Sam Floyd's latest play at The Street Studio, is a most entertaining gangster comedy, almost a farce without doors, in which clever lighting and set design, combined with telephone converstaions, create the kind of confusion and chaos we expect in that form.
There are good reasons why it isn't always advisable for writers to direct their own work, but in this cast Sam Floyd makes it work. One wonders what another director, without the writer's preconceived ideas, might have made of it.
The cast of seven gave polished performances from talented young actors. Becky Bergmann was a feisty daughter of the Italianate gangster chief, Poncioni, played by Davis McNamara with polished menace. Adam Salter was the dumb gunman, Val, who kept trying to get an exclusive on the dirty work to be carried out. Tom Watson as the innocent Axel, forced to strangle the hit man, played by Chris Brain, sent by loan shark Poncini, and then to take his place, was naively likeable as he bluffed his way into gangland. Daniel McCusker was the crooked, conniving cop, Spiegel, managing to be visibly corrupt, while Jack Dyball was the fringe-dwelling drug dealer.
The audience on opening night was having at least a laugh a minute as mistaken identity and confusion tangled the plot into zany humour ending up with baddies' bodies heaped on the floor.
I predict that a lot more will be heard from Sam Floyd, as his originality and willingness to develop and polish his plays grows.
Monday, November 30, 2009
Friday, November 27, 2009
Not Axel Harrison by Sam Floyd. Freshly Ground Theatre at The Street Two, November 26 – December 5
Theatre by Frank McKone
Not Axel Harrison by Sam Floyd. Freshly Ground Theatre at The Street Two, November 26 – December 5 2009 (excluding Sundays and Mondays) at 8pm.
Freshly Ground Theatre has carved a small but attractive niche in Canberra’s theatrical architecture. The company is the vehicle for the writer Sam Floyd, whose work continues to show flair in this, their third, production.
Not Axel Harrison is a parody of the gangster movie genre in which the hit man Axel Harrison (Tom Watson) is killed by his intended victim,Chris, a non-violent florist (Chris Brain) who disguises himself as Harrison not only to avoid detection as a murderer but to escape the attention of the gangster loan-shark Poncioni (David MacNamara)to whom he owes a large sum, which is why Poncioni had sent Harrison.
At this point the plot, involving the non-appearing Bruce (apparently already killed by Harrison), the dim-witted bodyguard Val (Adam Salter), Poncioni’s sexy aggressive daughter Donna (Becky Bergman), Micky the Mule (Jack Dyball), and the corrupt cop in Poncioni’s pocket, Spiegel (Daniel McCusker), follows a constantly twisted line of logic which should not be revealed here: better to see the play and be surprised. Suffice to say, farce is the order of the day.
The performances varied in strength, with the commendations going to McNamara and Salter. But the generation X, Y or Z audience was not looking for highly polished acting from a cast of their peers. It was the dialogue and plot which carried the laughs, making for a successful light entertainment.
Floyd’s work has antecedents in Joe Orton’s Loot and Tom Stoppard’s The Real Inspector Hound. Both those writers had the advantage of being able to participate in the British repertory and university traditions in their day. Freshly Ground’s niche is in this mould, but Canberra cannot boast the equivalent of the Cambridge University Footlights, the progenitor of much zany British comedy since the 1960s.
Maybe this is the time for Floyd and those around him to take up where Elbow Theatre left off and build our own Capital new wave of original young writers.
Not Axel Harrison by Sam Floyd. Freshly Ground Theatre at The Street Two, November 26 – December 5 2009 (excluding Sundays and Mondays) at 8pm.
Freshly Ground Theatre has carved a small but attractive niche in Canberra’s theatrical architecture. The company is the vehicle for the writer Sam Floyd, whose work continues to show flair in this, their third, production.
Not Axel Harrison is a parody of the gangster movie genre in which the hit man Axel Harrison (Tom Watson) is killed by his intended victim,Chris, a non-violent florist (Chris Brain) who disguises himself as Harrison not only to avoid detection as a murderer but to escape the attention of the gangster loan-shark Poncioni (David MacNamara)to whom he owes a large sum, which is why Poncioni had sent Harrison.
