ANASTASIA KRUPNIK

 

Ruby Pardy as Anastasia

Adapted by Meryl Friedman

Directed by James Scott

Honest Puck Theatre production

Perform Australia Theatre, Fyshwick to 23 April

 

Reviewed by Len Power 20 April 2022

 

“Anastasia Krupnik” was the first in a series of books by American writer, Lois Lowry.  She is known for writing about difficult subject matters and complex themes in works for young audiences.

Adapted from the book by Meryl Friedman, the play is a window into the world of a normal ten year old girl struggling with confused feelings about her mother having a baby.  She lets off steam by making lists of things she loves and things she hates.  Those lists are constantly changing.  Her current hate list includes ‘babies’ and, when told by her parents that she can name the expected baby boy, tension is created with the audience wondering what name she will come up with.

Director, James Scott, has given the play a production that is notable for its attention to detail.  The nicely designed home setting of three rooms gives lots of clues about the family who live there.  Colours and props have been well-chosen.

The depth of characterizations of every member of the cast is impressive and the American accents are well-maintained.

Taylor Palinga, who replaced the actor listed in the program at the performance I attended, played both the school teacher and grandma with great believability, both physically and vocally.

Young Hester McDonald showed great understanding of her character as Anastasia’s best friend, Jennifer, making her very real.  As Anastasia’s mother, there was a good performance by Monica Engel playing a woman under stress late in her pregnancy but still able to show patience and love to her family.

James Scott gave a subtle and warm performance as Anastasia’s father.  His love for his daughter was keenly displayed.  He was also very funny in a totally different role early in the play as a nervous schoolboy reading a poem.

The star of the show is young Ruby Pardy as Anastasia.  She shows every facet of this ten year old girl with great skill.  The actress is showing a real talent here with her delightful and disciplined performance.

“Anastasia Krupnik” will resonate with children around the same age as the title character, making it a perfect school holiday attraction.  With the real life issues presented in the story, there’s plenty for adults to enjoy and think about, too.

 

This review was first published in the Canberra CityNews digital edition of 21 April.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

FOUR WINDS FESTIVAL, BERMAGUI (EVENING)

 

Creative Director Lindy Hume

Windsong Pavilion, Barragga Bay near Bermagui, April 15–17

Reviewed by LEN POWER

 

Driving to Four Winds’ natural bushland site south of Bermagui at Barragga Bay at night is an immediate atmospheric experience as majestic spotlit ghost gums loom up as you reach Four Winds’ amazing festival site.

On the balmy evenings of the festival, three programs were presented in the Windsong Pavilion situated in the bush amongst the gum trees.  Bush creature sounds surround you in the dark as you relax with a drink outside before each concert. On the final evening, a full moon rising above the trees added to the wow factor.

On Friday evening, the dreaded spectre of Covid caused a late program change.  William Barton, Véronique Serret and Tamara-Anna Cislowska came to the rescue by presenting Barton’s atmospheric work “Heartland” under the title of “An Evening With…”

Playing the guitar as well as the didgeridoo and vocalising, William Barton commanded the stage with his skill and talent.  The hugely talented Véronique Serret played violin and vocalised as well.  Tamara-Anna Cislowska played the extraordinary piano accompaniment.

The result was a fabulous combination of instruments, electronic looping and voice, of ancient sounds and classical and modern western music building a totally unique experience filled with emotion and a sense of land, time and space.

Mikelangelo and the Black Sea Gentlemen

In complete contrast, the following evening was owned by Mikelangelo and the Black Sea Gentlemen who performed their iconic 2005 album “Journey Through The Land Of Shadows”.

Suave, but with a hint of delicious danger, vocalist Mikelangelo, led a raffish but seductive group of odd, other-worldly characters playing clarinet, violin, double bass and piano accordion.

They presented a highly-imaginative, jumbled, high-energy cabaret featuring gypsy music, klezmer, a suggestion of old European circus and hints of 1920s Berlin - or maybe it was all just a weird dream?  Whatever it was, it added up to a hugely enjoyable theatrical and musical entertainment.

