina Mahfouz, encouraging the audience to sing along to the chorus as an
affirmation of being not good, not bad but a good enough mother. She confronts
her fears and embraces her independent courage in EV Crowe’s <i>Dark Black Pool </i>and Crowe’s <i>Motherfucker</i> in which the audience again
is invited to sing with defiant relish.. Her show is a search for answers and a
quest for a confident, honest identity through the doubts and the sacrifices
that will lead to her discovery of her final promise to herself, to be herself,
free of guilt, independent and no more a <i>Lonely
Bitch</i> but a free spirit.</span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span lang="EN-US" style="color: black; font-family: "aktiv-grotesk",serif; font-weight: normal; mso-bidi-font-weight: bold;">She is joined in this quest by her three
collaborating musicians, Nils Davidse on synthesizer and piano, Emma King on
percussion and Midori Jaeger on cello and keyboard. At times they provide vocal
backing in a wonderful synchronicity of music and song. In Debra
Stevenson’s<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Beast Undone</i> Wende, thumping the notes of the open piano keys with
a tumult of orchestration by the musicians arouses a violent tribal exorcism of
the fears, the doubts and the conditioning that bind her. It is riveting,
compelling and fiercely liberating. <i style="mso-bidi-font-style: normal;">The
Promise</i> is an exultation of self in a show that is part rock musical, part
cabaret, part music theatre and totally original and dynamic.<o:p></o:p></span></strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEKW3EkUnDDnIusts_SV5O_ymZT43R0xP58duiJ4lzA-BsAuG1NF9fXNn56qjqkgSiw07QVZOPMwXWD1uWNkOe-QqllXAL8ZgTLY3bKkZoAL1KO4PqCuw8BbCDoxPIa8LHD6diJLBeuNOnvORffB2-Q3nUmNrQ-13vVVcZN_6nq5or_CgXLRqo4b1YsVuF/s624/Picture3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="624" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEKW3EkUnDDnIusts_SV5O_ymZT43R0xP58duiJ4lzA-BsAuG1NF9fXNn56qjqkgSiw07QVZOPMwXWD1uWNkOe-QqllXAL8ZgTLY3bKkZoAL1KO4PqCuw8BbCDoxPIa8LHD6diJLBeuNOnvORffB2-Q3nUmNrQ-13vVVcZN_6nq5or_CgXLRqo4b1YsVuF/w640-h374/Picture3.jpg" width="640" /></a></div><br /><p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span lang="EN-US" style="font-family: aktiv-grotesk, serif; font-weight: normal;">The audience in the round in The Space leapt
to a spontaneous standing ovation, overwhelmed by Wende’s boundless energy and
stellar talent. They are bewitched by her ready charm and easy rapport as she
recounts her pitch at the Royal Court or her search for the London house of her
early childhood. Born in the home of invention at London’s Royal Court Theatre <i>The Promise</i> offers a revelatory new
style in music theatre. It is groundbreaking in its originality, uplifting in
its musicianship and universal in its appeal. It promises an exciting
experience at the theatre and it delivers in spades! </span></strong></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-24974255980061268912024-03-09T15:51:00.000+11:002024-03-09T15:51:58.405+11:00SUOR ANGELICA - National Opera<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ZzBjsEhi3jOIlA0A2tVSh1cvg5KpYHyxLwnsUQ4fhnYUEzKA1taEDPK8MfWxkmKXcyNMi1y9i-HaBuUHGCKYb9Ozk60EKO70zYmibjPciaYsPF7j0dhb-YyDBlVkUEEvqDXCNjTJ25l4Yz8XkTWETr6uKR4Nz3L6RQyXZDLngnVArVS_ZfBT6wZRk6G3/s6240/20240307a%20005%20National%20Opera%20-%20Suor%20Angelica.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="6240" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ZzBjsEhi3jOIlA0A2tVSh1cvg5KpYHyxLwnsUQ4fhnYUEzKA1taEDPK8MfWxkmKXcyNMi1y9i-HaBuUHGCKYb9Ozk60EKO70zYmibjPciaYsPF7j0dhb-YyDBlVkUEEvqDXCNjTJ25l4Yz8XkTWETr6uKR4Nz3L6RQyXZDLngnVArVS_ZfBT6wZRk6G3/w640-h426/20240307a%20005%20National%20Opera%20-%20Suor%20Angelica.jpg" width="640" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Music by
Giacomo Puccini – Libretto by Giovacchino Forzano.<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Directed by
Rachel Hogan – Conducted by Leonard Weiss<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Musical
Direction by Ella Luhtasaari <o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Albert Hall,
Canberra, March 7<sup>th</sup> and 10<sup>th</sup> 2024<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Performance
on March 7<sup>th</sup> reviewed by BILL STEPHENS</b><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Although Puccini
did not approve of “Suor Angelica” being presented as a single opera – he had
written it as part of an evening of three short opera- it was nevertheless a perfect
choice for National Opera given its goal of providing employment opportunities
for Australian Artists, particularly those in the Canberra region.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Judging by
this production, Canberra appears rich in fine female opera singers because the
singing throughout was superb. <o:p></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB54Q-R79b0GVPVnIi0CaaLEx1K6pI6deIf5kjfgE8ZcjSr9P9iwIZs6PtTvVO48-Ulr-NGcLj7H2M4JIU3s55QU1sd01j4mBnmRLIHoy_3WOTYrXFmZoUOOhjxP9ppK0LLTkqxQZLHU6FCGsqJiQvQeMVC9J_J2XXcJWs811FD_1oXRXH2rSfjKFTaFbn/s1200/18%2020240307a%20215%20National%20Opera%20-%20Suor%20Angelica%2003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB54Q-R79b0GVPVnIi0CaaLEx1K6pI6deIf5kjfgE8ZcjSr9P9iwIZs6PtTvVO48-Ulr-NGcLj7H2M4JIU3s55QU1sd01j4mBnmRLIHoy_3WOTYrXFmZoUOOhjxP9ppK0LLTkqxQZLHU6FCGsqJiQvQeMVC9J_J2XXcJWs811FD_1oXRXH2rSfjKFTaFbn/w640-h426/18%2020240307a%20215%20National%20Opera%20-%20Suor%20Angelica%2003.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Emma Mauch as Suor Angelica</i></b></td></tr></tbody></table><br /><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Canberra
born and based soprano, Emma Mauch, is a graduate of the West Australian
Academy of Performing Arts. She has also worked with Opera Australia. In the
title role of Suor Angelica, the nun with a mysterious background who makes two
fatal errors, she gave a haunting performance. Her acting was committed and her
singing lustrous, particularly towards the climax of the opera as she prepares
to suicide. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">As La Zia Principessa,
the bearer of disastrous news, accomplished Canberra mezzo, Sonia Anfiloff, provided
the perfect protagonist. Initially imperious but then exhibiting just a flash
of humanity as she realises the price of her demands on Angelica, Anfiloff was
magnetic in the role.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cNYr25_GIG4D-qDBEmAcKAZ_cxDDV7KEo7FC3WMcU4OBlIk83pLKU-laPXN9lF8TWFWr82ZtOn1UTqYMT4H-agTn7tLB12eugx-gsDqqx3XB6SWBJjML5ltAa_EMKOMRIm0UjT22HMcgtdTlFVZ3WdeeG-bsWyP56PY4zM3aU9UvpJaMDWLn_SIRKLBs/s1200/18%2020240307a%20154%20National%20Opera%20-%20Suor%20Angelica%2001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cNYr25_GIG4D-qDBEmAcKAZ_cxDDV7KEo7FC3WMcU4OBlIk83pLKU-laPXN9lF8TWFWr82ZtOn1UTqYMT4H-agTn7tLB12eugx-gsDqqx3XB6SWBJjML5ltAa_EMKOMRIm0UjT22HMcgtdTlFVZ3WdeeG-bsWyP56PY4zM3aU9UvpJaMDWLn_SIRKLBs/w640-h426/18%2020240307a%20154%20National%20Opera%20-%20Suor%20Angelica%2001.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Sonia Anfiloff as La Zia Principessa in National Opera's production of "Suor Angelica"</i></b></td></tr></tbody></table><br /><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">In addition
to the demanding principal roles, “Suor Angelica” offers many smaller roles
perfect for emerging singers, and this cast took full advantage of those
opportunities. Katrina Wiseman, Teresa Wojcik, Alira Prideaux, Kirsten Anker
and Elsa Huber were standouts among the strong cast, all of whom provided
strong support, particularly during the many choral sections of the opera. It
was obvious much time an effort had been invested in perfecting these segments.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Full marks
also to the small orchestra, sensitively conducted by Leonard Weiss. Given the
intimacy of the production, it provided a charming accompaniment which allowed
the quality of the vocals to shine.<o:p></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDn_5pavTskNbP7HU5SaDwQI2iYmspRhShTMiBiZ_DI0RO1iMvE0rVcZNunc5zrD1TI7FMCmUGVSpDkvlafT_oSCKWACIsUJS2dIZ4a5vmjIg9uCeIGkgKVAgHXV-JHaP5GFkmHbkBUA9ejmwWvpu-9hBe1WYwUod6v_R9Kp9LwXp2OzIWC3E36vewRZ_-/s6240/20240307a%20032a%20National%20Opera%20-%20Suor%20Angelica.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDn_5pavTskNbP7HU5SaDwQI2iYmspRhShTMiBiZ_DI0RO1iMvE0rVcZNunc5zrD1TI7FMCmUGVSpDkvlafT_oSCKWACIsUJS2dIZ4a5vmjIg9uCeIGkgKVAgHXV-JHaP5GFkmHbkBUA9ejmwWvpu-9hBe1WYwUod6v_R9Kp9LwXp2OzIWC3E36vewRZ_-/w640-h426/20240307a%20032a%20National%20Opera%20-%20Suor%20Angelica.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Leonard Weiss conducting the orchestra for National Opera's production of "Suor Angelica" </i></b></td></tr></tbody></table><br /><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">It was an
interesting idea the take advantage of the natural light flooding into the
Albert Hall, particularly during the golden waters scenes. Utilising an
extraordinarily minimalist setting, director, Rachel Hogan, devised some lovely
moments, particularly for the processionals.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">However this
is opera serio, so it was a pity that more attention was not given to details
which spoilt some of those moments.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Although the
original opera is set in the 17<sup>th</sup> century, given that La Zia Principessa
was wearing a short skirt, it’s assumed that this production is meant to be taking
place in the present, a fact borne out by the sight of traffic clearly visible
through Albert Hall windows.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Even so, it was
hard to imagine any convent where the Mother Superior would be so lax as to
allow two of her nuns to wear tan shoes. Then during the processionals, surely
she would insist that they would all clasp their hands under section of their habits
specifically for that purpose. Only two of the nuns remembered to do that, the
rest held their hands in front of them, and one even kept hers resolutely by
her side the whole opera.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">The
interpolation of a scene at the beginning of the opera, in which Angelica gives
birth to her baby in the convent in the presence of all the nuns, resulted in
Angelica being the only nun not to wear stockings for the full duration of her
stay at the convent. It also took away the mystery as to why she was in the convent
in the first place.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Also the
decision to present the opera on the floor of the Albert Hall deprived many <span style="mso-spacerun: yes;"> </span>in the audience from seeing any of the action
that took place on the floor, and it is notable that nowhere in the program is
there any acknowledgement of the composer or lyricist of the opera. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Although
there is much to admire about this production, if National Opera is to be
recognised as a serious producer of operas, it is important that more care be
taken to eliminate oversights of this nature.</span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b><i> Images by Peter Hislop</i></b> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><o:p> </o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-76063396139932775932024-03-09T08:13:00.001+11:002024-03-09T08:13:14.276+11:00GUURANDA - Her Majesty's Theatre<p><br /></p><p class="MsoNormal" style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQOlRqcaUIXPfmapzTGUt8xA3ZLQocvJj254E_gsryFu4bqHFYzr9D7ugNgGyhUCbEfiHSM0uaVG-5BNoGo2mr15y57pZguZ8iWcugVwmYy6StumHT3dorHzKDkYIM_Y5aKF-FbX1E9jXW3chSGtlAxctirpwvsvnONEV8U_zxI3pJQPe2C1B4Akkva4S7/s1315/G11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1194" data-original-width="1315" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQOlRqcaUIXPfmapzTGUt8xA3ZLQocvJj254E_gsryFu4bqHFYzr9D7ugNgGyhUCbEfiHSM0uaVG-5BNoGo2mr15y57pZguZ8iWcugVwmYy6StumHT3dorHzKDkYIM_Y5aKF-FbX1E9jXW3chSGtlAxctirpwvsvnONEV8U_zxI3pJQPe2C1B4Akkva4S7/w640-h582/G11.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>GUURANDA<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Written and
directed by Artistic Director Jacob Boehme. Narrunga Elders, dramaturges and
cultural consultants-<span style="mso-spacerun: yes;"> </span>Uncle Rex
Angie,Auntie Deanna Newchurch, Uncle Eddie Newchurch, Auntie Ninni. Singers –
Sonya Rankine, Warren Milera, Narungga Family Choir. Choir director Grace
Robinson. Associate choreographers and performers. Caleena Sansbury, Chandler
(Cheeky) Connell, Edan Porter,Luke Currie Richardson,Jordan O’Davis, Shana
O’Brien, Zoe Brown-Holten.Narungga Song Woman and translator Sonya Rankine.