At this point the plot, involving the non-appearing Bruce (apparently already killed by Harrison), the dim-witted bodyguard Val (Adam Salter), Poncioni’s sexy aggressive daughter Donna (Becky Bergman), Micky the Mule (Jack Dyball), and the corrupt cop in Poncioni’s pocket, Spiegel (Daniel McCusker), follows a constantly twisted line of logic which should not be revealed here: better to see the play and be surprised. Suffice to say, farce is the order of the day.
The performances varied in strength, with the commendations going to McNamara and Salter. But the generation X, Y or Z audience was not looking for highly polished acting from a cast of their peers. It was the dialogue and plot which carried the laughs, making for a successful light entertainment.
Floyd’s work has antecedents in Joe Orton’s Loot and Tom Stoppard’s The Real Inspector Hound. Both those writers had the advantage of being able to participate in the British repertory and university traditions in their day. Freshly Ground’s niche is in this mould, but Canberra cannot boast the equivalent of the Cambridge University Footlights, the progenitor of much zany British comedy since the 1960s.
Maybe this is the time for Floyd and those around him to take up where Elbow Theatre left off and build our own Capital new wave of original young writers.
Thursday, November 26, 2009
"Symphony For Kids" - Canberra Symphony Orchestra - Canberra Theatre - 22.11.09
The brainchild of Ian McLean, and now in its Seventh year, "Symphony For Kids" is an initiative by the Canberra Symphony Orchestra to introduce young audiences into the wonders of music played by a full symphony orchestra.
Perhaps a little older than the target audience, I attended my first "Symphony for Kids" in the packed Canberra Theatre on Sunday afternoon. What a joyous occasion it turned out to be.
With the orchestra pit up, the full orchestra was arranged as far downstage as possible without falling in to the audience. This effectively allowed every member of the audience to feel that they were almost part of the orchestra, which looked very spiffy in black suits and bowties. Not the ladies of course, they wore glamorous black evening wear.
Before the concert began, conductor Ian McClean introduced each group of instruments. He explained how the instrument worked, and its purpose as part of the orchestra. He then invited a musician from the orchestra to demonstrate the instrument.
Once the instruments had been introduced, Ian then introduced each item. After explaining to his young audience that music had the capacity to allow them to feel various emotions and moods, he gave his young audience a challenge....which was to try and feel the emotion the music was expressing.
He then told them what the music was, and most importantly, why it had been selected. "Morning" from Edvard Grieg's "Peer Gynt Suite" allowed us - helped by some appropriate lighting on the cyc - to imagine a sunrise. We happily imagined our own circus during Kabalevsky' "Comedian's Galop", and felt suitably anxious during John Williams emotive music from "Jaws".
The audience happily galloped their horses around a racecourse during Rossini's "William Tell Overture" and helped the orchestra, who, according to Ian, were too busy playing their instruments to be able to sing, by lustily singing all the words to all the songs from "High School Musical".
By the end of the concert, the majorly pre-school audience, at the session I attended, were almost bursting out of their skins with excitement, and up for the next challenge. So was I.
Particularly impressive about this concert, was the quality of the music played by the orchestra, and the wonderful rapport between Ian McLean, the audience and the orchestra. The classical selections were just as they had been written by the composers, and the contemporary selections, carefully arranged to display all the thrilling dynamic range and colour of the full symphony orchestra.
Though it lasted only an hour, this concert was a thoroughly memorable and delightful experience, and next year, I, for one, will be rounding up my own grandchildren and as many others as I can find, to share this exciting new discovery. You should too !
Bill Stephens
Perhaps a little older than the target audience, I attended my first "Symphony for Kids" in the packed Canberra Theatre on Sunday afternoon. What a joyous occasion it turned out to be.