On Sunday night, Pinchgut Opera presented “The Spiritual Opera”.  It was drawn from Monteverdi’s “Selva Morale e Spirituale”, an anthology from 1641of liturgical works composed during his career in Venice.

Originally planned to be presented in the amphitheatre, night-time images captured by a drone of the trees and bush around the area were projected onto the walls and ceiling of the Windsong Pavilion, creating a beautiful, moving cathedral-like atmosphere.

The haunting music was sung and played to perfection by the singers and the orchestra.  The audience gave them a much-deserved standing ovation at the end, bringing this year’s Four Winds Festival to a satisfying and memorable close.

Photos by Len Power

This review was first published in the Canberra CityNews digital edition of 18 April.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

FOUR WINDS FESTIVAL, BERMAGUI (DAYTIME)

Djinama Yilaga Choir

 

Creative Director Lindy Hume

Cobargo Showground Pavilion, Cobargo April 15–17

Reviewed by Len Power

 

To attend Bermagui’s Four Winds Festival at Easter is to be immersed in a wide range of music and performance in beautiful countryside and a natural bush forest setting that is quite unique.

From its first concert in 1991, the reputation of the festival has grown annually, attracting a wide range of top music performers and appreciative audiences.  Creative Director for this year’s festival, Lindy Hume, stated that the theme of Common Ground invites us to celebrate through the sharing of art and music what connects us as humans, rather than what separates us.  The program certainly reflected that with its emphasis on nature, humanity and community.

The daytime events scheduled to be held at Four Winds beautiful bush setting amphitheatre south of Bermagui at Barragga Bay had to be moved to the Cobargo Showgrounds Pavilion, due to unprecedented recent rainfall making the amphitheatre too soggy to use.  The new venue, surrounded by picturesque rolling farmland, was happily embraced by the understanding audiences.

The weather was superb for all three days and Creative Director, Lindy Hume, dubbed the showgrounds pavilion, “The Cobargo Opera House” to everyone’s delight.  The bets were on that the name would stick!

“Songs From Yuin Country” was a perfect start for the festival – a joyous celebration of Common Ground by the Djinama Yilaga Choir and musicians from the nearby town of Candelo.  The music, dance and storytelling from Yuin Country in Dhurga language were full of warmth and a reaching out that was palpable.

Handel’s opera, “Acis and Galatea” with its pastoral setting involving the love of a shepherd and a nymph was the perfect choice for this country location.  Presented with a deft, light touch by Pinchgut Opera, it was a delight from start to finish with sublime singing by the principals and chorus and the playing by the Orchestra of the Antipodes.

Andrew O'Connor as the giant Polyphemus in 'Acis and Galatea'

By the end of the three day program, the mind was reeling from so many highlights.  There was the delightfully quirky string quartet by Australia’s Alice Chance, entitled “Sundried”, played with relish by the Acacia Quartet.  Four players on tuned Bongo drums presented Steve Reich’s mesmerising work, “Drumming’ and there was the unique gypsy showmanship of Mikelangelo and the Black Sea Gentlemen with “The Devil’s Wedding”.

Pianist, Tamara-Anna Cislowska, and Rainer Jozeps presented an extraordinary program of music to meditate to and “Chiaroscuro” was a cornucopia of mood music, both fearful and optimistic, with various artists.  Pēteris Vasks’ “Lonely Angel”, with solo violinist Véronique Serret, was especially memorable with its heart-felt delicacy and the audience responded wildly to the furious piano-playing by Tamara-Anna Cislowska of Górecki’s popular Piano Concerto, Op. 40.

The festival finale of the daytime program featured percussionist, Claire Edwardes, William Barton on didgeridoo, Véronique Serret on violin and soprano, Chloe Lankshear, with “Prayer and Blessing” by Tan Dun, created in response to Covid 19.

It was a highly satisfying and enjoyable daytime program but there were more delights to come in the evenings at Four Winds’ Windsong Pavilion at Barragga Bay.

This review was first published in the Canberra CityNews digital edition of 18 April.