Narrunga Translator Tania Wanganeen. Visual Artist. Kylie O’Loughlin. Composer
James Henry.Dramaturge Chris Mead. Staging and Lighting design Jenny Hector.
Audio-visual design Keith Deverell. Costume design and textile art finishing
Kathryn Sproul. Puppet designer and maker Phillip Millar. Leatherworker Sue
Manski. Executive producer Jason Cross. Associate producer. Stella Webster. Her
Majesty’s Theatre. Adelaide Festival 2024.<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><o:p><b> </b></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Reviewed by
Peter Wilkins<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLzWcS5Zo-X9ohAQUnfsLWw9L2vuo4OeQfd8w8z7vyg5B3pS1dz5LjnINKgPDvBma7RlN-4YmoVHodpAB5tjFgfmO_NImlTBS9qlNTT-jFBGwtU6pmoqecAkmzOFKmVofiaTCSV78LzfKGLGDL1ko4E2E-YZRaBzQs3gP1KyqIGDi7pOcX_kNEkDBYeNjf/s1430/G2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="954" data-original-width="1430" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLzWcS5Zo-X9ohAQUnfsLWw9L2vuo4OeQfd8w8z7vyg5B3pS1dz5LjnINKgPDvBma7RlN-4YmoVHodpAB5tjFgfmO_NImlTBS9qlNTT-jFBGwtU6pmoqecAkmzOFKmVofiaTCSV78LzfKGLGDL1ko4E2E-YZRaBzQs3gP1KyqIGDi7pOcX_kNEkDBYeNjf/w640-h426/G2.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">A powerful sense
of culture and community permeates writer, director and choreographer Jacob
Boehme’s production of <i style="mso-bidi-font-style: normal;">Guuranda</i>.
Using spoken narrative, dance, music, song, puppetry and animation, Boehme and
his collaborative artists weave a fascinating tribute to his family, their
stories , connection to country and creation. As audience enters they see a
projected image of fire smoking on either side of the proscenium arch which then
merges into a large videoed projection of singers Sonya Rankine and Warren
MIlera . On stage the dancers draw us into their mesmerizing enactment of
intergenerational experience and myths through tens of thousands of years. They
are the storytellers of of time, told through their dance and accompanied by
music, song and visual storytelling.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkzOyGtufq9WCfcZ2gG9_p32AThnQpE_rRfb6bd0WLpK2dyRt3j1Af1OwO-DIwfYpT0VVBUIVQjTOWKU_Jjo-RpEIOiW9vfyaXjw-3Oz3OhSQZamvTSS43CRR3CH83qxvEXlA40i7KXfalo-gIpFh36HD6WwUtTRAZLib5kqQeLEgcZdVjvsSKbvlKNGb/s800/G3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="800" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkzOyGtufq9WCfcZ2gG9_p32AThnQpE_rRfb6bd0WLpK2dyRt3j1Af1OwO-DIwfYpT0VVBUIVQjTOWKU_Jjo-RpEIOiW9vfyaXjw-3Oz3OhSQZamvTSS43CRR3CH83qxvEXlA40i7KXfalo-gIpFh36HD6WwUtTRAZLib5kqQeLEgcZdVjvsSKbvlKNGb/w640-h428/G3.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">Guuranda , the
Narungga name for Yorke Peninsula, is told through three stories passed down
through time by generations of storytellers. <i style="mso-bidi-font-style: normal;">Buthera </i>tells of the giant Buthera who threw a rock that split the
land into four separate islands. He hurled his club from Wardang Island where
an imprint of his foot remains and killed a fisherwoman miles away. She turned
into a stone. The stories are the myths of a people who have lived on the land
for centuries and Boehme’s compelling opus to family and country is a testament
to the enduring nature of their connection with country, its laws and its
spiritual power. It is in the dancers’ enactments of the stories of Buthera and
his fate,<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Gadli </i>and
the boy who told lies and was turned into a dingo by Windara the wind spirit,
and finally the story of the creation of Spencer’s Gulf when a war between the
animals caused the earth to split and the sea to tumble in, coinciding with the
geological event 11,000 years ago.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDkxsfPFfUQlC88R-LkPcYLobcp4wBgAfhR0_-t11avMisXOR9hG7K4vv0vw0Qa85Xu0hicGKmfQ0xLusL5DA_Vw-RUlYrhP0EGsemOcFwak3c65ileTD55HV4PRcYefuo1JN-A8x4HAQLhxCoybK7CS0b0CXhEuQ-ejFMR1uVzYXH0_lsYoXub4GJqZLw/s1430/G4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="857" data-original-width="1430" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDkxsfPFfUQlC88R-LkPcYLobcp4wBgAfhR0_-t11avMisXOR9hG7K4vv0vw0Qa85Xu0hicGKmfQ0xLusL5DA_Vw-RUlYrhP0EGsemOcFwak3c65ileTD55HV4PRcYefuo1JN-A8x4HAQLhxCoybK7CS0b0CXhEuQ-ejFMR1uVzYXH0_lsYoXub4GJqZLw/w640-h384/G4.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">The richness of
the stories inspires the dance and James Henry’s<span style="mso-spacerun: yes;"> </span>stirring composition. The Narungga Family
Choir provides a choral accompaniment, sung with singers Ray and Milera by men,
women and children of Narungga country. They exude respect and love for country
and its laws. Phillip Millar’s superbly constructed puppets and Kylie
O’Loughlin’s animated charcoal sketches of the characters bring to life the
conflicts, the customs, the laws and the beliefs of a culture that stretches
back almost 60,00 years in time. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-_vocMnsDasp1zwiU-BnIDc8zX_2JndY-Kh2IWD6ILUI-UKNqdsR1iLCCw63mfffpnjy__hO3xlfDnBvJXH2FDhv8zQ8fAeJ5Ce5RKiwd0sxxw8CJu-joxfkyBDGJGFZhqBkPD1qZXWD__LUCR1mSBz2mkCDjJQkeo9rxJ743qt4g7x_hbfNBukgu8uHy/s1430/G66.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="779" data-original-width="1430" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-_vocMnsDasp1zwiU-BnIDc8zX_2JndY-Kh2IWD6ILUI-UKNqdsR1iLCCw63mfffpnjy__hO3xlfDnBvJXH2FDhv8zQ8fAeJ5Ce5RKiwd0sxxw8CJu-joxfkyBDGJGFZhqBkPD1qZXWD__LUCR1mSBz2mkCDjJQkeo9rxJ743qt4g7x_hbfNBukgu8uHy/w640-h348/G66.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Guuranda</span></i><span lang="EN-US"> charms and
bewitches, teaches and inspires. Its stories are a pathway to understanding.
Its offering a signpost to reconciliation. Its artistry is an uplifting and
heartwarming reflection of human nature and the human spirit. It is told with
humility in the songs, the dance, and the Elder Auntie’s account of her life on
Narungga country. It offers an audience unfamiliar with the indigenous history
and stories of Yorke Peninsula insight and inspiration. My understanding and
appreciation of the visually and aurally evocative production would have welcomed
surtitles to help those without the language to understand more deeply the
power of song and storytelling in Narrunga culture and history. A reading of
the programme in advance would also help audiences to gain a deeper insight and
appreciation.<o:p></o:p></span></p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><br /></span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTskuAyPhXkJB2DB0azpx2NJGrJyeECMmEG8XkIGUxJ1P0WCn3_z_eaaRM4htecxnp1gkuqC0k8ybGJe1SR7HAxF-S6KZLt6APwfUwN0kL3uv7INj2R2u0WMJvaHytyzP-pnP3hW40OOVQQ4iHgRB_lP9VNapP6cZr49oAQ6fVvNCDrxvDm6BFyzL9skWH/s1430/g77.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="1430" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTskuAyPhXkJB2DB0azpx2NJGrJyeECMmEG8XkIGUxJ1P0WCn3_z_eaaRM4htecxnp1gkuqC0k8ybGJe1SR7HAxF-S6KZLt6APwfUwN0kL3uv7INj2R2u0WMJvaHytyzP-pnP3hW40OOVQQ4iHgRB_lP9VNapP6cZr49oAQ6fVvNCDrxvDm6BFyzL9skWH/w640-h242/g77.jpg" width="640" /></a></div><br /><p class="MsoNormal" style="text-align: justify;">Guuranda is a
salute to family and intergenerational memory. It is also a salute to
individualism and community, co-existing and bound by culture and tradition. Humanity
is enriched by shared knowledge and understanding of different cultures. Guuranda
is a voice of hope for the homogeneity of the human spirit. It deserved its
standing ovation and deserves a wider audience.</p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">As the audience
began to exit a video started to play. Four<span style="mso-spacerun: yes;">
</span>Elders sat at a table and one offered to keep sharing stories but it was
time to go, and one took the lead to leave. It can wait for another day.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">The inherent
humour of these gentle, unassuming and kind people was not lost on the audience
as they left and the imagery of their stories will linger for a long time to
come. <o:p></o:p></span></p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><br /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b><i> Photos by Tim
Standing</i></b><o:p></o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-91560209940376625412024-03-09T07:54:00.000+11:002024-03-09T07:54:28.723+11:00PRIVATE VIEW - Restless Dance Theatre<p> </p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyI_u0YyFAYimoZBajuXIGaGm4TBl-6vEqe7kACxM7uBTB8JjowT7_dqSUJdIzP5Kl8KLbJzlrsPSm3nN5zJNS2G1UgLNQikifH1nYtmjwYHUwFfmhZRan-KrgV18iSbFigdubYweLfaQqJ-apKIuY-BaTKd4quuWqP2vGnQgqfafXfmHz5SDNLZUQMblS/s1430/PV1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="1430" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyI_u0YyFAYimoZBajuXIGaGm4TBl-6vEqe7kACxM7uBTB8JjowT7_dqSUJdIzP5Kl8KLbJzlrsPSm3nN5zJNS2G1UgLNQikifH1nYtmjwYHUwFfmhZRan-KrgV18iSbFigdubYweLfaQqJ-apKIuY-BaTKd4quuWqP2vGnQgqfafXfmHz5SDNLZUQMblS/w640-h426/PV1.jpg" width="640" /></a></div><br /><p></p>
<p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Private View. <o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Directed by
Michelle Ryan. Concept, dramarturge and creative producer Roz Hervey. Assistant
director Daisy Brown. Composer Geoff Crowther. Choreographer and rehearsal
director Larissa McGowan. Rehearsal director Sarah-Jayne Howard. Lighting
designer Matthew Adey. Designer Renate Henschke.Eliza Lovell Intimacy coach
Eliza Lovell. Restless Dance Theatre. Odeon Theatre. Adelaide Festival February
29-March 16<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Reviewed by
Peter Wilkins</b><o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOblndVegeN_53cSnmtLqwK4QTT7UuEUtViskG2L8YB5GCEVbvD2NPfun6-lzyDoTuBU0jiUyduqYnmlSeMxj-8c_bahnnt1wxFDnFQsH3pIE7wraRY_0RSq1d9Lvt2TBDeWx37hWZuQzkaS7ourRprgyGtLyo2Sd_XyuVGA2iyJURM30Zli3lJEwBJxQa/s1430/PV2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="872" data-original-width="1430" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOblndVegeN_53cSnmtLqwK4QTT7UuEUtViskG2L8YB5GCEVbvD2NPfun6-lzyDoTuBU0jiUyduqYnmlSeMxj-8c_bahnnt1wxFDnFQsH3pIE7wraRY_0RSq1d9Lvt2TBDeWx37hWZuQzkaS7ourRprgyGtLyo2Sd_XyuVGA2iyJURM30Zli3lJEwBJxQa/w640-h390/PV2.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">There is a