With the orchestra pit up, the full orchestra was arranged as far downstage as possible without falling in to the audience. This effectively allowed every member of the audience to feel that they were almost part of the orchestra, which looked very spiffy in black suits and bowties. Not the ladies of course, they wore glamorous black evening wear.
Before the concert began, conductor Ian McClean introduced each group of instruments. He explained how the instrument worked, and its purpose as part of the orchestra. He then invited a musician from the orchestra to demonstrate the instrument.
Once the instruments had been introduced, Ian then introduced each item. After explaining to his young audience that music had the capacity to allow them to feel various emotions and moods, he gave his young audience a challenge....which was to try and feel the emotion the music was expressing.
He then told them what the music was, and most importantly, why it had been selected. "Morning" from Edvard Grieg's "Peer Gynt Suite" allowed us - helped by some appropriate lighting on the cyc - to imagine a sunrise. We happily imagined our own circus during Kabalevsky' "Comedian's Galop", and felt suitably anxious during John Williams emotive music from "Jaws".
The audience happily galloped their horses around a racecourse during Rossini's "William Tell Overture" and helped the orchestra, who, according to Ian, were too busy playing their instruments to be able to sing, by lustily singing all the words to all the songs from "High School Musical".
By the end of the concert, the majorly pre-school audience, at the session I attended, were almost bursting out of their skins with excitement, and up for the next challenge. So was I.
Particularly impressive about this concert, was the quality of the music played by the orchestra, and the wonderful rapport between Ian McLean, the audience and the orchestra. The classical selections were just as they had been written by the composers, and the contemporary selections, carefully arranged to display all the thrilling dynamic range and colour of the full symphony orchestra.
Though it lasted only an hour, this concert was a thoroughly memorable and delightful experience, and next year, I, for one, will be rounding up my own grandchildren and as many others as I can find, to share this exciting new discovery. You should too !
Bill Stephens
"The Magic of Operetta" - Louise Page, Phillipa Candy - Street Theatre - 15.11.09
Former "Artist of the Year", Louise Page, launched a new CD of songs from operetta, with a well-attended concert in the Street Theatre.
More an elegant, superbly constructed, cabaret than a recital, "The Magic of Operetta" allowed Louise to demonstrate her unrivalled mastery of the genre, and the show ranged through a delightful selection of carefully chosen operetta classics, including beautifully sung selections from "The Dancing Years" (Ivor Novello), "Land of Smiles" (Franz Lehar), "Rose Marie" (Rudolph Friml), "Rio Rita" (Robert Stolz) and "Countess Maritza (Emmerich Stolz). Each selection was preceded by a short, spoken quote, which set the tone for what was to follow.
Louises' gift, apart from her beautifully trained voice and flawless diction, is her ability to inhabit each song, illuminate the subtext, and reveal the composer's intention. Whether the song is a sighing waltz, ("Love Unspoken" from Lehar's "The Merry Widow"), a wistful paen to unrequitted love (I'll Follow My Secret Heart" from Noel Cowards "Conversation Piece") or even a saucy attempt at seduction ("My Burning Kisses" from Franz Lehar's "Giuditta" ), Louise was able to slip gracefully and effortlessly into the mood of each song allowing it to become a small opera of its own.
Particular highlights for me was the heavily romantic "In a Private Room" from Richard Heubergers' "Der Opernball" and the wonderfully funny "The Tipsy Waltz" from Jacques Offenbach's "La Perichole", in which Louise demonstrated her hitherto unexposed ..flair for comedy. But then every song for me was a highlight, and of course each was impeccably accompanied by Phillipa Candy.
Tasteful lighting and just the occasional prop added visual variety to a concert which will be long savoured by those present. Thankfully it is all preserved on a CD of the same name. Look out for it.
Bill Stephens
More an elegant, superbly constructed, cabaret than a recital, "The Magic of Operetta" allowed Louise to demonstrate her unrivalled mastery of the genre, and the show ranged through a delightful selection of carefully chosen operetta classics, including beautifully sung selections from "The Dancing Years" (Ivor Novello), "Land of Smiles" (Franz Lehar), "Rose Marie" (Rudolph Friml), "Rio Rita" (Robert Stolz) and "Countess Maritza (Emmerich Stolz). Each selection was preceded by a short, spoken quote, which set the tone for what was to follow.