Photos by Len Power

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

CANBERRA CIRCUS FESTIVAL 2022

 

Scott Hone from "Scott's BMX Trick Bike Show"

Directed by Tom Davis for Warehouse Circus.

Lions Youth Haven. Kambah. 19^th  - 23rd April.

Reviewed by Bill Stephens.

Not even a drenching on arrival by a heavy downpour of rain, or a series of rather long, apparently obligatory welcoming speeches could dampen the enthusiasm of the capacity crowd which packed the May Wirth Big Top for the first event of the inaugural Canberra Circus Festival.

Included in the program were acts performed by skilled professionals, some with International reputations, who had actually commenced their circus careers with Warehouse Circus.  Other acts were by Warehouse Circus alumni and others from around the country on the cusp of circus careers attracted to the Canberra Circus Festival to attend the associated workshops given by these established professionals.

The program commenced appropriately with an overture conducted by an immaculately costumed maestro, (Pablo Latona from “The Ridiculous Show”) who, nonplussed by the absence of a live orchestra, wordlessly separated the compliant audience into clappers and shouters to create a symphony of eager applauders.

Taking advantage of the applause jovial Ringmaster, Rogan Josh (alias Josh Phillips an accomplished acrobat, particularly skilled on the perpendicular ladder), took the stage to introduce a tantalising selection of highlights from the busy program of circus shows being presented in the Big Top throughout the festival.

Among these acts young performers, Issi and Gerard, performed a graceful tissu aerial act, Sam showed off his tumbling and stick- juggling skills, a trio of unicyclists impressed with their tricky manoeuvres, a remarkably slim and engaging young acrobat dazzled with his dexterity balancing on dining chairs, and a skilful juggler introduced as Inspector Bounce intrigued with her ability to keep lots of tennis balls in the air at once.

Caz Walsh from "Suitcase Circus".

Caz Walsh from “Suitcase Circus” performed a heart-stopping act in which she tottered precariously on four trays of delicate wine glasses while balancing on two large rollers.  Luth Woolffe from Solid State Circus had the place in an uproar as she dashed crazily between spinning dinner plates while delivering an engaging message about balanced diets. Finally the show reached its thrilling finale, an entertaining demonstration by Scott Hone of just some of his incredible BMX Bike skills.

Full details of all the shows and workshops available during the Canberra Circus Festival can be found at www.canberracircusfestival.com.au.

 

        This review first published in the digital edition of CITY NEWS on 20.04.22

SUITCASE CIRCUS CANBERRA CIRCUS FESTIVAL

 

Suitcase Circus. 

Presented by Red Canvas Productions. May Wirth Big Top Canberra Circus Festival. Artistic Director  Tom Davis. Lyons Youth Haven. Kambah Pool Road. Kambah. April 19-23 2022. Bookings: www.canberracircusfestival.com.au

Reviewed by Peter Wilkins

Caz Walsh - Balancing Act

Come on down Canberra. The circus has come to town. Artistic director of Warehouse Circus Tom Davis has taken on a bold and imaginary initiative and created Canberra’s first Circus Festival with a week of thrills and excitement to please every circus lover, young and old alike. Like the very best circus act, it’s a risky venture but it has got off to a terrific start with the youthful, exuberant and very talented Suitcase Circus. In the grounds of the Lyons Youth Haven off the Kambah Pool Road, Davis has erected a bright circus tent for the several companies that are taking part.

As the chill of the night takes hold inside the action inside the brightly coloured circus tent hots up in preparation for a night at the circus that doesn’t disappoint. The crowd flock in, stopping to buy hot chips, drinks and popcorn. This is the blast from the circuses past. And that is what is so refreshing about Suitcase Circus. It may lack the sophistication of the mainstage spectacle, but it possesses  a natural charm, brimming over with appeal. There are no dazzling lights, no special effects but there is an energy and a sense of fun that is contagious stirred up by master of ceremonies Geronimo (Mason West), Suitcase Circus’s happy hearted clown. The upbeat soundtracks lift the spirits and keep the hype at top gear.