feeling of being uplifted by a Restless Dance experience. As I become immersed
in the four stories presented in Restless Dance’s <i style="mso-bidi-font-style: normal;">Private View </i>for the 2024 Adelaide Festival, I become acutely aware
of an intimacy with the dancers. Any disability they may have fades into the
universal search for love, for intimacy and companionship. Restless Dance’s
disabled performers, accompanied by chanteuse Carla Lippis and guest dancer
Rowan Rossi draw us into a private world that is instantly recognizable and
deeply personal. It may be the experience of a young person with a disability,
but in this beautifully produced insight into the human heart, Restless Dance’s
cast and creatives guide us from one story to the next and through each
character’s experience to a shared understanding of our humanity. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WwlR2kC17u0waILjykmba-ydOWkf-rVVm5-Pjc0mhfy-L0jo4OsXZyTo2lurJRapmywuYijQt8Cpnt0VtxLNHuoFhqODWD94Tbb0Kt97ixwZWiacZ5zCqoD3iu4tHiCj4ZErazG1Iz-1pSuha2X9rSV6680NTYVUhiylkPT-acFnJYTLEP6NkJi2EQ_9/s1430/pv3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="854" data-original-width="1430" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WwlR2kC17u0waILjykmba-ydOWkf-rVVm5-Pjc0mhfy-L0jo4OsXZyTo2lurJRapmywuYijQt8Cpnt0VtxLNHuoFhqODWD94Tbb0Kt97ixwZWiacZ5zCqoD3iu4tHiCj4ZErazG1Iz-1pSuha2X9rSV6680NTYVUhiylkPT-acFnJYTLEP6NkJi2EQ_9/w640-h382/pv3.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">In <i style="mso-bidi-font-style: normal;">Private View </i>audiences are guided on
this journey of revelation by chanteuse extraordinaire, Carla Lippis whose
Siren like voice leads us <i style="mso-bidi-font-style: normal;">Avec Amour</i>
to a room where a young man dreams of a date with a girl of his dreams. Michael
Hodyl is captivating in his innocent enthusiasm and hopeful romanticism. It is
the dance of exuberance and beckoning promise. He is left to pen a letter of
love in the hope of a dream come true. The singer moves to the next room where
two women, Jianna Georgiu and Madalene Macera revel in their free spirited
sexuality and youth. Left alone, Georgiu reaches out for answers to the
mysteries of love – Is sex the same as intimacy an audience is asked<i style="mso-bidi-font-style: normal;">? </i>How often do you think of sex?<i style="mso-bidi-font-style: normal;"> </i>What does a testacle look like? “An
avocado seed”<i style="mso-bidi-font-style: normal;"> </i>an audience member
answers. It is the age of enquiry, curiosity and desire to experience. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrhen6dKOuUCn_Gr7ULcI80cU5D33t10bDFQxjMiU6mmYhV4YUHvrZFlOGV3ixrcGTxUROs4iIH96Lpjnf6ZBmC51VxLmNc7LJUgv4WL_4qi0dbIPeUA1DGs-Hg7A1o9JmP-__possyhWdAzfadc9bfXcCcQoB0PptYCEHNAgy4LfN7jjCGaMstD7QIxO/s1431/PV4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="817" data-original-width="1431" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrhen6dKOuUCn_Gr7ULcI80cU5D33t10bDFQxjMiU6mmYhV4YUHvrZFlOGV3ixrcGTxUROs4iIH96Lpjnf6ZBmC51VxLmNc7LJUgv4WL_4qi0dbIPeUA1DGs-Hg7A1o9JmP-__possyhWdAzfadc9bfXcCcQoB0PptYCEHNAgy4LfN7jjCGaMstD7QIxO/w640-h366/PV4.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">In the third
room love’s torment takes hold as guest dancer Bonnie Williams writhes in the
agony of love’s rejection. The pain is palpable as she contorts naked in the
lonely privacy of her room. Lippis stands by helpless to ease the pain before
moving towards the final room where two young people, Charlie Wilkins and Darcy
Carpenter engage in a dance of avoidance, using texting and secret assignation
to avoid the parental interference of Rowan Rossi. Their mischievous dance is
joyful, playful and filled with youth’s willful purpose. <o:p></o:p></span></p>
<p class="yiv6096872682body2" style="text-align: justify;"><span lang="EN-US">In
celebration of love, Lippis sings her final song of revelation. </span><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The final lines of</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Maybe
I’m a flower</span><span lang="EN-US"> </span></i><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">echo
<i style="mso-bidi-font-style: normal;">Private View’s</i> central theme and love’s
journey through hope, exploration and experience. <i style="mso-bidi-font-style: normal;">“Maybe my true love is around the corner Let me open up the door And
explore this brave new world” </i>In celebration of love, the audience is
invited to dance as the tickertape falls from above. Their private view into
the hopes and dreams of the Restless Dance performers is a revelation of our
shared experience, an empathetic and heartwarming understanding of the spirit
of love.<o:p></o:p></span></p>
<p class="yiv6096872682body2" style="text-align: justify;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p> </o:p></span></p>
<p class="yiv6096872682body2" style="text-align: justify;"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><o:p> </o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-92226258948737404002024-03-09T07:44:00.001+11:002024-03-09T07:44:34.350+11:00GOODBYE LINDITA - Dunstan Playhouse<p><br /></p>
<p class="MsoNormal"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVP-YK4OkDT9rkDEMGpcuCWd-pUMueU8JMk49Py8VHIUQUfJLY9q3hyphenhyphenX8koutJ71RuqVAENsFgrN6O6ZSIjJ5Z7-Gf_okX3k5LJgfahoPniSWgly4APYSIT3CnH8-amW7FR84QIDo8TGmyI9zNwDdtBviZ_kHCKzyfUkVPkM-ETfms_oyV8rU7QMAkhy5t/s1116/GL1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="1116" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVP-YK4OkDT9rkDEMGpcuCWd-pUMueU8JMk49Py8VHIUQUfJLY9q3hyphenhyphenX8koutJ71RuqVAENsFgrN6O6ZSIjJ5Z7-Gf_okX3k5LJgfahoPniSWgly4APYSIT3CnH8-amW7FR84QIDo8TGmyI9zNwDdtBviZ_kHCKzyfUkVPkM-ETfms_oyV8rU7QMAkhy5t/w640-h374/GL1.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">GOODBYE
LINDITA</span><span lang="EN-US"><o:p></o:p></span></b></p>
<p><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><b>Original Concept & Director <span style="font-family: Calibri, "sans-serif";">Mario Banushi</span><span style="font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span></span>Dramaturgy
<span style="font-family: Calibri, "sans-serif";">Sophia Eftychiadou</span>Sets
& Costumes <span style="font-family: Calibri, "sans-serif";"><span style="mso-spacerun: yes;"> </span>Melanos</span> Music <span style="font-family: Calibri, "sans-serif";">Emmanouel Rovithis</span> Lighting <span style="font-family: Calibri, "sans-serif";">Tasos Palaioroutas</span> House
Dramaturg <span style="font-family: Calibri, "sans-serif";">Aspasia-Maria Alexiou</span>
Directing Assistants <o:p></o:p></b></span></p>
<p><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><b>Cast (in alphabetical order)<span style="font-family: Calibri, "sans-serif";"> Afroditi
KapokakiTheodora, Mario Banushi, Babis Galiatsatos</span>, <span style="font-family: Calibri, "sans-serif";">Alexandra Hasani</span>, <span style="font-family: Calibri, "sans-serif";">Erifyli Kitzoglou</span>, <span style="font-family: Calibri, "sans-serif";">Katerina Kristo</span>, <span style="font-family: Calibri, "sans-serif";">Helene Habia Nzanga</span>, <span style="font-family: Calibri, "sans-serif";">Eftychia Stefanou</span>, <span style="font-family: Calibri, "sans-serif";">Chryssi Vidalaki<o:p></o:p></span></b></span></p>
<p><strong><span lang="EN-US" style="color: black; font-family: Calibri, "sans-serif";">Dunstan
Playhouse. Adelaide Festival Centre. Adelaide Festival 2024 <o:p></o:p></span></strong></p>
<p><strong><span lang="EN-US" style="color: black; font-family: Calibri, "sans-serif";">Reviewed
by Peter Wilkins<o:p></o:p></span></strong></p>
<p><span style="color: black; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-AU; mso-hansi-theme-font: minor-latin; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhknBFktz6zZFwtFNXgyXzwe1R85KyGAmkw5Gw2ieaJEgAv24MXX6xu1QyhxV8gPXf_lZ0eCsogQgUEOI-w8ZLso-26HVY-qpWKZgsjfhlFBNB8Ebn-ZRz4rlwveplSWn3oOzFnujxO_ERWMnFhZNULDLkAicHUwJ4RF7WYCUvLhpb8GMZjy0Htlz38xuYT/s1429/GL2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="1429" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhknBFktz6zZFwtFNXgyXzwe1R85KyGAmkw5Gw2ieaJEgAv24MXX6xu1QyhxV8gPXf_lZ0eCsogQgUEOI-w8ZLso-26HVY-qpWKZgsjfhlFBNB8Ebn-ZRz4rlwveplSWn3oOzFnujxO_ERWMnFhZNULDLkAicHUwJ4RF7WYCUvLhpb8GMZjy0Htlz38xuYT/w640-h426/GL2.jpg" width="640" /></a></div><br /><strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p align="center" style="text-align: center;"><strong><span lang="EN-US" style="color: black; font-family: Calibri, "sans-serif";"><i>Writer and director of Goodbye Lidita Mario Banushi</i><span style="font-weight: normal;"><o:p></o:p></span></span></strong></p><p align="center" style="text-align: center;"><strong><span lang="EN-US" style="color: black; font-family: Calibri, "sans-serif";"><i><br /></i></span></strong></p>
<p><strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">An old
woman sits gazing silently at a television set. She drinks slowly from a cup. A
man sits opposite her at the table. He slowly folds shirts. The old woman rises
and walks slowly across the room to the bed and nudges a sleeping figure. A
woman rises. No words are spoken. The man contrinues to fold the shirts in
silence. It is a sparse and wordless opening to Mario Banushi’s <i style="mso-bidi-font-style: normal;">Goodbye Lindita, </i>performed by the
National Theatre of Greece . The man finishes folding shirts and places them on
a cabinet. The <span style="mso-spacerun: yes;"> </span>young woman joins him and
they wheel the cabinet to the centre of the room. She brushes the shirts onto
the floor and together they open <span style="mso-spacerun: yes;"> </span>the cabinet
into a bed to reveal the naked body of a dead woman. It is at this moment in
director Mario Banushi’s wordless work that our perceptions undergo an
unexpected jolt. <i style="mso-bidi-font-style: normal;">Goodbye Lindita</i> is
no longer a vision of mundane domesticity. It assumes an air of funereal grief.
Stifled sobs can be heard from the old woman as a bizarre ritual takes place.
