ST. NICHOLAS

St. Nicholas
Written by Conor McPherson
Directed by Shelley Higgs
The Street Theatre

Streaming online until June 7

Reviewed by Len Power 5 June 2020

The Irish are known to be powerful story tellers. In Conor McPherson’s play, ‘St. Nicholas’, a boozy, angry and bitter theatre critic goes from audience to centre stage and regales us with his own story of obsession for a beautiful actress, his desertion of his family and the bargain he makes with a group of modern-day vampires. Is it true or is it just another story?

Irish playwright, Conor McPherson, has won various awards for his plays and has been produced in London’s West End and on Broadway. ‘St. Nicholas’ is one of his first plays, produced in 1997 in London. He certainly has a way with words.

The critic is played by Craig Alexander. The only actor onstage for the entire show, he skilfully immerses himself completely in this rich character study, resulting in a marathon performance of extraordinary depth.

Music composed and performed live on stage by Canberra-based musician, Den Hanrahan, nicely underscores the play, creating a haunting atmosphere as the story unfolds.

Craig Alexander

Set designer, Imogen Keen, has provided a wonderfully spectacular decaying environment for the critic, symbolic of his disordered and self-destructive state of mind.

Director, Shelly Higgs, has created an impressive staging that brings every element of this show together.

Originally scheduled to have a live performance season at this time at The Street Theatre, the play is being presented by online live streaming free to registered audience members in their homes. It’s an interesting experiment that comes with its own set of challenges.

Rather than a flat filming of the production on stage, the company has opted to film it cinematically. It’s a good choice for this one character show which benefits from skilful close up camera work and occasional jump cuts to almost subliminal images, horror movie style.

Craig Alexander has adjusted his performance very well to this different medium, but there was a problem with a lack of clarity in the sound, making a lot of the dialogue difficult to follow. This was especially noticeable for much of the second act.

Overall, this was a technical experiment that worked very well for the most part. I’d still rather have seen it live in a theatre with an audience, of course.

Photo by Creswick Collective

Len Power’s reviews are also broadcast on the Artsound FM 92.7 ‘In the Foyer’ program on Mondays and Wednesdays at 3.30pm.

‘Theatre of Power’, a regular podcast on Canberra’s performing arts scene with Len Power, can be heard on Spotify, ITunes and other selected platforms or at https://player.whooshkaa.com/shows/theatre-of-power.

 

Theatre Network Australia - June 2020

Posted by Frank McKone

 

TNA E-News June 2020

We acknowledge that Australia and its performing arts industry have much to do and learn in committing to racial justice. We stand in solidarity with communities who are the survivors of racism, and more specifically First Nations people of this country.

TNA STUFF

We need your help today!
TNA and our colleagues believe that the federal government is working on final details of a support package for the arts this weekend. It will help if TNA subscribers ask your local MP (especially if they're from the Liberal or National parties) to support such a package. The arts is the second hardest hit industry. TNA has called for a $70m package for the Australia Council to support independents and non-profit companies. We also support LPA's $345m plan to restart and rebuild the live performance industry.

CONTACT US

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‘For Our Country’ tops ACT Architecture Awards, by Helen Musa

 

'For Our Country', Edition Office and Daniel Boyd. Photo Ben Hosking

“FOR Our Country,” the Australian War Memorial’s Aboriginal and Torres Strait Islander memorial, took out the top prize at the ACT Architecture Awards tonight, June 5, winning the Canberra Medallion.

Designed by artist Daniel Boyd and Edition Office Architects, the memorial commemorates the military service and experiences of Aboriginal and Torres Strait Islanders.

“For Our Country” also took out the top honour for small project architecture, winning the Cynthia Breheny Award, the Pamille Berg Award for Art in Architecture and the Robert Foster Award for Light in Architecture.

The AIA ACT jury chair, Marcus Graham, described the memorial as a provocative and important piece of work. “Physically small, but carrying an enormous weight of significance, ‘For Our Country’ reflects honestly upon a complex history, and looks forward to greater cultural understanding,” he said.

ACT chapter president Shannon Battisson drew attention to the high level of interest in the Sustainability Award this year with 14 entries.

“We had 43 entries across all of the categories this year, ranging from residential projects to large public commercial buildings, and the quality of these entries was exceptional. It’s clear that were leading by example in ACT,” he added.

Lemon Wedge House. Philip Leeson Architects. Photo Anthony Basheer.

Philip Leeson Architects won the Malcolm Moir and Heather Sutherland Award for Residential Architecture - Houses (New) for Lemon Wedge House, Joanna Nelson Architect won the Gene Willsford Award for Residential Architecture – Houses (Alterations and Additions) for Higgins Crescent Project, Guida Moseley Brown Architects won the Enrico Taglietti Award for Educational Architecture for the ANU College of Law, BVN won the Derek Wrigley Award for Sustainable Architecture for the Marie Reay Teaching Centre, also located at ANU, nettletontribe won The Sydney Ancher Award for Multiple Housing for Bruce Hall & Wright Hall: Hill Thalis Architecture + Urban Projects won the Sir John Overall Award for Urban Design for Campbell Section 5 Master Plan, and Ben Walker Architects won the COLORBOND® Award for Elm Grove House.