Reece Cooper on the Airborne Cyr

Suitcase Circus surprises with the familiar and the unexpected. There are the acrobats , agile and athletic, defying gravity and parading a  bold bravura as they tumble and roll, cartwheel and create their human towers on each other’s shoulders.. There is the elegant grace and litheness of the aerialist Maddy Burleigh on the trapeze heart or plunging down the silks, or being flung across the stage to the waiting arms of partner and strongman Liam DeJong as the audience gasps. These are standard circus routines, but the thrill is in the danger of the act. There is no net, and the only protection is the company’s complete and confident trust in each other. This is nail-biting circus, where one slip can mean serious injury.

Hazel Bock Foot Juggler

Don’t be fooled by the refreshing lack of pretension of the young company. They are consummate artists, stylish in their presentation and magical in their artistry. I sit in admiration of their athleticism, their talent and their artistry. I am amazed by Caz Walsh’s balancing prowess on a three tiered Rola Bola and the incredible skill on the balancing board resting on three layers of martini glasses. I am almost dizzy at Reece Cooper’s whirling circle on the Roue Cyr. A young volunteer watches alertly as Hazel Bock lends comedy and expert timing to the spinning plates on spindly sticks. And finally, I am astounded by Bock’s foot juggling. One ball slips through the legs but Bock doesn’t miss a beat and finishes her leg  twisting and twirling routine with foot-juggling suitcases. This is circus at its best, breathtaking, heart thumping and mesmerising in its suspenseful routines.and musical backings.

Suitcase Circus packs in a lot of good fun and enthralling acts in its all too brief hour of wholesome family entertainment. Just remember if you go at night to keep your eye out on your right for the entrance. If you get to the Mount Vernon Road roundabout you’ve gone a hundred yards too far. And if you missed  the show last night, be sure to catch it on Saturday. It’s a hit!

 

 

Canberra Circus Festival

 

Canberra Circus Festival – Warehouse Circus at The Big Top, Lions Youth Haven, Kambah Pool Road, Kambah, Canberra April 19-23, 2022.

Commentary by Frank McKone

Galoshes were definitely needed for the sploshes as the rain fell faster than a Warehouse youth performer unravelling down from the high point of an artistic three-dimensional ‘dance’, twisted in two strands of beautiful hung material which looked hardly likely to support her weight.  Then it supported two of them at once in a thrilling suspended daring duet!

Fortunately the Big Top didn’t drip on the audience, but I was worried about the electrics when the ground began to flood.  Would I ever get my car out of the parking paddock?  Would I ever get home on the terrifying drive on the Tuggeranong Parkway?

Like my language, circus always has an exaggeration about it, demonstrated admirably by the acts and the audience responses throughout the launch – almost literally – of the brand new Canberra Circus Festival, titled appropriately “The Great Big Circus Gala(h)” opening night.  For our overseas readers, galahs are wondrously silly large pink-and-grey parrots who entertain us throughout our Bush Capital, in cahoots with other crowds of sulphur-crested brilliantly white cockatoos.  This is the seat of Australian government, you should know – where the air is full of noise and flapping about, not necessarily signifying much, but fun to laugh at.

Nothing could dampen the enthusiasm of this circus crowd, from littlies to ancients like me, especially after the concert master with an enormously unlikely extending baton, trained us in the subtleties of clapping and cheering from the soft and thoughtful to letting go of all inhibition.

The Canberra Circus 5-day Festival is a sort of culmination of the thirty years’ development of Warehouse Circus since 1990 – the last two pandemic years shouldn’t be counted.  Except that the pressure of holding things down in lockdowns has built the energy for this new explosion.

The acts showcased performers from young barely teenagers training with Warehouse through to professionals from other visiting companies, making the point about how their skills keep developing even as they reach what I call middle-age, which the young think is old.  Personal development through circus arts is what Warehouse Circus was always all about: one strand of arts education.  

It was excellent to hear, as the Australian Capital Territory’s Minister for the Arts’ senior adviser Michael Liu emphasised the commitment from Tara Cheyne (who was unable to attend personally) to continuing support for the arts, and in particular the financial investment in Warehouse Circus which – with many other sponsorships and practical help from community and business organisations, such as the Lions Club – means that the Canberra Circus Festival will add to the many arts-based events in the Canberra calendar.