Voyeuristic fascination replaces docile observance and Banushi’s gripping
display of death’s impact on a family becomes a conduit for a sombre awareness
of our own mortality. Banushi sounds an alarm with each resonant image. <i style="mso-bidi-font-style: normal;">Goodbye Lindita</i> becomes a homily to
death .<o:p></o:p></span></strong></p>
<p><span style="color: black; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-AU; mso-hansi-theme-font: minor-latin; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQACHcLuX4WxtCBksgpkdlxrkIXox2Rwgc8WdTX5TMwtTkaG2KWGGfdXDzjpt9cI-9C_ZQFQhOMdttQNqoTtKqASvHhcsc4juILmNr_OTy0P40_CkA5cexqqB7xFZJc9c1jGGM4Udt8wHC2NBST73jZaJ30imssltNeFXTPC41viSk6ToRQCs9xw_4gxxZ/s800/GL3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="800" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQACHcLuX4WxtCBksgpkdlxrkIXox2Rwgc8WdTX5TMwtTkaG2KWGGfdXDzjpt9cI-9C_ZQFQhOMdttQNqoTtKqASvHhcsc4juILmNr_OTy0P40_CkA5cexqqB7xFZJc9c1jGGM4Udt8wHC2NBST73jZaJ30imssltNeFXTPC41viSk6ToRQCs9xw_4gxxZ/w640-h428/GL3.jpg" width="640" /></a></div><br /><strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p><strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The
corpse slowly rises and stands motionless in the centre of the stage in
preparation for the ritual of preparing the body for the funeral. The visitors
gather round and begin to cleanse the corpse and place her in the bath before
drying her down and clothing her in bridal wear. Banushi’s direction is
meticulous, reverential in its timing, precise in its ceremonial ritual. His
actors respond with unerring truth in every gesture and every emotional
response to the solemnity of the occasion. Naturalism gives way to symbolism
and religious iconography. Pieta- like Lidita is laid in the arms of a black
Madonna before being laid out and surrounded with flowers by her lover, played
by Banushi. <o:p></o:p></span></strong></p>
<p><span style="color: black; font-family: "Calibri","sans-serif"; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-language: EN-AU; mso-hansi-theme-font: minor-latin; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9bilkOcyGiBJ3fO4YX5jfQIJfLKqOuRcaoPF6laEUGnYh7SPUuBv6PjjCCLDYHoa4kw5CMernqhrAojWlNfdJ9I-e8APIybQRcCFQ_urcNQUMyN0QA_ogLcQebK1cB-TM_VBH4SZprQ9lCwqDIviSPySXO3ZxzFg9fTVE-Sp0R4JmGaIvw2zcRhyphenhyphen-q8e/s1430/GL4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="954" data-original-width="1430" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9bilkOcyGiBJ3fO4YX5jfQIJfLKqOuRcaoPF6laEUGnYh7SPUuBv6PjjCCLDYHoa4kw5CMernqhrAojWlNfdJ9I-e8APIybQRcCFQ_urcNQUMyN0QA_ogLcQebK1cB-TM_VBH4SZprQ9lCwqDIviSPySXO3ZxzFg9fTVE-Sp0R4JmGaIvw2zcRhyphenhyphen-q8e/w640-h426/GL4.jpg" width="640" /></a></div><br /><strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p><strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Peaceful
solemnity turns to a pagan manifestation of grief. Clothes are removed or torn
off in a biblical act of grief and loss The old woman follows Lindita’s<span style="mso-spacerun: yes;"> </span>descent into the bath and being cradled in
the Madonna’s arms. One after another they succumb to the tumult of their
desolation. The masked corpse moves through the howling gale to the eternal
darkness. The rest is silence.<o:p></o:p></span></strong></p>
<p><strong><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Goodbye Lindita</span></i></strong><strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> is visceral theatre at its most
profound. Masterfully directed with remarkably intuitive insight and
magnificently performed by actors of the National Theatre of Greece, <i style="mso-bidi-font-style: normal;">Goodbye Lindita</i> left an audience stunned
and speechless as the lights dimmed on a production that held them enthralled
for just over an hour. Only then as realization dawned did the theatre erupt
with applause. In a play without words they had been moved to silent
contemplation and the understanding that they had witnessed a performance of
deep personal significance. </span></strong><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p> </o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-42476361891510255992024-03-09T07:32:00.000+11:002024-03-09T07:32:20.975+11:00THE NIGHTINGALE AND OTHER FABLES by Igor Stravinsky<p> </p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJdYYHtG_CpcYpQrzhq0Bvdw0Nbq0yllNrcwCYORLharEONg4unxtXtRgguflVb26MDwiB_6UzUvW_8NoXnLAkgUzEeCBqUk5cx5QHAzH2ISnZRibnfe98pK8fCXaK2h2CoGm5ObaCWPiHYJRCIIy9QxGdndaTLGegMhq8qAmMBzFSSlkJ3M0GlwcgPJ7/s1430/PW%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1430" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJdYYHtG_CpcYpQrzhq0Bvdw0Nbq0yllNrcwCYORLharEONg4unxtXtRgguflVb26MDwiB_6UzUvW_8NoXnLAkgUzEeCBqUk5cx5QHAzH2ISnZRibnfe98pK8fCXaK2h2CoGm5ObaCWPiHYJRCIIy9QxGdndaTLGegMhq8qAmMBzFSSlkJ3M0GlwcgPJ7/w640-h360/PW%201.jpg" width="640" /></a></div><br /><p></p>
<p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; line-height: 115%;">The
Nightingale and Other Fables by Igor Stravinsky.<o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-align: justify;"><b><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%;">Directed by Robert Lepage. Conducted
by Alejo Perez with the Adelaide Symphony Orchestra. Assistant Director Sybille
Wilson. Lighting designer Etienne Boucher. Puppet designer Martin Genest.
Costume/Makeup designer Mara Gottler Set designer Carl Fillon Assistant
conductor<span style="mso-spacerun: yes;"> </span>Joshua van Konkelenberg. </span><span lang="EN-US"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Cast: Clarinet
soloist Dean Newcomb. PRIBAOUTKI Contralto Meredith Anwadi. THE TWO POEMS OF
KONSTANTIN BALMONT Soprano Yuliya Probgenyak BERCEUSES DU CHAT Meredith Anwady.
Four Russian Peasant songs Meran Bow, Eleanor Brasted, Victoria Coxhill, Ginn
Guttilla, Kristan Hardy, Sara Lambert, Fioa McArdle, Jessica Mills, Bronwyn
Palmer, Courtney Turner, Emma Woehle. THE FOX Tenors Andrew Goodwin, Owen McAusland,<span style="mso-spacerun: yes;"> </span>Bass Taras Berezhansky<span style="mso-spacerun: yes;"> </span>Baritone Nabil<span style="mso-spacerun: yes;"> </span>Suliman<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>THE NIGHTINGALE Nightingale-
Soprano Yuliya Zasimovna. Fisherman- Tenor Owen McAusland. Emperor -Taras
Berezhansky. Death-Meredith Arwady. Cook -Yuliya Probgenyak . Chamberlain-
Nabil Suliman. Bonze- Bass Jud Arthur, Japanese Envoy 1- Tenor Rpobert
McFarlane- Tenor 2, Bass Pelham Andrews. Japanese Envoy 3- Tenor Norbert
Hohl.<span style="mso-spacerun: yes;"> </span>Spectres -Catherine Campbell.
Rosie Hosking. Elizabeth McCall. Rachel McCall. Bronwyn Palmer.<span style="mso-spacerun: yes;"> </span>Courtney Turner. <o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Acrobats/puppeteers-
Martin Vaillancourt. Andreanne Joubert. Desmond Osborne, Vincent Poliquin
–Simms, Andrea Ciacci, Noam Markus.<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>State Opera
South Australia Chorus. Chorus Master Anthony Hunt<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>A co-production
of Opera National de Lyon, Festival d’Aix-en-Provence, Canadian Opera Company,
and Dutch National Company in collaboration with Ex Machina.<span style="mso-spacerun: yes;"> </span>Adelaide Festival. Festival Theatre. March
1-6 2024. Bookings Adelaide Festival.com.au, Ticketek 131246, Adelaide Festival
1300 313 404<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Reviewed by
Peter Wilkins<o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg08Bd5Bj-3OAq-xuE1_eY2WOkHUspLhZIfNHHc5jKcKD87ZJLEjnQVc6424YgwD4kGx14Hm6qSbIb67VFriwyXPq0c4UOMdA6OHvyx5niTZdi2WlvCIYqo-P-fxkTKuhW4NvmjGJWcdSTR2XcJq_AMq9bWA6qJn5XkR6gx6QLSnQhkMzQf9G7whzkmPEBz/s1430/PW2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="1430" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg08Bd5Bj-3OAq-xuE1_eY2WOkHUspLhZIfNHHc5jKcKD87ZJLEjnQVc6424YgwD4kGx14Hm6qSbIb67VFriwyXPq0c4UOMdA6OHvyx5niTZdi2WlvCIYqo-P-fxkTKuhW4NvmjGJWcdSTR2XcJq_AMq9bWA6qJn5XkR6gx6QLSnQhkMzQf9G7whzkmPEBz/w640-h426/PW2.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">Director Robert
Lepage’s interpretation of Igor Stravinsky’s <i style="mso-bidi-font-style: normal;">The Nightingale and Other Fables</i> is a magical kaleidoscope of musical
and theatrical ingenuity. The NIghtingale, composed by Stravinsky between 1908
and 1913 <span style="mso-spacerun: yes;"> </span>during the tsarist regime is inspired
by Hans Christian Andersen’s fairy tale <i style="mso-bidi-font-style: normal;">The
Emperor’s Nightingale</i> and tells the tale of a nightingale that sings for a
nasty emperor , reducing him to tears and kindness and restoring him to life in
the face of Death. It is a whimsical fable recounting the pure beauty of
authenticity over the mechanical bird, given to the Emperor of China by the
Emperor of Japan. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">The Nightingale</span></i><span lang="EN-US"> is
preceded in the first half by four pieces interspersed by the evocative tones
of the clarinet, conjuring the spritely rhythms of ragtime or the soulful notes
of mystery and wonder. Clarinetist Dean Newcomb seduces with his audience with
his mastery of the clarinet.<span style="mso-spacerun: yes;"> </span>Each item
is embellished by the use of a shadow screen to create amusing, child-like finger
puppet imagery of animals or shadow figures of acrobats or the battle between
the cat and the fox. Allegory and imagery combine, accompanied by the Adelaide
Symphony Orchestra under the baton of charismatic conductor Alejo Perez . <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-no-proof: yes;"><br /><!--[endif]--></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIL-2IseIHYgvBblcLrXoN53O1AtXSnM3I5rO8tfXr2iYXfp9bu-MkzU5MgC3EypKibjQnpr8HQcq14tnJWqnwCidPFXrX1-4deLk0_CUe5aI0boVtvSSBQwgtmVQmS1NQOVWverAFLnxteA8GAkKd0_04mK-GmvOBAQx09RFJxSIut711tscRbdqVcsF/s1429/PW3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="1429" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIL-2IseIHYgvBblcLrXoN53O1AtXSnM3I5rO8tfXr2iYXfp9bu-MkzU5MgC3EypKibjQnpr8HQcq14tnJWqnwCidPFXrX1-4deLk0_CUe5aI0boVtvSSBQwgtmVQmS1NQOVWverAFLnxteA8GAkKd0_04mK-GmvOBAQx09RFJxSIut711tscRbdqVcsF/w640-h426/PW3.jpg" width="640" /></a></div><br /><span lang="EN-US"><o:p></o:p></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US">Lepage’s
brilliant imagination captures the wonderment and magical world of the child. In
Stravinsky’s work animals provide the characters of his narrative and inventive
composition. Director and composer create an imaginary world that finds
expression in traditional puppetry puppetry, Bunraku, Balinese shadow puppetry
and Vietnamese water puppetry. Lepage’s production delights in its visual
opulence splendidly complemented by Etienne Boucher’s lighting design and Maria
Gottler’s costumes. The State Opera South Australia Chsrus, clothed in Chinese
costumes hold aloft similarly clad puppets and rod puppet water dragons<span style="mso-spacerun: yes;"> </span>splash and cavort through the channel of
water at the front of the stage while coloratura soprano Yuliya Zasimovna sings
the song of the small nightingale that flies from her hand above the water. <span style="mso-spacerun: yes;"> </span>The sheer variety of Stravinsky’s composition
finds realization in Lepage’s lush staging. Only the placement of the action in
the water downstage obscured the view for some including the audience member
in front of me whose head kept moving from side to side to catch the action
while also reading the surtitles.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">The Nightingale and Other Fables </span></i><span lang="EN-US">marks a departure from previous operas staged at the Adelaide
Festival. It defies comparison with Handel’s <i style="mso-bidi-font-style: normal;">Saul, Brett Dean’s Hamlet </i>or Mozart’s <i style="mso-bidi-font-style: normal;">The Magic Flute or Requiem</i>. Lepage and Perez invite their audience
to embrace the aural and visual magic of this homage to Stravinsky’s early
work. The Adelaide Festival brochure erecommends the opera to audiences 10
years of age and more. It is therefore a delightful opera for all the family to
enjoy. The allegorical and moralistic elements of fable, folk lore and fairy
tale have been beautifully brought to life in a production that captures the
imagination of the child and the intellect of the adult. It is a superb ensemble
work that is simple in its concept, and truthful to the intent of Stravinsky’s
modernist challenges to the classical traditions of the past. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">The Nightingale and Other Fables</span></i><span lang="EN-US"> may not rouse the passions and stir the conscience. It does however
mark an era of change and curiosity. In this production it revives the
essential nature of humanity, its delight in wonderment and magic and its
curiosity. It recalls the differences that exist between cultures, expressed in