The ACT Law Courts by Lyons won the Romaldo Giurgola Award for Public Architecture and the W Hayward Morris Award for Interior Architecture.

The Emerging Architect Prize was awarded to Sarah Lebner from Light House Architecture & Science.

Greenwood House won the Sir Roy Grounds Award for Enduring Architecture. The house was designed by Ian Slater in 1975 in close collaboration with the client and contractor.

All ACT Chapter winners were selected by independent juries. All Named Award and Award winners will now progress to the National Architecture Awards.

For more information please contact ACT Executive Director Liz Lang on 0447 262 415.

List of winners:

Canberra Medallion

For Our Country by Edition Office and Daniel Boyd

Emerging Architect Prize

Sarah Lebner, Light House Architecture & Science

Residential Architecture – Houses (Alterations and Additions)

The Gene Willsford Award – Higgins Crescent Project by Joanna Nelson Architect

Award – Snorkel House by Philip Leeson Architects

Award - Marty + Naomi’s SunTrap by MAKO Architecture

Commendation – MM House by Collins Pennington Architects

Residential Architecture – Houses (New)

The Malcolm Moir and Heather Sutherland Award – Lemon Wedge House by Philip Leeson Architects

Award – Stepping House by Rob Henry Architects

Commendation – Coolbardie House by de Rome Architects

Commendation - AB House by Ben Walker Architects

Residential Architecture – Multiple Housing

The Sydney Ancher Award – Bruce Hall & Wright Hall by nettletontribe 

Commendation – Dominion Residence by Collins Pennington Architects

Commendation – Kingsborough – Warehouse by JUDD.studio

Commercial Architecture

Commendation – Civic Quarter by Cox Architecture and May + Russell Architects

Commendation - Di Riddell Student Centre, ANU by BVN

Interior Architecture

The W Hayward Morris Award – ACT Law Courts by Lyons

Award – ANU College of Law by Guida Moseley Brown Architects

Commendation – The Australian National Audit Office by Daryl Jackson Alastair Swayn

Educational Architecture

The Enrico Taglietti Award – ANU College of Law by Guida Moseley Brown Architects

Award – Marie Reay Teaching Centre, ANU by BVN

Commendation - St Mary MacKillop College Science Technology Engineering Maths (STEM) Centre by Thursday Architecture

Commendation - St Mary MacKillop College, Academic Resources Centre and Canteen by CCJ Architects

Public Architecture

The Romaldo Giurgola Award – ACT Law Courts by Lyons

Award - Kambri at ANU by BVN (public domain by lahznimmo architects and ASPECT Studios)

Small Project Architecture

The Cynthia Breheny Award – For Our Country by Edition Office and Daniel Boyd

Urban Design

The Sir John Overall Award - Campbell Section 5 Master Plan by Hill Thalis Architecture + Urban Projects

Award - ANU Kambri Precinct by lahznimmo architects, BVN and ASPECT Studios

Sustainable Architecture

The Derek Wrigley Award – Marie Reay Teaching Centre, ANU by BVN

Commendation - ANU College of Law by Guida Moseley Brown Architects

Enduring Architecture

The Sir Roy Grounds Award – Greenwood House (1975) by Ian Slater

COLORBOND® Award for Steel Architecture

Elm Grove House by Ben Walker Architects

The Pamille Berg Award for Art in Architecture

 For Our Country by Edition Office and Daniel Boyd

The Robert Foster Award for Light in Architecture

For Our Country by Edition Office and Daniel Boyd

This story first appeared at citynews.com.au

 

BEAUTY AND THE BEAST

Book by Anna Ledwich

Music & Lyrics by Richard Taylor

Director Dale Rooks

Chichester Festival Youth Theatre

2017 production streaming free from Chichester Festival Theatre’s website to 19 June

Reviewed by Len Power 3 June 2020

The original story of Beauty and the Beast was written by Gabrielle-Suzanne de Villeneuve in 1740.  A shortened version of the tale was published in 1756 by Jeanne-Marie Leprince de Beaumont.  Beaumont pared down the list of characters of Beauty and the Beast and simplified the story to transform it into a quintessential fairy tale.  This is the version that readers are most familiar with.

It tells the tale of a prince cursed and transformed into a hideous beast and the young woman imprisoned by him in his castle who grows to love him in spite of his appearance.

The 2017 Chichester Festival Youth Theatre production has been adapted from the original story by Anna Ledwich.  It has original music and lyrics by Richard Taylor. and it has been impressively directed by Dale Rooks with lots of character depth and skill in moving so many players around this stage.

This is a high standard and elaborate production with a large cast of performers aged under 25.  Everyone in the cast right down to the massive ensemble has notable stage presence and performs the show with energy and fine singing and dancing.