Louises' gift, apart from her beautifully trained voice and flawless diction, is her ability to inhabit each song, illuminate the subtext, and reveal the composer's intention. Whether the song is a sighing waltz, ("Love Unspoken" from Lehar's "The Merry Widow"), a wistful paen to unrequitted love (I'll Follow My Secret Heart" from Noel Cowards "Conversation Piece") or even a saucy attempt at seduction ("My Burning Kisses" from Franz Lehar's "Giuditta" ), Louise was able to slip gracefully and effortlessly into the mood of each song allowing it to become a small opera of its own.
Particular highlights for me was the heavily romantic "In a Private Room" from Richard Heubergers' "Der Opernball" and the wonderfully funny "The Tipsy Waltz" from Jacques Offenbach's "La Perichole", in which Louise demonstrated her hitherto unexposed ..flair for comedy. But then every song for me was a highlight, and of course each was impeccably accompanied by Phillipa Candy.
Tasteful lighting and just the occasional prop added visual variety to a concert which will be long savoured by those present. Thankfully it is all preserved on a CD of the same name. Look out for it.
Bill Stephens
Wednesday, November 25, 2009
Full list and Citations for 2009 CCC Awards
Visual Arts
Presented to
Johannes Kuhnen
for his magnificent and important retrospective exhibition held at the ANU School of Art Gallery in May, which will travel around Australia, and the book that accompanied it.
Visual Arts
Presented to
Julie Ryder
for her exhibition Generate at the Australian National Botanic Gardens in March. She successfully demonstrated her ability to bring together her interest and knowledge of science with her professional art practice in an exhibition that looked at the legacy of Charles Darwin in a new and stimulating way.
Visual Arts
Presented to
Gilbert Riedelbauch
for his exhibition Highlights at Craft ACT. The artist successfully integrated his knowledge of modern technology and traditional craft skills in this exhibition of free standing lamps that were practical as well as beautiful craft objects.
Visual Arts
Presented to
Geoffrey Farquhar-Still
for his show at M16, Reflex - A Show of Mechanical Poetry, a standout exhibition of mechanical oddities which he both curated, and also exhibited in. It was a tight, compact show in which the kinetic sculptures communicated with one another, and the audience, in an absurd, delightful and slightly sinister manner. For his personal contribution, and his direction of the other artists.
Visual Arts
Presented to
Frank Thirion
for his exhibition Constellation was an atmospheric installation of paintings and sound that imagined the southern skies on a cloudless night. Drawing upon the traditional materials and cultural knowledge of indigenous and non-indigenous Australians he produced a body of work that responds to the universe as our familiar home as well as a wondrous spectacle of infinity and cosmic mystery.
Visual Arts
Presented to
Min Mae
for insinuating her tableaux vivants into the collective psyche of creative Canberra. Unique in Australia, her challenging works cross genre and art form using the diverse environments of galleries, shops and the streets to generate stimulating unions between visual artists, dancers, actors, writers, musicians and their audiences.
Visual Arts
Presented to
Jas Hugonnet
for curatorial excellence, in particular the original and provocative concept exhibitions Soft Animators and Custom Made for CraftACT.
Visual Arts
A Special Critics’ Award to
Helen Maxwell
for being a leading supporter of women artists, including indigenous artists and more recently all artists; she has supported emerging artists and provided a showcase for established artists who might not have another opportunity for exhibition in Canberra; she has supported less well known indigenous artists. Helen Maxwell has worked in the visual arts for over 20 years and the cessation of her gallery is a tragic loss for the Canberra visual arts scene.
A Posthumous Award for Poetry to
Tatjana Lukic
for her book, La La, La, her first poetry collection in English, which has a strong sense of the poet's personality and her resilience under the threat of political violence and personal stresses.