Lepage’s use of Eastern influences and the multinational character of the
performers. through the inspiration of fables Stravinsky’s composition and
libretto illuminate the similarities that exist in all people. It is a work
that embodies new discovery in a changing world prior to the Russian revolution
and World War. In his interpretation of Stravinsky’s early and seminal opera Lepage
encourages all audiences to witness the <i style="mso-bidi-font-style: normal;">The
Nightingale and Other Fables</i> through the eyes of a child and a curious open
mind.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span style="mso-spacerun: yes;"><br /></span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><b>Photos by Andrew
Beveridge</b><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-54905387591505926202024-03-08T16:37:00.001+11:002024-03-10T16:42:33.695+11:00SUOR ANGELICA<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8dtCvbV8EgWBGpC66bHhoR4GZJfYZq1Zv1jPp3VSvozBhIrwjHK_NVWUnBDWChYROCStXeVz0GI8v7s02960ubVyZ1rUhdV1DruGtlBic203NVP3sqDF1r875T7a6zeKvBtj30xJLkbx2tKNbLPkVDLdMyxvQm2UoTClccdKytscXxMDghCXHQAVWctWJ/s2455/18%20Suor%20Angelica%2007032024.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2455" data-original-width="1725" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8dtCvbV8EgWBGpC66bHhoR4GZJfYZq1Zv1jPp3VSvozBhIrwjHK_NVWUnBDWChYROCStXeVz0GI8v7s02960ubVyZ1rUhdV1DruGtlBic203NVP3sqDF1r875T7a6zeKvBtj30xJLkbx2tKNbLPkVDLdMyxvQm2UoTClccdKytscXxMDghCXHQAVWctWJ/w253-h360/18%20Suor%20Angelica%2007032024.jpg" width="253" /></a></b></div><b><br />Libretto by Giovacchino Forzano</b><p></p>
<p class="MsoNormal"><b>Music by Giacomo Puccini<o:p></o:p></b></p>
<p class="MsoNormal"><b>Directed by Rachel Hogan<o:p></o:p></b></p>
<p class="MsoNormal"><b>Conductor: Leonard Weiss<o:p></o:p></b></p>
<p class="MsoNormal"><b>National Opera Canberra<o:p></o:p></b></p>
<p class="MsoNormal"><b>Albert Hall to 10 March<o:p></o:p></b></p>
<p class="MsoNormal"><b><o:p> </o:p></b></p>
<p class="MsoNormal"><b>Reviewed by Len Power 7 March 2024</b></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Suor Angelica is a one act opera by Giacomo Puccini which
first premiered in 1918. It is the second of the trio of operas known collectively
as Il Trittico.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Set in a convent, Sister Angelica has had a baby out of
wedlock and given her child up. She takes part in the daily life of the convent
with the other nuns, helping them with her ability to make potions and
remedies. The arrival of her aunt, the Princess, with news of the death of her
child, causes her to take her own life in the hope that she will be reunited
with her son.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">From the day-to-day life of the nuns to the sadness and loss
in Sister Angelica’s heart-breaking aria, Senza Mamma (without mamma) and the
Princess’s aria Nel Silencio (in silence), Puccini’s emotional music weaves
quite a spell around this sad tale of loneliness, death and redemption.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Intimately staged by director, Rachel Hogan, on the floor of
the Albert Hall, the strength of this production is the fine singing and
performances from the cast.</p><p class="MsoNormal"><o:p></o:p></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFjKISn6qBPLSjb0RWBR2wM14niBn0r4NRHXs-K2G3gqI6SdCD5eWyQGdHNAhB5I210G7CEwm6gF2uAoTK_2SzHPTcwX9YP3H7QiqOCSyd6J5G8tzvlCTpONqsZ9HUMcnOBbONc7v6wwByHnOGoQB0wTgKUm_5hUS7iNMULJMvDPyNYRZ3KOK57MQ2KaOA/s1200/18%2020240307a%20215%20National%20Opera%20-%20Suor%20Angelica%2003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFjKISn6qBPLSjb0RWBR2wM14niBn0r4NRHXs-K2G3gqI6SdCD5eWyQGdHNAhB5I210G7CEwm6gF2uAoTK_2SzHPTcwX9YP3H7QiqOCSyd6J5G8tzvlCTpONqsZ9HUMcnOBbONc7v6wwByHnOGoQB0wTgKUm_5hUS7iNMULJMvDPyNYRZ3KOK57MQ2KaOA/w640-h426/18%2020240307a%20215%20National%20Opera%20-%20Suor%20Angelica%2003.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Emma Mauch (Suor Angelica) and nuns</td></tr></tbody></table><p class="MsoNormal">Soprano, Emma Mauch, as Suor Angelica, sings the role very
well. She gives her aria, Senza Mamma, a sensitive and moving performance. Her
level of emotion throughout is nicely judged and quite affecting.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Soprano, Sonia Anfiloff, is a commanding presence as the
Principessa and gives a strong performance of the aria, Nel Silencio. A hint of
compassion showing through her stern exterior was a nice touch.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9OtkVXR0TG6ikPTGKg7xchSUpSXzbCCBIbbhaCkUzPTJChYwf7VjOMELIIzjKXVHQicWg2-9p-i_QgoI-ydZOBI6oMMYO8PmzerxvMIl7NkQM-CB0mBxEc5k1P20yNXzzC3LZxiwdMqz5wHrI8Yzp_CE-ZyQlN9TcLAsNHTZvUVzyhv3Ns9iPWSKVg5vV/s1200/18%2020240307a%20154%20National%20Opera%20-%20Suor%20Angelica%2001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9OtkVXR0TG6ikPTGKg7xchSUpSXzbCCBIbbhaCkUzPTJChYwf7VjOMELIIzjKXVHQicWg2-9p-i_QgoI-ydZOBI6oMMYO8PmzerxvMIl7NkQM-CB0mBxEc5k1P20yNXzzC3LZxiwdMqz5wHrI8Yzp_CE-ZyQlN9TcLAsNHTZvUVzyhv3Ns9iPWSKVg5vV/w640-h426/18%2020240307a%20154%20National%20Opera%20-%20Suor%20Angelica%2001.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sonia Anfiloff (La Zia Principessa)</td></tr></tbody></table><br /></o:p>There is beautiful singing by the nuns, many of whom bring
individual character touches to their roles. The finale, which includes some
male singers, brings the opera to an uplifting climax.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">The musical director, Ella Luhtasaari, has captured a
striking level of emotion and colour in the singing of Puccini’s music and the
musicians, conducted by Leonard Weiss, give a fine performance of the beautiful
score.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Photos
by Peter Hislop</b></p>
<p class="MsoNormal"><b>This review was first
published by Canberra CityNews digital edition on 8 March 2024.</b></p>
<p class="MsoNormal"><b>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 </b><a href="https://justpowerwriting.blogspot.com/"><b>https://justpowerwriting.blogspot.com/</b></a><b>.</b></p>
<p class="MsoNormal"><o:p> </o:p></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-46867511577709053422024-03-08T10:23:00.002+11:002024-03-11T16:10:06.386+11:00THE THREEPENNY OPERA - The Berliner Ensemble<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin3S8j-L9p3uvnApAoTumyA5Is-4BaZa3_sBadrbUU4qtHiZKB9zXr1Oq7slqUnIpvjMmRuEQLEeL3rz436lS6guCvfHuKtWOQqo94hR_aLsCjpOksP4T3ee5w4fsL4F5e_MJeA4hhvMFw0kfMD572h1Cd9FbuoTrJPmKRlZ6VbNBCzw3Ien7A2Ykpi9Z2/s1103/BE%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1103" data-original-width="827" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin3S8j-L9p3uvnApAoTumyA5Is-4BaZa3_sBadrbUU4qtHiZKB9zXr1Oq7slqUnIpvjMmRuEQLEeL3rz436lS6guCvfHuKtWOQqo94hR_aLsCjpOksP4T3ee5w4fsL4F5e_MJeA4hhvMFw0kfMD572h1Cd9FbuoTrJPmKRlZ6VbNBCzw3Ien7A2Ykpi9Z2/w480-h640/BE%201.jpg" width="480" /></a></div><br /><p></p><p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Based on</span></strong><strong><span face=""aktiv-grotesk","serif"" lang="EN-US" style="color: black; font-weight: normal; mso-bidi-font-weight: bold;"> </span></strong><strong><span lang="EN-US" style="color: black; font-weight: normal; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;">John Gay’s The Beggar’s Opera</span></strong><b><span lang="EN-US" style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></b><strong><span lang="EN-US" style="color: black; font-weight: normal; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;">by Bertolt Brecht (text) and Kurt Weill (music)</span></strong><b><span lang="EN-US" style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></b><strong><span lang="EN-US" style="color: black; font-weight: normal; mso-bidi-font-family: Calibri; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin;">in collaboration with Elisabeth Hauptmann. Directed
by Barrie Kosky. </span></strong><span face=""aktiv-grotesk","serif"" lang="EN-US" style="color: black;">Musical Director Adam Benzwi. Stage design Rebecca Ringst. Costumes
Dinah Ehm. Lighting Ulrich Eh. Sound design Holger Schwank. Dramaturgy Sibylle
Baschung.Berliner Ensemble. Her Majesty’s Theatre Adelaide Festival <span style="mso-spacerun: yes;"> </span>March 6-10 2024</span><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Reviewed by PeterWilkins<o:p></o:p></span></strong></p><p style="background: white; margin-top: 0cm; text-align: justify;">The review below was written after seeing the opening night on Thursday March 7th. The production was beset with technical glitches, such as the hydraulic system not working, some problems with miking and surtitles only being run in the stalls so that many in the \Dress and Upper Circles were unable to read them easily. I returned the following Saturday to find the hydraulic system working perfectly, surtitles installed on every level and the production working brilliantly, Not only that, but the performers were more relaxed and although on the Opening Night, the cast continued to give outstanding performances, the corrections to the technical faults resulted in a million dollar <i>Threepenny Opera</i> worth its weight in gold,</p><p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">On the opening night of <i style="mso-bidi-font-style: normal;">The Threepenny Opera</i> at the Adelaide
Festival, Artistic Director Ruth Mackenzie CBE appeared on stage to announce
that the hydraulic system was not working and the Berliner Ensemble company had
been working all day to restage Bertolt Brecht, Elisabeth Hauptman and Kurt
Weill’s musical satire on capitalism, corruption and morality.<o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-tab-count: 2;"> </span></span></strong></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQbcNhN91w1giKueIIURBtI2uWsYeobbSnFTcjIbqlJx1hU88dUvfaMvD7x18rES-Y2xKOyEjh6xLfNnQsnzdx4yo3EzfIJMORZXQgeSNYkXCbo8dCh3u9EhOAK2jJoow0lqJgL4iOhlYaq510VldXA9mbXs9a8u3RzPeWDMZUboYyi8xDWW1NKYOohhrO/s855/BE2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="855" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQbcNhN91w1giKueIIURBtI2uWsYeobbSnFTcjIbqlJx1hU88dUvfaMvD7x18rES-Y2xKOyEjh6xLfNnQsnzdx4yo3EzfIJMORZXQgeSNYkXCbo8dCh3u9EhOAK2jJoow0lqJgL4iOhlYaq510VldXA9mbXs9a8u3RzPeWDMZUboYyi8xDWW1NKYOohhrO/w640-h426/BE2.jpg" width="640" /></a></div><br /><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">This did nothing to detract from
the brilliant performances, the superb, gutsy orchestration and the genius of
director Barrie Kosky. The theatrical currency of Kosky’s production is pure
gold. Even without the hydraulics to raise and lower the platforms that
comprise the set, the actors worked the silver spangled curtain that hung from
the flys. In the Brechtian tradition this is actor’s theatre, raw, gritty,
muscular and inventive. Although almost a century after it was first staged by
Brecht’s Berliner Ensemble, Kosky has breathed new life into a revival that
appears fresh-minted, stripped of any artifice and refreshingly original and
relevant. The production retains the setting in London’s Soho but Rebecca
Ringst’s multi level set design strips away the naturalistic setting of
Peachum’s school for beggars or gangster Macheath’s warehouse hideaway or Tiger
Brown’s prison cell. The band members become Macheath’s underworld gang members.
Actors appear and disappear at times through the glittering silver curtain. A
chain around Macheath’s leg is enough to suggest a prison cell. <o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-tab-count: 3;"> </span></span></strong></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3A4wxSZa6XUWRaDf4Gw_iKMCXYm4vU57rBMw4JPMW8qI2slQtPhk-AUUpkzxAcVBfvWSDAQ2JwRkYZ3J__hQ7oSLwi79LG27kihqCbpoKJTE70zTcfv0X_3JsEVyV9NSZTusSfE6mgoWUfOwT98krUHnC0TTPKK1REx-bY0srpZ6axueZKhQP9mU-QgKA/s907/BLE%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="680" data-original-width="907" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3A4wxSZa6XUWRaDf4Gw_iKMCXYm4vU57rBMw4JPMW8qI2slQtPhk-AUUpkzxAcVBfvWSDAQ2JwRkYZ3J__hQ7oSLwi79LG27kihqCbpoKJTE70zTcfv0X_3JsEVyV9NSZTusSfE6mgoWUfOwT98krUHnC0TTPKK1REx-bY0srpZ6axueZKhQP9mU-QgKA/w640-h480/BLE%203.jpg" width="640" /></a></div><br /><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Contrary to a commonly held
opinion that Brecht’s work is overly didactic, Brecht himself would claim that
his main aim was to entertain. Kosky is the master of theatrical surprise and
comical business, drawing on physical theatre, vaudeville and clowning to feed
his fertile imagination. At the outset Moon over Soho ( Dennis Jankowiak)
appears as a face high up through the silver curtain to slowly and enticingly
sing The Ballad of Mack the Knife. Owner of the School for Beggars, Jonathan
Jeremiah Peachum (Tilo Nest) gives a clownish performance of the five states of
misery to touch the onlooker’s heart and purse. Tiger Brown (Kathrin Wehlisch)
feeds a blindfolded Macheath (Gabriel Schneider) his final meal of asparagus.
