TJ Phillipson Semblance
at Photoaccess Manuka
Just when I think 2009 has drawn to an artistic close, Photoaccess makes a last minute dash with one of the best exhibitions I have seen all year...Read whole review
Yolande Norris
Saturday, December 19, 2009
Thursday, December 10, 2009
ANGELINA'S STAR PERFORMANCE
English National Ballet,
Canberra Theatre, December 3-5
Reviewed by Bill Stephens
For the second time in as many weeks I found myself in the Canberra Theatre, surrounded by highly excitable little girls in ballet dresses, and as thoroughly enchanted by a show as they were. (I hope this is a time of year, and not a time of life)
"Angelina's Star Performance" is a delightful ballet production, presented by the English National Ballet, which follows the story of a precocious mouse named Angelina Ballerina , and her efforts to rehearse her friends in a production of "The Sleeping Beauty", which they duly present before the Queen.
Anyone familiar with the "Angelina Ballerina" books by Helen Craig and Katherine Holobird, would note immediately that the very pretty set is straight out of the book illustrations, and the characters looked and acted exactly as they do in the books, except that they danced very clever choreography by Antony Dowson, to the glorious music of Tchaikovskys "Sleeping Beauty" carefully re-arranged to suit the action on stage.
At first I found myself wondering if the choreography may have been a bit sophisticated for the littlies, but soon noticed that those around me were absolutely transfixed on the stage .. they were involved in the story and could'nt care less about choreography.....and that was what I found so exciting. These kids were having a really magical theatrical experience!
The first act of the ballet concerned itself with the rehearsals for "The Sleeping Beauty", during which the snooty princess danced badly, some of Angelina's friends mucked up, and Angelina herself threw a tanty.
For the second act..the set cleverly converted into a pretty Victorian theatre and the mice presented the ballet of "The Sleeping Beauty" to the appreciative Queen seated in the Royal Box.
As I said, the kids could'nt have cared less about the choreography, but we older people took joy in noting that Angelina's production of "The Sleeping Beauty" was exactly like the real one...except it did'nt take three hours...only 25 minutes. The fairies brought their presents.. princess pricked her finger..everyone in the palace fell asleep..and duly woke up again when the handsome prince kissed the princess.
The choreography and costumes were full of clever references to the real ballet, and the dancing was precise and athletic, even though the dancers were clad in fatsuits to make them appear more mouselike.
During interval a couple of excited budding ballerinas began to twirl and whirl in front of the stage. In no time at all they were quickly joined by 40 or 50 more little girls (and even some little boys) all trying to imitate what they had seen on the stage. This continued all through interval until the lights dimmed for the second act. Afterwards I saw plenty of kids holding their parents hands and skipping along as they left the theatre. It was obvious that for them, "Angelina's Star Performance" had been a magical introduction to the world of theatre and ballet.
Thank you English National Ballet !.
Canberra Theatre, December 3-5
Reviewed by Bill Stephens
For the second time in as many weeks I found myself in the Canberra Theatre, surrounded by highly excitable little girls in ballet dresses, and as thoroughly enchanted by a show as they were. (I hope this is a time of year, and not a time of life)
"Angelina's Star Performance" is a delightful ballet production, presented by the English National Ballet, which follows the story of a precocious mouse named Angelina Ballerina , and her efforts to rehearse her friends in a production of "The Sleeping Beauty", which they duly present before the Queen.
Anyone familiar with the "Angelina Ballerina" books by Helen Craig and Katherine Holobird, would note immediately that the very pretty set is straight out of the book illustrations, and the characters looked and acted exactly as they do in the books, except that they danced very clever choreography by Antony Dowson, to the glorious music of Tchaikovskys "Sleeping Beauty" carefully re-arranged to suit the action on stage.
At first I found myself wondering if the choreography may have been a bit sophisticated for the littlies, but soon noticed that those around me were absolutely transfixed on the stage .. they were involved in the story and could'nt care less about choreography.....and that was what I found so exciting. These kids were having a really magical theatrical experience!
The first act of the ballet concerned itself with the rehearsals for "The Sleeping Beauty", during which the snooty princess danced badly, some of Angelina's friends mucked up, and Angelina herself threw a tanty.
For the second act..the set cleverly converted into a pretty Victorian theatre and the mice presented the ballet of "The Sleeping Beauty" to the appreciative Queen seated in the Royal Box.
As I said, the kids could'nt have cared less about the choreography, but we older people took joy in noting that Angelina's production of "The Sleeping Beauty" was exactly like the real one...except it did'nt take three hours...only 25 minutes. The fairies brought their presents.. princess pricked her finger..everyone in the palace fell asleep..and duly woke up again when the handsome prince kissed the princess.
The choreography and costumes were full of clever references to the real ballet, and the dancing was precise and athletic, even though the dancers were clad in fatsuits to make them appear more mouselike.
During interval a couple of excited budding ballerinas began to twirl and whirl in front of the stage. In no time at all they were quickly joined by 40 or 50 more little girls (and even some little boys) all trying to imitate what they had seen on the stage. This continued all through interval until the lights dimmed for the second act. Afterwards I saw plenty of kids holding their parents hands and skipping along as they left the theatre. It was obvious that for them, "Angelina's Star Performance" had been a magical introduction to the world of theatre and ballet.
Thank you English National Ballet !.
Friday, December 4, 2009
2009 ANU School of Art Graduate Exhibition
I have posted some of my thoughts on this year's fresh crop HERE.
If anyone is keen to check out what the latest Art School graduates have to offer, the exhibition opens tonight, complete with award ceremony, and continues through until December 13.
Yolande
If anyone is keen to check out what the latest Art School graduates have to offer, the exhibition opens tonight, complete with award ceremony, and continues through until December 13.
Yolande
Monday, November 30, 2009
Play: NOT AXEL HARRISON Malcolm Miller
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.
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.
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
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