Poetry
Presented to
Julian Fleetwood and the Traverse Poetry organisers
for providing themed monthly events, workshops, support and inspiration for emerging ACT poets.
Poetry
Presented to
Omar Musa
for an excellent 12 months in which he won the Australian Poetry Slam at the Sydney Opera House, published a book, The Clocks, released his first album, The Massive EP, and recorded his second album.
Writing
Presented to
Kel Robertson
for his excellent and award-winning crime novel, Smoke and Mirrors, set in Canberra.
Writing
Presented to
Jackie French
for faving in 17 years, published 132 books for adults and children, many of which have won or been shortlisted for awards and some adapted into award-winning plays.
Writing
Presented to
John Dargavel
for his book, The Zealous Conservator: A Life of Charles Lane Poole, which takes a figure unknown to the general public, and with passion for one arcane field, successfully unfolds a story which illuminates much of the wider human condition.
Film
Presented to
Andrew Pike
for his film The Chifleys of Busby Street, a brilliant cinematic exercise in “People’s History” that portrays post-war Labor Prime Minister Ben Chifley, often called Australia’s best-loved Prime Minister.
Dance
Presented to
Sandra Griffin
for over 25 years of dedicated commitment to dance education in Canberra, particularly through her work with the Canberra Youth Ballet School and the Canberra Dance Festival.
Dance
Presented to
Michelle Heine
for her choreography for The Canberra Philharmonic Society production of West Side Story, which allowed her dancers to successfully interpret the mood and spirit of the original concept.
Theatre
Presented to
Kate Shearer
for her educationally sophisticated conception of Jigsaw Theatre Company's collaborative production of Walk the Fence with Buzz Dance Company from Western Australia, and for her adaptation of the Peter Pan story, Wendy.
Theatre
Presented to
Playwright David Finnigan and designer Gillian Schwab
for their adventurous work on Oceans All Boiled Into Sky, a sci-fi black radio comedy transformed into stage theatre, staged at the Street Theatre.
Theatre
Presented to
the Papermoon ensemble
for The History Boys. To the boys, their Masters (and Mistress).
Theatre
Presented to
Graham Robertson
for a minimalist interpretation of Beckett's Krapp's Last Tape, directed by Geoffrey Borny.
Theatre
Presented to
Geoffrey Borny
for his sophisticated, elegant verse production of Moliere’s The Learned Ladies at Tuggeranong Arts Centre.
Theatre
Presented to
Cathie Clelland and her three-faced Medea: Jordan Best, Helen Brajkovic and Lexi Sekuless.
for a fresh but faithful approach to Euripides’ original Medea staged by Papermoon.
Musicals
Presented to
Tim Sekuless
for his incandescent performance in the lead role of Robbie Hart in Supa Productions’ The Wedding Singer.
Musicals
Presented to
Lexi Sekuless
for her exceptional performance in the role of Florence in the Queanbeyan City Council production of Chess.
Music
Presented to
Moya Simpson
for her autobiographical cabaret Big Voice, in which she utilised an extraordinary array of musical and performance skills to create a genuinely moving and entertaining performance work.
Music
Presented to
Karen Fitzgibbon
for a body of work that included solo roles in The Voss Journey and The Oriana Chorale’s Dido and Aeneas, but especially for her ravishing performance in The Best Choral Music Ever Written of Hayden’s With Verdure Clad, demonstrating brilliant articulation, relaxed phrasing and purity of tone.
Music
Presented to
Tobias Cole
for the concert The Best Choral Music Ever Written; for inspirational conducting that united the musical forces of disparate groups of musicians of varying standards to create a performance lifting all participants to memorable heights.
Music
Presented to
Tim Hansen
for composing, including a new work for the Griffyn Ensemble and especially for music composed and arranged for the Opening Ceremony of the Pacific School Games in the Bruce Stadium, which was performed by hundreds of school children from almost every school in Canberra.