It is an hilarious moment of pure commedia as he shuffles the trolley with the Silent
movie detachment of a Buster Keaton.<o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-tab-count: 2;"> </span></span></strong></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYAvQ7XW-UpUAk6JBT_zme9B_ETTy4DbVvAbDJ5jzd8r4fyOqoVEJDw9Ii9fycxsqeLFngEuk-Ou54pT4jtyPVwFPIomxfA7u3K-R8rVvptp2uDIcDuD8y6_9v1FNVeKNfJKNlWxWImyI-oagkHIo_8LZhux_bHWaUNxqzoljLCRTgUYoe4ras9U9ULkTM/s1075/BLE%204A.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="716" data-original-width="1075" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYAvQ7XW-UpUAk6JBT_zme9B_ETTy4DbVvAbDJ5jzd8r4fyOqoVEJDw9Ii9fycxsqeLFngEuk-Ou54pT4jtyPVwFPIomxfA7u3K-R8rVvptp2uDIcDuD8y6_9v1FNVeKNfJKNlWxWImyI-oagkHIo_8LZhux_bHWaUNxqzoljLCRTgUYoe4ras9U9ULkTM/w400-h266/BLE%204A.jpg" width="400" /></a></div><br /><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Nowhere is Brecht’s Alienation
Effect that invites an audience to judge rather than be passive spectators more
evident than in the representational performances of the characters. Nowhere is
Brecht’s Marxist commentary on capitalism and oppression more apparent than in
the closing first half company rendition of <i style="mso-bidi-font-style: normal;">What
Keeps Mankind Alive </i>or Peachum’s<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Song of the Insufficiency of Human
Struggling </i>in the second half. To see the Berliner Ensemble under Kosky’s
direction is to witness Brecht’s Epic Theatre in all its fierce satirical
attack on the establishment. That Macheath should be saved from hanging by the
arrival of the King’s official at the moment of proscribed execution is
evidence enough of society’s corruptive influence. Bribery and corruption are
the agents of treachery in the pact between Jenny (Julia Berger)</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> <span style="mso-spacerun: yes;"> </span></span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">and Celia Peachum (Constanze
Becker) to entrap</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Macheath</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">,
</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">a victim
of his</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> <span style="mso-spacerun: yes;"> </span></span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">sexual obsession</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">.
</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Even
romantic love becomes a battlefield for power and control between Lucy,
performed with feisty determination by Laura Balzar, and Polly Peachum (Cynthis
Micas) as she traverses<span style="mso-spacerun: yes;"> </span>experience from
naïve innocence to corporate management and control of Mackie’s gang. Their <i style="mso-bidi-font-style: normal;">Jealousy Duet</i> is a riotous contest of
viperish wile, where phantom pregnancy is the bartering chip.<o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-tab-count: 3;"> </span></span></strong></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCoLygVwvAlPjbAUiPaHz2gOr2krdzk53OBjuQnrOGMOJvFeZ-hPTM6PhAl7TKdYwPJcXJZIrUmFJ7_Ml5RCfYNIGQzdCVx2PEtGXprWWlRG2_UFCbr53Xa2ZvFjsEQRGrmMdHcV7NcaHZA-XZXCeo1zxPQrREo4cbRdWeH76RfxrTg1-GQtCTsJg-Y-vT/s1013/BLE4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="1013" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCoLygVwvAlPjbAUiPaHz2gOr2krdzk53OBjuQnrOGMOJvFeZ-hPTM6PhAl7TKdYwPJcXJZIrUmFJ7_Ml5RCfYNIGQzdCVx2PEtGXprWWlRG2_UFCbr53Xa2ZvFjsEQRGrmMdHcV7NcaHZA-XZXCeo1zxPQrREo4cbRdWeH76RfxrTg1-GQtCTsJg-Y-vT/w640-h480/BLE4.jpg" width="640" /></a></div><br /><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Kosky’s production is a
triumphant display of ensemble acting. There is the sharp outline of
Expressionism in every actor’s gesture and tone. The singing is at times
powerfully strident or seductively lyrical. Colour or the lack of it becomes a
symbol in Dinah Ehm’s costuming. In the absence of the plotted lighting as a
result I expect of the technical hitch, the use of follow spots gives a
pronounced starkness to the performance. To watch the Berliner Ensemble’s actors
play out Brecht’s political, social and economic intent is to see the
embodiment of Brecht’s evocation to judge and change. The performances are
riveting and mesmerising in their distinctive characterization. The orchestra
under Adam Benzwi’s baton is magnificent from the bold sound of the brass to
the more lilting melodies of the clarinet and the piccolo. All the elements of
the production fuse into a theatrical masterpiece in the tradition of Brecht’s
Berliner Ensemble. <o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-tab-count: 2;"> </span></span></strong></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBREGfLECzvRXwGwEhYNw2tW4ug5qM-2VIuxIeyuB5egxvjzrPFrJAwD8rZ7dY1IZUEVIRk6SwGlgzMumhmdZS5rHfLwYYlWnuTklwc2fqVPnYo058jUvzU_dLVNlO3uVD3k3qVyWAt-xvObIS_2HHyWTQPb6L7DBAcCCnEHrKZrMAofPlwmdV4vWZTU-P/s773/BLE7A.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="515" data-original-width="773" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBREGfLECzvRXwGwEhYNw2tW4ug5qM-2VIuxIeyuB5egxvjzrPFrJAwD8rZ7dY1IZUEVIRk6SwGlgzMumhmdZS5rHfLwYYlWnuTklwc2fqVPnYo058jUvzU_dLVNlO3uVD3k3qVyWAt-xvObIS_2HHyWTQPb6L7DBAcCCnEHrKZrMAofPlwmdV4vWZTU-P/w400-h266/BLE7A.jpg" width="400" /></a></div><br /><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong><p></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Only the projection of the surtitles
on the side from where I was seated in the Dress Circle were occasionally
unclear depending on the lighting on the stage. I am very familiar with the
work, but for those with no knowledge of the language this could have caused
frustration. Perhaps the songs could have been sung in English to make Brecht’s
polemic clearer to those who may have had difficulty reading the surtitles.<o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">As the Moon over Soho,a face
through the silver glittering curtain, <span style="mso-spacerun: yes;"> </span>Jankowiak in a closing reprise of Weill’s <i style="mso-bidi-font-style: normal;">Ballad of Mack The Knife</i> shines a light
on <i style="mso-bidi-font-style: normal;">The Threepenny Opera’s</i><span style="mso-spacerun: yes;"> </span>message that those who are in the light are
seen while those who are not fade into the darkness. The Berliner Ensemble
production brings light into the darkness and the call for change into the light.
Kosky’s <i style="mso-bidi-font-style: normal;">Threepenny Opera</i> is a rare
theatrical experience as relevant today as when John Gay wrote <i style="mso-bidi-font-style: normal;">The Beggar’s Opera</i> and Brecht and
Hauptman and Weill wrote <i style="mso-bidi-font-style: normal;">Die Dreigroschen
Oper.</i> It is a highlight of this year’s Adelaide Festival that those
fortunate enough to see are unlikely ever to forget.<o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p> </o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">CREDITS</span></strong><span face=""aktiv-grotesk","serif"" lang="EN-US" style="color: black;"><o:p></o:p></span></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><span face=""aktiv-grotesk","serif"" lang="EN-US" style="color: black;">Assistant director
Leonie Rebentisch. Assistant musical director Levi Hammer, Daniel Busch.
Assistant stage designer Annett Hunger, Janina Kuhlmann. Assistant costume
designer Svenja Niehaus. Prompter Christine Schoenfeld. Stage managerFrank
Sellentin. Light stage manager Rainer Manja. Stage technician Gregor Schultz.
Sound Ralf Gaebler, Jonas Emanuel Hagen. Acoustic design Ralf Bauer-Diefenbach.
Light operator Markus Koessler. Props Timothy Hopfner, Anke Tekath. Makeup Lena
Hille. Friederike Reichel,Lili Zawierucha.Wardrobe Britta Klein, Marija
Obradovic, Alexander Zapp<o:p></o:p></span></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span face=""aktiv-grotesk","serif"" lang="EN-US" style="color: black;">CAST: J</span></b><span face=""aktiv-grotesk","serif"" lang="EN-US" style="color: black;">onathan Jeremiah Peachum: Tilo Nest; Celia Peachum: Constanze
Becker; Polly Peachum: Cynthis Micas; Macheath (Mackie Messer Gabriel
Schneider; Brown Kathrin Wehlisch; Lucy: Laura Balzer; Jenny: Julia Berger;
Filch: Gabriel Schneider; Smith: Nicky Wuchinger; Macheath’s men and
prostitutes</span><b style="mso-bidi-font-weight: normal;"><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">:
</span></b><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Dennis
Jankowiak, Teresa Scherhag, Julie Wolff, Nicky Wuchinger,the Moon over
Soho:<span style="mso-spacerun: yes;"> </span>Dennis Jankowiak and its double
Heidrun Schug.</span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-size: 11pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> <o:p></o:p></span></strong></p>
<p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">ORCHESTRA: </span></strong><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Conductor, piano, harmonium Adam
Benzwi, Alto saxophone, clarinet, flute, piccolo James Scannell. Soprano
saxophone, tenor saxophone, baritone saxophone Doris Decker. Trumpet Nathan
Plante, Trombone, double bass Otwin Zipp. Drums Sebastian Trimolt. Guitar,
banjo Ralf Templin.<o:p></o:p></span></strong></p><p style="background: white; margin-top: 0cm; text-align: justify;"><strong><span face=""Calibri","sans-serif"" lang="EN-US" style="color: black; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span></strong></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-28623522579228081432024-03-07T23:17:00.001+11:002024-03-07T23:17:50.497+11:00BLAMEY STREET SWINGS WITH THE BEATLES - Queanbeyan Performing Arts Centre<p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4sZCK7lSn2sxi-mv_PhPVPNTxXbac1txwThZPd5FcHtP8S_ByoLxG7pTem9uuWIwFHIhsxF4ES8SbaS4ZgwZkU5ieNCWQumFA8Q4PKaQCv3bW6KxW6kMh3lUX-6_XW3THj0Iq_5KfZYiCS8nu6IBgHRQAvZssnjQPPawW440z1yxY2czKeNTCsqfeLUfs/s1350/bbb3.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1350" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4sZCK7lSn2sxi-mv_PhPVPNTxXbac1txwThZPd5FcHtP8S_ByoLxG7pTem9uuWIwFHIhsxF4ES8SbaS4ZgwZkU5ieNCWQumFA8Q4PKaQCv3bW6KxW6kMh3lUX-6_XW3THj0Iq_5KfZYiCS8nu6IBgHRQAvZssnjQPPawW440z1yxY2czKeNTCsqfeLUfs/w640-h426/bbb3.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>The Blamey Street Big Band at the Queanbeyan Performing Arts Centre</i></b></td></tr></tbody></table><br /><p></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><b>Conducted by
Ian McLean – Vocalist: Leisa Keen<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><b>The B,
Queanbeyan Performing Arts Centre. 2<sup>nd</sup> March 2024<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><b>Reviewed by
BILL STEPHENS</b>.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">What do some
of Canberra’s most accomplished musicians do when they’re not pleasuring
audiences around town in symphony orchestras, musical pit bands, jazz and rock
bands?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Well every
Wednesday evening they gather as the Blamey Street Big Band to expend a considerable
amount of hot air perfecting intricate band charts for the sheer pleasure of
playing big band music. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Formed in
2002, The Blamey Street Big Band is a community band which specialises in big
band music of all eras. While the members play this music simply for their own
pleasure, the band also emerges on occasion to share that pleasure at community
events. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">You might
have heard it at Floriade, in the Royal Botanic Gardens, at jazz festivals in
Merimbula, Wagga or Moruya, or at the Harmonie German Club where it has
established a loyal and appreciative following.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">This concert