The striking production design by Simon Higlett is colourful and makes good use of the revolving stage.  It’s complemented by a moody lighting design by James Whiteside.  The costume design by Ryan Dawson Laight is excellent with lots of quirky characters spectacularly and originally dressed.  The show requires multiple costume changes and with the size of the cast, it must have involved designing hundreds of costumes.

The music and lyrics by Richard Taylor are charming with a couple of big numbers performed with gusto by the full cast as well as some appealing solos and duets by the leading players.

The major leads of Beauty and the Beast are performed and sung with great appeal by Mia Cunningham-Stockdale and Hal Darling respectively.

Nick Barnes has designed a massive puppet for the Beast that is very impressive. Hal Darling as the Beast works inside the puppet and creates the perfect illusion of this fearsome but strangely appealing character.  His transformation at the end of the show back to human form is cleverly done.

This is a fine show that will captivate children and adults alike.  It’s available for free streaming from the Chichester Festival Theatre’s website until the 19^th of June.

 Len Power’s reviews are also broadcast on the Artsound FM 92.7 ‘In the Foyer’ program on Mondays and Wednesdays at 3.30pm.

‘Theatre of Power’, a regular podcast on Canberra’s performing arts scene with Len Power, can be heard on Spotify, ITunes and other selected platforms or at https://player.whooshkaa.com/shows/theatre-of-power.

 

Traces Unseen

Photography Review by Brian Rope

Various artists: Traces Unseen

PhotoAccess Online Gallery (http://www.gallery.photoaccess.org.au/)

Until 20 June 2020

Traces Unseen features three interstate artists Damien Shen, Todd Johnson and Tara Gilbee, all working at the cutting edge of photomedia.

Shen has created and etched tintypes to respond to archives documenting his rich heritage of mainland China and the indigenous Ngarrindjeri people. Johnson has studied the effects of the geographical environment on our emotions and behaviour. Gilbee contributes solargraphic works capturing a forensic digital tracing of a quarantine site. Each has explored contemporary questions relating to personal identity.

In her catalogue essay, exhibition curator Aimee Board writes “Each exhibited artist calls into question the essence of the photograph as an imprint of light, while at the same time uncovering the historical role and narrative of the image."

Renowned for his skills as a draughtsman and explorations of his personal heritage, Shen combines traditional imagery and the archival source to create his works. His practice is to deconstruct the world around him to understand his identity. Here, he has drawn on archival images of paintings sourced from various Dynasty periods, tying in with family heritage from China. He shows us himself as Emperor mounted on horseback, but in his Ngarrindjeri homeland. This work strongly resonated with me, just a year after seeing some aspects of various dynasties whilst touring China.

Damien Shen, Never Venture, Never Win, 2020, etched tin type, 4 x 5 inches. Courtesy of MARS Gallery.

After making charcoal drawings of relatives as he recorded their oral histories, Shen photographed them. He overlaid the resultant images with intricately etched lines, exploring darker aspects of Australia’s complex past. The resultant masks are quite fascinating to look at, although I didn’t find them quite as compelling as some of his previous “vintage style” portraits.

Gilbee has a multidisciplinary approach to art making. Her practice moves between individual studio work to the exploration of interesting sites and context for making and presenting work, with a focus on the intervening spaces.

​

Using solargraphy, a pinhole photographic method for recording the marks of the sun rising and falling, she tells the story of the Old Quarantine site at Point Nepean in Victoria, set up in 1852 to protect the local population. Ships carrying diseased passengers were required to land and disembark, where luggage and people were disinfected before heading to Melbourne. Another appropriate exploration given the quarantine arrangements most recently used because of COVID-19. Gilbee says, With the pinhole,..it's like the porthole that you look out in a ship or a guard looking through to the inside of a cell. It has a really strong ocular and pupil effect…

​  

Tara Gilbee ‘Untitled’ (Solagraph – Nepean Quarantine Station (1) 6 months) 2017-2019

Digital scan of original photographic record. Dimensions variable.

Johnson employs analogue techniques to explore the materiality of photographic images resulting from a physical exchange between the body, film, and elements of the environment. His ongoing series, Eighty Lakes, documents numerous Australian lakes including Burley Griffin. Once developed, the film is later submerged in water collected on site, for durations of up to two months. Gradually, the film becomes malleable, as minerals, bacteria and pollution of the water create unpredictable abstractions. The shapes and patterns in these images are wonderful to explore.

Todd Johnson, 1 week, 3 days, 2 hours, 2020, archival giclee print, 80 x 80 cm

Johnson considers film to be an obsolete medium and sees a three parts connection between the obsolescence of film images, the technology itself, and landscape in an age of environmental instability. He speaks of “decaying slide film” productively performing the material embodiment of environmental deterioration. Many people scanning their old slide collections during COVID-19 isolation will have discovered decay in them, so should relate to that.

​

As curator Board writes “As luminous inscriptions of light, the works presented in Traces Unseen investigate the intangible aspects of histories and of place. They also capture, indirectly, points at which the producer and the produced converge.”

This review was also published in The Canberra Times and in Brian Rope Photography’s blog at https://brianropephotography.wordpress.com/, both on 30 May 2020.