Music
Presented to
Robyn Holmes and Vincent Plush
for conceiving and directing The Voss Journey, held during the Canberra International Music Festival in homage to Richard Meale's operatic interpretation of Patrick White’s Voss. It attracted contemporary opera composers, directors and singers to Canberra for a musical summit at the National Library of Australia and the National Film and Sound Archive.
Presented to
Johannes Kuhnen
for his magnificent and important retrospective exhibition held at the ANU School of Art Gallery in May, which will travel around Australia, and the book that accompanied it.
Visual Arts
Presented to
Julie Ryder
for her exhibition Generate at the Australian National Botanic Gardens in March. She successfully demonstrated her ability to bring together her interest and knowledge of science with her professional art practice in an exhibition that looked at the legacy of Charles Darwin in a new and stimulating way.
Visual Arts
Presented to
Gilbert Riedelbauch
for his exhibition Highlights at Craft ACT. The artist successfully integrated his knowledge of modern technology and traditional craft skills in this exhibition of free standing lamps that were practical as well as beautiful craft objects.
Visual Arts
Presented to
Geoffrey Farquhar-Still
for his show at M16, Reflex - A Show of Mechanical Poetry, a standout exhibition of mechanical oddities which he both curated, and also exhibited in. It was a tight, compact show in which the kinetic sculptures communicated with one another, and the audience, in an absurd, delightful and slightly sinister manner. For his personal contribution, and his direction of the other artists.
Visual Arts
Presented to
Frank Thirion
for his exhibition Constellation was an atmospheric installation of paintings and sound that imagined the southern skies on a cloudless night. Drawing upon the traditional materials and cultural knowledge of indigenous and non-indigenous Australians he produced a body of work that responds to the universe as our familiar home as well as a wondrous spectacle of infinity and cosmic mystery.
Visual Arts
Presented to
Min Mae
for insinuating her tableaux vivants into the collective psyche of creative Canberra. Unique in Australia, her challenging works cross genre and art form using the diverse environments of galleries, shops and the streets to generate stimulating unions between visual artists, dancers, actors, writers, musicians and their audiences.
Visual Arts
Presented to
Jas Hugonnet
for curatorial excellence, in particular the original and provocative concept exhibitions Soft Animators and Custom Made for CraftACT.
Visual Arts
A Special Critics’ Award to
Helen Maxwell
for being a leading supporter of women artists, including indigenous artists and more recently all artists; she has supported emerging artists and provided a showcase for established artists who might not have another opportunity for exhibition in Canberra; she has supported less well known indigenous artists. Helen Maxwell has worked in the visual arts for over 20 years and the cessation of her gallery is a tragic loss for the Canberra visual arts scene.
A Posthumous Award for Poetry to
Tatjana Lukic
for her book, La La, La, her first poetry collection in English, which has a strong sense of the poet's personality and her resilience under the threat of political violence and personal stresses.
Poetry
Presented to
Julian Fleetwood and the Traverse Poetry organisers
for providing themed monthly events, workshops, support and inspiration for emerging ACT poets.
Poetry
Presented to
Omar Musa
for an excellent 12 months in which he won the Australian Poetry Slam at the Sydney Opera House, published a book, The Clocks, released his first album, The Massive EP, and recorded his second album.
Writing
Presented to
Kel Robertson
for his excellent and award-winning crime novel, Smoke and Mirrors, set in Canberra.
Writing
Presented to
Jackie French
for faving in 17 years, published 132 books for adults and children, many of which have won or been shortlisted for awards and some adapted into award-winning plays.
Writing
Presented to
John Dargavel
for his book, The Zealous Conservator: A Life of Charles Lane Poole, which takes a figure unknown to the general public, and with passion for one arcane field, successfully unfolds a story which illuminates much of the wider human condition.
Film
Presented to
Andrew Pike
for his film The Chifleys of Busby Street, a brilliant cinematic exercise in “People’s History” that portrays post-war Labor Prime Minister Ben Chifley, often called Australia’s best-loved Prime Minister.