was its first at the Queanbeyan Performing Arts Centre, where it drew a large
crowd, some of whom were regular supporters, but many others were experiencing
the Blamey Street Big Band for the first time, attracted either by the band’ reputation,
or the opportunity to experience the Beatles catalogue played in big band
style.<o:p></o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho61FnQDp9bf2NDlDyDzed1OGQ6oykySo3EnEI8epwTMxtv0qjDUoOpXC1JL2vT_Sb4KarrnfO1jJiwT_UhSPAzezSQ23V3RCLYnv30BCGUlIx_MScCSWMlnhWvCTlc3o04fwU_fXGWravX5TUpmylKFp_NMjAs0V9K99IlXK8JLBh9EMxyKXxgPUzlhA6/s1350/bbb2.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1350" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho61FnQDp9bf2NDlDyDzed1OGQ6oykySo3EnEI8epwTMxtv0qjDUoOpXC1JL2vT_Sb4KarrnfO1jJiwT_UhSPAzezSQ23V3RCLYnv30BCGUlIx_MScCSWMlnhWvCTlc3o04fwU_fXGWravX5TUpmylKFp_NMjAs0V9K99IlXK8JLBh9EMxyKXxgPUzlhA6/w640-h426/bbb2.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Ian McLean does Sergeant Pepper.</i></b></td></tr></tbody></table><br /><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Neatly
turned out in smart black uniforms emblazoned with its logo and gold epaulets,
the band was an impressive sight as it took the stage. Conductor Ian McLean
managed to upstage them all though, resplendent in his replica Beatles Sergeant
Pepper’s outfit. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">McLean too
was upstaged by vocalist Leisa Keen who made her entrance in a flower-power
Carnaby Street number, setting a relaxed, festive mood for the concert.<o:p></o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5g9M6jujxvaLwfymmBKQXxNTnIGZJpvbMeiXRsGI3_0MyXljzmRumTGRg5DJ4UceaNGUhEpjkf7kTrnBMDMhlt3kKXn5xVNNiIpUS-uwLH4YaTANSuruPJXGCxMhsdlmw__KErxXEVqMxVQVGjVBT0-LxnpFqNoLeUlmNj6eZq9PHaMyhvyJU2eZnISmR/s1350/bbb4.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1350" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5g9M6jujxvaLwfymmBKQXxNTnIGZJpvbMeiXRsGI3_0MyXljzmRumTGRg5DJ4UceaNGUhEpjkf7kTrnBMDMhlt3kKXn5xVNNiIpUS-uwLH4YaTANSuruPJXGCxMhsdlmw__KErxXEVqMxVQVGjVBT0-LxnpFqNoLeUlmNj6eZq9PHaMyhvyJU2eZnISmR/w640-h426/bbb4.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Leisa Keen - Ian McLean and the Blamey Street Big Band</i></b></td></tr></tbody></table><br /><span style="font-size: 12pt; line-height: 115%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">In his
opening remarks McLean mentioned that the concert would feature at least one
number from every Beatles album. Not only that, it even included Andrew
Hackwill’s hot-off-the-press arrangement of a<span style="mso-spacerun: yes;">
</span>recently discovered and released song by John Lennon “Now and Then”
among the 23 Beatles songs featured in the concert.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Obviously
the quality of the musical arrangements is a major attractor for any concert by
a big band, and Blamey Street has some rippers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">There was Ed
Wilson’s arrangement of “Hey Jude”; Chico O’Farrill’s arrangements for the
Count Basie Band of “Yesterday” and “Michelle”; and a lovely arrangement of “A
Taste of Honey” by local composer, Sally Greenaway. <o:p></o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPrF1KQhRvofpVaGsUcK9aNIXCNbTjpENvlGyD_O1UrUwaLFtLtE5F5OYw5O1Y2BiwZxg-zBST561o5PD1HdtThQo-HBglrpM5jffmPm3ozZhK4naY2J8drGL6tVpKyZlf8ZyJGm-d67GV6ODFuI5q2Bk4OOCS4M6okH8GH3KTerpaocRfMDVQukbprYt/s1350/bbb6jpeg.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1350" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPrF1KQhRvofpVaGsUcK9aNIXCNbTjpENvlGyD_O1UrUwaLFtLtE5F5OYw5O1Y2BiwZxg-zBST561o5PD1HdtThQo-HBglrpM5jffmPm3ozZhK4naY2J8drGL6tVpKyZlf8ZyJGm-d67GV6ODFuI5q2Bk4OOCS4M6okH8GH3KTerpaocRfMDVQukbprYt/w640-h426/bbb6jpeg.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Leisa Keen and the Blamey Street Big Band in full flight.</i></b></td></tr></tbody></table><br /><span style="font-size: 12pt; line-height: 115%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Band member,
Jack Percy contributed “All you Need is Love” and even band vocalist, Leisa
Keen, contributed her own toe-tapping arrangement of “I Wanna Hold Your Hand,
as well as demonstrating her ability to master any singing style required, with
her masterful performance of “Can’t Buy Me Love” as recorded by Ella Fitzgerald
with the Count Basie Band. <o:p></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisJUcbq3z2RTPwoh6UO8F_XpTEzhQLsBgb5H4zPykrNSDVFj78VuqJSWNAElq11LA2tr5ki8p6T8xWWP0Ygpp8LaTOBMSsAKZ3xTUtR3elSrMQK69pD0V7YYjMiYuXVbKTn7d1IaOM_t2nYPZS5JtJ6_Eb2wLrA37g5_EW3RPGBAbWJuTc1mpyvINX6sYL/s1349/BBB%20Hackey.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1349" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisJUcbq3z2RTPwoh6UO8F_XpTEzhQLsBgb5H4zPykrNSDVFj78VuqJSWNAElq11LA2tr5ki8p6T8xWWP0Ygpp8LaTOBMSsAKZ3xTUtR3elSrMQK69pD0V7YYjMiYuXVbKTn7d1IaOM_t2nYPZS5JtJ6_Eb2wLrA37g5_EW3RPGBAbWJuTc1mpyvINX6sYL/w640-h426/BBB%20Hackey.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Andrew Hackwill (c) with the Blamey Street Big Band.</i></b></td></tr></tbody></table><span style="font-size: 12pt;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12pt;">However, it is
the brilliantly inventive arrangements of band member, Andrew Hackwill that
gives the Blamey Street Big Band its edge over similar outfits. As well as leading
the saxophone section, Hackwill arranged no fewer than 14 of the 23 Beatles
songs featured in the program, including a show-stopping version of
“Something”, a signature song for Shirley Bassey, but on this occasion,
superbly interpreted by Keen.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Hackwill’s
arrangements brilliantly exploit, challenge and showcase the talents of this 20
piece ensemble of soloists, which boast among its number, in addition to
Hackwill himself, Derrick (Noddy) Brassington (drums), Don Lee (piano), Cal
Clugston (guitar) and Peter McDonald (bass).<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">All of whom are
happy to devote precious leisure time to work as ensemble under the experienced
and discerning baton of Maestro McLean , for the pleasure and satisfaction of
perfecting and showcasing the brilliance of the arrangements of Hackwill and
other masters of the genre.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">It was this obvious
professionalism which made this concert such a memorable experience.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><br /></span></p><p class="MsoNormal"><b><i> Images by Stephen McGrory</i></b></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-92073897471473998262024-03-03T11:15:00.000+11:002024-03-03T11:15:59.384+11:00LONG LOST LOVES (AND GREY SUEDE GLOVES)<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcMLQXXrzC3kprA_bQTlbnaiwSRRXHhpMaaagdCoh82vlVZ27slWju3h9CqdiAL5F78stbcIR-duJou95gFPWjB8WkyZIyz-seeHNmoE4pNSxZH1wyRQNqnje4wfiAM1Gs8XxwkS5o26O9yISmX4yzF0OapsSloMX9UTOBoOy3x370gebn3IMGxNN-SeN/s2186/Anna%20Dowsley%20and%20Michael%20Curtain.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1544" data-original-width="2186" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcMLQXXrzC3kprA_bQTlbnaiwSRRXHhpMaaagdCoh82vlVZ27slWju3h9CqdiAL5F78stbcIR-duJou95gFPWjB8WkyZIyz-seeHNmoE4pNSxZH1wyRQNqnje4wfiAM1Gs8XxwkS5o26O9yISmX4yzF0OapsSloMX9UTOBoOy3x370gebn3IMGxNN-SeN/w640-h452/Anna%20Dowsley%20and%20Michael%20Curtain.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Michael Curtain and Anna Dowsley.</i></b></td></tr></tbody></table><br /></p><p class="MsoNormal"><b>Performed by Anna Dowsley and Michael Curtain – Written and
Directed by Constantine Costi<o:p></o:p></b></p>
<p class="MsoNormal"><b>Dramaturgy by Hilary Bell – Movement Direction by Shannon
Burns – Lighting Design by Matthew Marshall.<o:p></o:p></b></p>
<p class="MsoNormal"><b>Canberra Theatre Centre Playhouse, March 1<sup>st</sup>.
Reviewed by BILL STEPHENS</b><o:p></o:p></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirRk-6X94_jqguRtBZUGZEVWY58mKr1CqFHyeh6I46LcjAqDOdZn26tS9k2uanc_FZwbwrnM3gnZmLAl1mP7f4qdbgvKS8tCkcR15_1SxiIdl7U8g8cXvf5wOPv0-J7J5ge6SZ6yYiKWCBptPw0bHq9C7zhmMfaAn3VCSIcK8rdQVQUczyhZIorM02L2q3/s2157/AD%20Anna%20Dowsley%20Michael%20Curtin.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1694" data-original-width="2157" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirRk-6X94_jqguRtBZUGZEVWY58mKr1CqFHyeh6I46LcjAqDOdZn26tS9k2uanc_FZwbwrnM3gnZmLAl1mP7f4qdbgvKS8tCkcR15_1SxiIdl7U8g8cXvf5wOPv0-J7J5ge6SZ6yYiKWCBptPw0bHq9C7zhmMfaAn3VCSIcK8rdQVQUczyhZIorM02L2q3/w640-h502/AD%20Anna%20Dowsley%20Michael%20Curtin.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Michael Curtain and Anna Dowsley performing "Long Lost Loves (and Grey Suede Gloves)</i></b></td></tr></tbody></table><br /><b><br /></b></p>
<p class="MsoNormal">A prolific composer and concert pianist, the recipient of a
Pulitzer Prize for music, a Grammy Award and many other accolades, it is for
his cabaret songs, written to the lyrics of Arnold Weinstein, specifically for
performance by his wife, Joan Morris and himself,<span style="mso-spacerun: yes;"> </span>that the now 85 year old <span style="mso-spacerun: yes;"> </span>William Bolcom is perhaps best known. <o:p></o:p></p>
<p class="MsoNormal">Music Viva Artistic Director and Bolcom aficionado, Paul
Kildea and Ian Dickson AM, hit upon the intriguing idea of co-opting Director,
Constantine Costi to collaborate with playwright, Hilary Bell and lighting
designer Matthew Marshall, to script and direct a collection of Bolcom’s cabaret
songs into a theatrical presentation as a showcase for the artistry of mezzo-soprano,
Anna Dowsley. Michael Curtin, with whom Dowsley had worked previously, would be
the accompanist and Shannon Burns would provide movement direction.<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTM-jDaMA6eJS3Yb9JGpR-xqgKKKgbRobusG65k52DZ2ol-4tKI87amwRmS8PiJuRuvAV1EZiFQMSoZWTzfShGNUkhBhFsCbjNveyki_RHOK2j5H7Jzfp5I57R8052gj8B4s6hY2SSr35xJ3oJVwMo52qFADIcCz4QE8qsUAR3VXALv_TkB8YbXhDIYVG3/s1867/Anna%20Dowsley.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1682" data-original-width="1867" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTM-jDaMA6eJS3Yb9JGpR-xqgKKKgbRobusG65k52DZ2ol-4tKI87amwRmS8PiJuRuvAV1EZiFQMSoZWTzfShGNUkhBhFsCbjNveyki_RHOK2j5H7Jzfp5I57R8052gj8B4s6hY2SSr35xJ3oJVwMo52qFADIcCz4QE8qsUAR3VXALv_TkB8YbXhDIYVG3/w400-h360/Anna%20Dowsley.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Anna Dowsley performing "Long Lost Loves (and Grey Suede Gloves)</i></b></td></tr></tbody></table><p class="MsoNormal"><br /></p><p class="MsoNormal">An Opera Australia favourite, Anna Dowsley currently divides
her time between opera companies and orchestras in Australia and Europe, most
recently performing the role Cherubino in “The Marriage of Figaro” with her
home company, Opera Frankfurt. Michael Curtain is currently the Assistant
Chorus Master and Children’s Chorus Master at Opera Australia, a post he has
held for the last seven years.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">“Long Lost Loves (and Grey Suede Gloves)” contains twenty
Bolcom songs. The longest, “Oh Close the Curtain”,<span style="mso-spacerun: yes;"> </span>runs about five minutes, while there are
several, including “Surprise!”,<span style="mso-spacerun: yes;"> </span>“Lady
Luck” and “Satisfaction” (sorry Mick, Bolcom got there first!) take only around
one minute each to perform. <o:p></o:p></p>
<p class="MsoNormal">Of the twenty songs, perhaps the two most popular, “Song of
Black Max”, and the exquisite “Waitin” are offered as encores, while the rest,
including “Toothbrush Time”, “At the Last Lousy Moments of Love”, and “Amor”
are shoe-horned into a concocted narrative around a group of friends attending
the wake for a character named George, then expressing their recollections of
George through Bolcom’s songs. <o:p></o:p></p>