Go to https://warehousecircus.org.au/ to book tickets:

THE BOYS by Gordon Graham

 

Alex Hoskison (Brett) - Cole Hilder (Glenn)

Directed and Designed by Amy Kowalczuk. 

Movement Direction by Michelle Norris.

Lighting Designed by Murray Wenham – Sound Design by Neville Pye.

Produced by Alchemy Artistic – Shadowhouse PITS – Sophie Benassi.

ACT HUB.  13^th – 16^th April 2022. Reviewed by Bill Stephens.

Inspired by the horrific 1986 rape and murder of Sydney-based nurse, Anita Cobby, Gordon Graham’s play “The Boys” is not the story of this tragic event.

It is instead a brilliantly imagined, excoriating depiction of societal behaviour within a family of the type which could possibly lead to the set of circumstances in which the commission of such a heinous crime could be conceivable, and as such is chillingly successful.

And although the play was written in the 1990’s, despite the fact that there is a heightened awareness of sexual violence in modern society, the motivations depicted remain as depressingly prescient and no less horrifying  than when the play was written.

First-time director, Amy Kowalczuk, was inspired to tackle this confronting play as a major component of her Master of Theatre and Performance thesis, and her finely-tuned, riveting production has proven to be an auspicious inaugural introduction to Canberra’s newest performance venue, the ACT Hub.

Kowalczuk’s stripped back production was performed in the round with minimal props. The audience sat in tiered seating surrounding  the four sides of the stage creating  a daunting environment for  the seven actors tasked with portraying the four unedifying members of the Sprague family and their partners.

Kowalczuk had chosen her actors well with each responding to her thoughtfully devised  direction with totally committed performances that ensured that the audience’s attention was at all times tightly focused. Despite this, it was hard to resist the temptation to sneak a peek at the reaction of audience members opposite during the more confronting scenes.

Meaghan Stewart (Michelle) - Caitlin Baker (Nola) - Liz St.Clair Long (Sandra)

When the play begins the Sprague family matriarch, Sandra (Liz St. Clair Long) is preparing a barbecue to welcome home her eldest son Brett (Alex Hoskison) following his stint in prison. Sandra hopes that Brett’s return will restore equilibrium within the family.  Sharing Sandra’s excitement is Brett’s girlfriend Michelle (Meaghan Stewart) herself hoping that Brett may be more open to concentrating on their relationship.

Sandra’s also worried by the way her youngest son, Stevie (Blue Hyslop) treats his pregnant girlfriend, Nola (Caitlin Baker), and although she doesn’t particularly get along with the partner of her white-sheep son, Glenn (Cole Hilder), she’s pleased with the effect Jackie (Indie Scarletti) is having on him. 

However Brett has his own plans and is keen for some excitement to make up for his lost time in prison. When his boorish efforts to re-assert himself as head of the family are resisted by Glenn, and Michelle rebuffs him after he accuses her of infidelity, tempers flare and Brett becomes disruptive. Eventually, fuelled by alcohol and suppressed rage, Brett becomes uncontrollable and challenges his brothers to support him by joining him in drunken rampage.

Alex Hoskison (Brett) - Meaghan Stewart (Michelle)

These events, played out realistically in close proximity to the audience were quite confronting and the brilliance of the play was the way that despite it being impossible to defend the behaviour of any of the men, the enabling behaviour of the four women also raised questions which the audience had the opportunity to discuss with the actors, and on one occasion even the playwright himself, in curated Q & A sessions which followed each performance.

“The Boys” was an interesting choice by Kowalczuk for her directorial debut. In her program notes she admits a long held ambition to direct this play which deals with attitudes she finds herself confronting in her professional career as a teacher.  Her obvious ability to draw   compelling performances from her actors and collaborating creatives in such a fastidiously conceived production augurs well for her directorial future.

 

                                                      Images by Mark Actually  

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