Dance
Presented to
Sandra Griffin
for over 25 years of dedicated commitment to dance education in Canberra, particularly through her work with the Canberra Youth Ballet School and the Canberra Dance Festival.
Dance
Presented to
Michelle Heine
for her choreography for The Canberra Philharmonic Society production of West Side Story, which allowed her dancers to successfully interpret the mood and spirit of the original concept.
Theatre
Presented to
Kate Shearer
for her educationally sophisticated conception of Jigsaw Theatre Company's collaborative production of Walk the Fence with Buzz Dance Company from Western Australia, and for her adaptation of the Peter Pan story, Wendy.
Theatre
Presented to
Playwright David Finnigan and designer Gillian Schwab
for their adventurous work on Oceans All Boiled Into Sky, a sci-fi black radio comedy transformed into stage theatre, staged at the Street Theatre.
Theatre
Presented to
the Papermoon ensemble
for The History Boys. To the boys, their Masters (and Mistress).
Theatre
Presented to
Graham Robertson
for a minimalist interpretation of Beckett's Krapp's Last Tape, directed by Geoffrey Borny.
Theatre
Presented to
Geoffrey Borny
for his sophisticated, elegant verse production of Moliere’s The Learned Ladies at Tuggeranong Arts Centre.
Theatre
Presented to
Cathie Clelland and her three-faced Medea: Jordan Best, Helen Brajkovic and Lexi Sekuless.
for a fresh but faithful approach to Euripides’ original Medea staged by Papermoon.
Musicals
Presented to
Tim Sekuless
for his incandescent performance in the lead role of Robbie Hart in Supa Productions’ The Wedding Singer.
Musicals
Presented to
Lexi Sekuless
for her exceptional performance in the role of Florence in the Queanbeyan City Council production of Chess.
Music
Presented to
Moya Simpson
for her autobiographical cabaret Big Voice, in which she utilised an extraordinary array of musical and performance skills to create a genuinely moving and entertaining performance work.
Music
Presented to
Karen Fitzgibbon
for a body of work that included solo roles in The Voss Journey and The Oriana Chorale’s Dido and Aeneas, but especially for her ravishing performance in The Best Choral Music Ever Written of Hayden’s With Verdure Clad, demonstrating brilliant articulation, relaxed phrasing and purity of tone.
Music
Presented to
Tobias Cole
for the concert The Best Choral Music Ever Written; for inspirational conducting that united the musical forces of disparate groups of musicians of varying standards to create a performance lifting all participants to memorable heights.
Music
Presented to
Tim Hansen
for composing, including a new work for the Griffyn Ensemble and especially for music composed and arranged for the Opening Ceremony of the Pacific School Games in the Bruce Stadium, which was performed by hundreds of school children from almost every school in Canberra.
Music
Presented to
Robyn Holmes and Vincent Plush
for conceiving and directing The Voss Journey, held during the Canberra International Music Festival in homage to Richard Meale's operatic interpretation of Patrick White’s Voss. It attracted contemporary opera composers, directors and singers to Canberra for a musical summit at the National Library of Australia and the National Film and Sound Archive.
THE 2009 ACT ARTS AWARDS
THE 2009 ACT ARTS AWARDS took place at the new Belconnen Arts Centre on Tuesday November 24, with what centre staff estimated to be a crowd of 140-160 in attendance. Many of those present, leaders in all the different art forms honoured on the occasion, had not visited the centre and were happy to be taken on guided tours of the arts facilities. Among those in attendance were former Artists of the Year Judith Clingan, Klaus Moje, Helen Geier, Peter J. Casey, Timoshenko Aslanides, Roberts Boynes and Vivienne Winther.
At the function the 19th Canberra Critics Circle Awards were presented by Robyn Archer; the MEAA Green Room Prize by Michael White; and Artist of the Year, sponsored by Citynews, by ACT Chief and Arts Minister Jon Stanhope
A daring Canberra artist who has made the naked human body her art medium was named 2009 Citynews Artist of the Year.