<p class="MsoNormal">In his program notes, Paul Kildea quotes lyricist, Arnold
Weinstein as saying “We wrote these songs as a cabaret in themselves, no
production “values” to worry about. The scene is the piano, the cast the
singer”. <o:p></o:p></p>
<p class="MsoNormal">However, on stage in addition to the piano, were a tripod
with a wreath bearing the words “In Loving Memory” and an arrangement
representing a bar, complete with a selection of beverages and drinking <span style="mso-spacerun: yes;"> </span>glasses. <o:p></o:p></p>
<p class="MsoNormal">After welcoming the audience to the wake of her friend
George, Dowsley proceeded to portray each of the guests as they arrived, as
well as the attentive hostess. Changes in lighting states presumably were meant
to indicate when she was being a guest or the hostess. Additional dialogue
allowed her to comment on the guests and impart information about them which was
not obvious from the songs.<o:p></o:p></p>
<p class="MsoNormal">Dowsley is a superb singer with a warm fluid mezzo perfectly
suited to Bolcom’s songs. She is also an excellent actress. As Kildea noted in
his program notes, Bolcom and Weinstein wrote each song as an individual and
complete story.<o:p></o:p></p>
<p class="MsoNormal">Therefore, by imposing an additional storyline on them,<span style="mso-spacerun: yes;"> </span>then requiring Dowsley to constantly
interrupt her interpretation with additional comment and characterisation, it soon
became confusing and exhausting trying to maintain an interest in the conceit
of the imaginary George through the songs while coping <span style="mso-spacerun: yes;"> </span>with so many superfluous characters, contradictions
and mood changes. <o:p></o:p></p>
<p class="MsoNormal">Even allowing for the imaginary George’s many idiosyncrasies;
it quickly became obvious that these songs were not written about the same
person.<o:p></o:p></p>
<p class="MsoNormal">So, despite Dowsley’s best efforts, and they were
considerable and admirable, for an audience attracted by the opportunity to
hear Dowsley sing, and perhaps extend their knowledge of the Bolcom repertoire,
the most successful and satisfying songs in the program were the two offered as
encores, where she and Michael Curtin simply performed the songs as they were
meant to be sung.<o:p></o:p></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><b><i> Images by Charlie Hardy</i></b></p><p class="MsoNormal"><b><i><br /></i></b></p><p class="MsoNormal"><b> This review first published in the digital edition of CITY NEWS on 02.03.24</b></p>
<p class="MsoNormal"><o:p> </o:p></p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.comtag:blogger.com,1999:blog-6654660641446691218.post-69915200811830870972024-03-02T13:26:00.001+11:002024-03-02T13:26:55.765+11:00BRING IT ON: The Musical - Canberra Philharmonic Society<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimeFit_YLedycjq2sm0qcS3TBEt-6PHXXTeep3JtdENO2tOL7NwNFS1T7aqdoWJiA0PSZdpLoIzmI-fHtoDLR2zOIu-1019c1GcjV3M8GPfESILzlbSNY4xYCzaGzVRX9vmc6Aura2QxkMpKh2A7h7d26BJYERbnxyLLp2ZDCh_xVS89IlzfozZgN3DNNH/s4053/The%20Cast%20of%20Bring%20It%20On-The%20Musical.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2864" data-original-width="4053" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimeFit_YLedycjq2sm0qcS3TBEt-6PHXXTeep3JtdENO2tOL7NwNFS1T7aqdoWJiA0PSZdpLoIzmI-fHtoDLR2zOIu-1019c1GcjV3M8GPfESILzlbSNY4xYCzaGzVRX9vmc6Aura2QxkMpKh2A7h7d26BJYERbnxyLLp2ZDCh_xVS89IlzfozZgN3DNNH/w640-h452/The%20Cast%20of%20Bring%20It%20On-The%20Musical.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>The Cast of Canberra Philo's production of "Bring it On"</i></b></td></tr></tbody></table><br /><b><br /></b></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Music by Tom
Kitt & Lin-Manuel Miranda – Lyrics by Amanda Green and Lin-Manuel Miranda –
Book by Jeff Whitty.<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Directed by
Isaac Gordon – Musical Direction by Alexander Unikowski<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Choreographed
by Charlotte Morphett – Cheer Co-ordinated by Jennie Gibson<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Sound Design
by Dillon Wilding – Lighting Design by Alex Clifford<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Erindale
Theatre 29.02.24 – 16.03. 24. <o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b>Opening
night performance reviewed by BILL STEPHENS.</b><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM-cpcdLWkjNobodgzFb5Vl4mbfu4kTYOa6yGER0HMNesUlZbPxLqMNz69tjIxX3YXthHO0yQe9a2R09n2y5PBJ4CirTc_QMcsvup8hEAOIdiaaDK725QgyIQcqZ9EZUAtvtY09iRsQ7LM420fMsDq38DBTA6AHU6hUc7BCsVhFXQ_kbavZBsSvrEHn6rf/s5184/The%20Cast%20of%20Bring%20It%20On%20The%20Musical.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="5184" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM-cpcdLWkjNobodgzFb5Vl4mbfu4kTYOa6yGER0HMNesUlZbPxLqMNz69tjIxX3YXthHO0yQe9a2R09n2y5PBJ4CirTc_QMcsvup8hEAOIdiaaDK725QgyIQcqZ9EZUAtvtY09iRsQ7LM420fMsDq38DBTA6AHU6hUc7BCsVhFXQ_kbavZBsSvrEHn6rf/w640-h426/The%20Cast%20of%20Bring%20It%20On%20The%20Musical.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Jessica Gowing (C) and the cast of "Bring It On" the musical.</i></b></td></tr></tbody></table><b><i><br /></i><br /></b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Bring It On
is the second musical seen in Canberra this month with music by Tom Kitt. It’s
also the first seen in this city to bear the stamp of prolific
composer/lyricist and all round creative superstar, Lin-Manuel Miranda who
collaborated with both Kitt for the music and Amanda Green for the lyrics for
this musical. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Lin-Manuel Miranda
is responsible for a slew of popular musicals of which "In the Heights", "Bring It
On" and of course, "Hamilton", are the most famous. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Based on a
film of the same name, "Bring it On: The Musical", follows the travails of two
opposing college cheerleading teams and the varying ambitions of their members.
It is packed with catchy songs and spectacular dance routines and contains many
of the tropes of other Miranda musicals expressing his interest in championing contemporary
POC and youth issues. As such it is an excellent choice by Canberra Philo for
the many opportunities it offers to showcase the talents of its current
membership of accomplished young multi-cultural performers. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">The joy of
this production is the succession of exuberant large-scale dance routines, cleverly
created by choreographer Charlotte Morphett. For these Morphett has combined
essential cheerleading skills with Broadway pizazz to produce some truly
thrilling acrobatic routines which were performed with obvious joy and admiral
precision by the large cast.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Unfortunately
on opening night, over-amplification of Alexander Unikowski’s excellent band,
drowned out most of the song lyrics, and over-enthusiastic delivery made much
of the dialogue unintelligible. It was therefore difficult to follow much of
the storyline, particularly that dealing with the customs and intricacies of
American college life. As well, many of the witty quips were lost. No doubt,
both these difficulties will be quickly rectified for future performances.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Outstanding
among the large cast, Jessica Gowing gives an appealing central performance as
Campbell, the catalyst for much of the angst between the teams. Flaunting an
impressive killer instinct, Hannah Lance is hilarious as the conniving, sweetly
bitchy Eva determined to knock Campbell off her perch. <o:p></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO8HFrgkoOIpZ486QdyfiAdr1ImqXMrS1wuKAUMPUZc9U5IqC05kqLIV_orWwlpTikIsnSs5lVV4toLLfKB9pv6MdWlZD0P9h1dyfeYFmlhXePOSAUw-BIIRVEvQtf9tWbOiDJrq1PCwNeiGJRhyDsJseKSe1ZICBR0D3cmHH3jL4jOFs2avNkM28r2chc/s3817/Bring%20It%20On%20Hanna%20Lance%20-%206.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2911" data-original-width="3817" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO8HFrgkoOIpZ486QdyfiAdr1ImqXMrS1wuKAUMPUZc9U5IqC05kqLIV_orWwlpTikIsnSs5lVV4toLLfKB9pv6MdWlZD0P9h1dyfeYFmlhXePOSAUw-BIIRVEvQtf9tWbOiDJrq1PCwNeiGJRhyDsJseKSe1ZICBR0D3cmHH3jL4jOFs2avNkM28r2chc/w640-h488/Bring%20It%20On%20Hanna%20Lance%20-%206.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Hanna Lance (Eva) - Ashleigh Maynard (Skylar) - Emma English (Kylar)<br /> - Frank Shanahan ((Steven) - in "Bring It On: The Musical"</i></b></td></tr></tbody></table><br /><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Katie Lis
steals every scene she’s in as Bridget, the lovable, nerdy outcast while Jess
Marshall (Danielle) strongly supported by Diana Caban Velez (Nautica) and
Kavitha Sivasamy (La Cienega) make a formidable trio as the Queen Bees of
Jackson High. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Grayson
Woodham gives an attractive performance as Campbell’s crush, Randall, their
second-act duet, "Enjoy The Trip", providing one of the vocal highlights of the
show. Ashleigh Maynard (Skylar), Frank
Shanahan (Steven) and Jeremy Chan (Twig) all offered strong support with
individual standout moments. <o:p></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihYEuKI__ehUSEA5eH_ehfciGTUI4K0deR5gipL-vYnKofg1a1vh7xcRnCNX_9aymcUwEmALONvgtlZNwtLeY81YBvQO9-S87Bjkm4Ndekr8bnKoz8XCgtoqRJoJrR58BmH8fVBffzcThfMaecTYEDHGUYEQL50UpayxqO_fL4cBtMeT3uNGIx6Uyu8wIS/s3731/Bring%20It%20On%20%20Grayson%20Woodham-%207.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2772" data-original-width="3731" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihYEuKI__ehUSEA5eH_ehfciGTUI4K0deR5gipL-vYnKofg1a1vh7xcRnCNX_9aymcUwEmALONvgtlZNwtLeY81YBvQO9-S87Bjkm4Ndekr8bnKoz8XCgtoqRJoJrR58BmH8fVBffzcThfMaecTYEDHGUYEQL50UpayxqO_fL4cBtMeT3uNGIx6Uyu8wIS/w640-h476/Bring%20It%20On%20%20Grayson%20Woodham-%207.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i>Grayson Woodham and Jessica Gowing performing "Enjoy The Trip" in "Bring It On"</i></b></td></tr></tbody></table><br /><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Set
Designer, Ian Crocker and Lighting Designer, Alex Clifford, have combined their
prodigious talents to produce a visually simple, but technically complex
environment for the action, with plenty of room for the huge dance numbers,
spacious exits and entrances for the large cast, colourful projections and even
some spectacular pyrotechnics. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Jennie
Gibson’s colourful cheer squad costumes enhance Morphett’s energetic
choreography, and elsewhere, are attractive and flattering. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">"Bring It On" might with its highly predictable storyline might never become one of the classic
musicals, but it’s certainly a delightful ensemble show offering plenty of
opportunities for an enthusiastic young cast. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">When
presented with the amount of skill and attention to detail that has obviously
been lavished on this production by everyone involved, it guarantees a
delightfully entertaining experience for
the whole family. Director, Isaac Gordon and his team have much to be proud of
with this, his first production for the Canberra Philharmonic Society. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b><i> Images by Bridie Mackay</i></b></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b><i><br /></i></b></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"><b> This review first published in the digital edition of CITY NEWS on 01.03.24</b></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> <o:p></o:p></span></p>
<p><span style="font-size: 12pt;"> </span> </p>Canberra Critics Circlehttp://www.blogger.com/profile/11232856015945665506noreply@blogger.com