Min Mae, 33, of Ainslie is a busy single mother who also choreographs and dances for the Radiance women's dance company, and was described by one judge as “a philosopher who takes the big questions in life and explores the possible answers to them by using the body."
Min Mae received a cheque to the value of $1,000 from the ACT Chief and Arts Minister Jon Stanhope, along with a painting by former public servant-turned artist Roger Beale, presented and donated by Solander Gallery owner Joy Warren.
The artist believes that her artworks are empowering, not exploitative. "Nudity is essentially human…my medium is living flesh,” she says. Her tableau forms are stunning, and most appealing to the human eye. She uses the body to explore her ideas including death, poetry, the subconscious and even art movements.
At the ceremony, hosted by a former Artist of the Year Peter J. Casey, Michael White from the Media Entertainment and Arts Alliance announced the 2009 Green Room Award, which went to actor Oliver Baudert and a Peer Recognition Award to Street Theatre director Caroline Stacey.
Mr Stanhope announced a Special Critics’ Award to retiring gallery owner Helen Maxwell, praised for her support of women, local and indigenous artists.
Robyn Archer, before presenting the 2009 Canberra Critics’ Circle awards, spoke of the crisis confronting arts criticism in the face of the democratising influence of the blog and other media outlets allowing everyone to have a say. In her view it was important to have a body of commentators on the arts who could claim some authority, not just opinion.
The 2009 Canberra Critics’ Circle awards went to artists Johannes Kuhnen and Gilbert Riedelbauch, Julie Ryder, curator Geoffrey Farquhar-Still, writers Tatjana Lukic (posthumous), Omar Musa, Julian Fleetwood, Kel Robertson, Jackie French, John Dargavel., film-maker Andrew Pike, choreographers Sandra Griffin and Michelle Heine, theatre directors Geoffrey Borny, Cathie Clelland and Kate Shearer, playwright David Finnigan, designer Gillian Schwab, Papermoon productions, actors Graham Robertson, Tim Sekuless, Jordan Best, Helen Brajkovic and Lexi Sekuless, singers Moya Simpson and Karen Fitzgibbon, conductor-singer Tobias Cole, composer Tim Hansen and musical directors Robyn Holmes and Vincent Plush. (The full citation list will be posted separately)
Helen Musa for the CCC
Sunday, November 22, 2009
Bangarra Dance Theatre
Although I am not a dance critic,I have seen a lot of ballet, both old and new, and in this forum I can express my views. The Bangarra Dance Theatre brought their new work, "Fire", a retrospective celebrating the company's twentieth year, to the Canberra Theatre Centre on Friday November 20 and Saturday 21.
The two halves of the program showed off around thirty dances, each with its own story from mainland and islander cultures, and set in a range of periods from ancient traditional to modern social.
The performances were far too many and varied for me to comment usefully on, but I was powerfully impressed by the precision, professionalism, and presentation of every one of the dancers. I mention only one stand-out, Kathy Balngayngu Marika, whose style and dignity epitomised the importance of the elders in the aboriginal world.
When traditional dance meets modern dance, wonderful things can happen as the synergy of choreographers and dancers meet and blend. David Page's music gave a rich background to Stephen Page's concept and direction. The lighting was, as it should be, unobtrusive and excellent.
Malcolm Miller
The two halves of the program showed off around thirty dances, each with its own story from mainland and islander cultures, and set in a range of periods from ancient traditional to modern social.
The performances were far too many and varied for me to comment usefully on, but I was powerfully impressed by the precision, professionalism, and presentation of every one of the dancers. I mention only one stand-out, Kathy Balngayngu Marika, whose style and dignity epitomised the importance of the elders in the aboriginal world.
When traditional dance meets modern dance, wonderful things can happen as the synergy of choreographers and dancers meet and blend. David Page's music gave a rich background to Stephen Page's concept and direction. The lighting was, as it should be, unobtrusive and excellent.
Malcolm Miller
Subscribe to:
Posts (Atom)