CLOTHING THE LOOP 2026 - CIRCULAR DESIGN FESTIVAL - OPENING NIGHT FASHION SPECTACULAR

ADP dancer Jahna Lugnan performing in "Off the Fringes" during the opening night fashion spectacular.

 Presented by Australian Dance Party, and Kelli Studio as part of the 2026 Craft + Design Canberra Festival, supported by ACT Government and the Canberra Institute of Technology. Cr

Presented at CIT Woden Campus November 6 & 7, 2026.

Evening Spectacular, November 6^th   Reviewed by BILL STEPHENS

Building on its highly successful launch at The Vault last year, the event this year was staged over two days at the CIT Woden Campus.

The first evening of the festival was devoted to a lavish fashion spectacular, which began with an inspiring presentation by Australian fashion icon, Linda Jackson AO.

Fashion design icon Linda Jackson AO addressing the audience during the opening night fashion spectacular.

Jackson reminisced about the circumstances leading to the establishment of Flamingo Park Fashion with her design partner, Jenny Kee, and how that partnership led to them becoming acclaimed pioneers of Australian fashion. Her talk was presented in front of stunning film footage of garments and fabric designs which led to that acclamation.

A centrepiece of the evening was a new dance work, “Off the Fringes”, choreographed especially for the festival by Australian Dance Party Artistic Director, Alison Plevey.

ADP dancer Gabriel Sinclair performing in "Off the Fringes" during the opening night fashion spectacular.

Performed by ADP dancers, Ashlee Bye, Gabriel Sinclair, Jahna Lugnan and Max Burgess, costumed by Kelli Donovan and performing to an exotic soundscape performed live by Sia Ahmad, the work commenced with the dancers costumed in drab boiler suits, moving as though depressed.

The mood changed however when the boiler suits were discarded to reveal Donovan’s spectacular jewel-coloured creations, to which the dancers responded with cleverly choreographed lyrical movement suggesting a mood reaction to their clothes.

That idea was further enhanced by a third costume change which heralded a delightful segment during which each of the dancers returned to the stage to describe, with amusing, heightened gestures, the rescued garments they were wearing, and what those garments meant to them.

For Jahna it was her black tee shirt, worn over bright red pants, which represented her attachment to Canberra. For bare-chested Gabriel, it was his black tracky daks with “a hole in the knee and a split in the crutch”.

Max was proud of the singlet top, prized because of an adjustment by a friend. For Ashlee it was her elegant ombre silk dress, made with love by her Aunt-in-law, particularly treasured because of its concealed pockets.

Having neatly established the raison d’etre for the festival, the dancers vacated the stage amid appreciative applause, to music played by on a wooden accordion-like instrument by Sia Ahmad, who had joined them on stage.

Models displaying circular fashion during the opening night fashion spectacular

Then commenced the main event. A spectacular fashion parade demonstrating the endless possibilities of recycling discarded garments and materials, with more than sixty models showcasing the inventive creations of twelve participating design houses.

Modelling circular fashion during the opening night fashion spectacular

The parade commenced with garments by Corella & Crow, followed by Dissonance, Saloon, Fia Lucia, the Green Shed, Neo3DT, Treerose Revival, Magenta Fox, Harry’s Clarry, Blak Label Dreaming, Keli Studio and Linda Jackson.

Modelling a Linda Jacson creation during the opening night fashion spectacular

The event ended with all the models retaking the floor to provide one last look at their modelled garments, before inviting guests to join them on the dancefloor, or take opportunity to revisit the many stalls and seek out favourite pieces spotted during the parade, having   whetted their appetite for the myriad events scheduled for the rest of the festival.

Party time following the opening night fashion spectacular


Photos by O&J Wikner Photography.

 

   

 

 

ALTER - Liz Lea and Company

 ALTER by Liz Lea and Company, presented by The Bold Festival as part of the 2026 Craft + Design Festival, Canberra, Australian Capital Territory (ACT).
Belconnen Arts Centre, November 6-7, 2026.

Reviewed by Frank McKone
Nov 7 (2pm matinee)

Directors: Liz Lea & Peta Khan
Choreography: Liz Lea and company

Performers:
3 - Luvenia Kalia, Aida Redza, Jareen Wee
Virtual View - Lim Yu En, Mia Rashid, Aida Redza, Katie Senior, Jareen Wee

Creative Technologists: Low Zi Xiang and Steve Voon

Lighting Design: Karen Norris
Composer and Musical Director: Kay Ansah
Technical Director: Roni Wilkinson
Sound Operator: Kyle Sheedy
Production Manager: Anni Doyle Wawrzynczak

Events Marketing Manager: Christopher Carroll; Facilities Manager: Paul Portelli
Sidestage Production Services: Craig Dear

Photos by Olivia Wikner

Supported by ACT Government and Creative Australia.


ALTER is a highly imaginative “immersive dance and design” work, abstract in form while open to symbolic interpretation, in a general sense, but also in the particular, as I see it:

Beneath and between the dam walls of Canberra – Cotter, modern in the west; Googong, ancient in the east – the powers of water, light and history flow into and around us all, the spirit force often glorious, sometimes fearful, even unto the ultimate reality of fire and ash.

Yet life glides in and around through seeking out ourselves and others, to the beginnings of new generations – an ending, of hope, for the future – always.

The Company describes their work as “exploring the interplay between body, identity and cross-cultural exchange” between the Australian and Malaysian artists taking part – in itself a key aspect of multi-cultural Canberra life; at the same time, considering the formal recognition of the ancient and continuing art of our Indigenous peoples which introduced the performance, I found myself imagining the dancers as the water droplets from those two sources – the 1915 colonial Cotter Dam, and the land known as a place to unwind or relax, with the ancient Ngunnawal title Gugong, maybe some 20,000 years old, with the dam built in 1974.

The dramatic use of lighting and projection of images, including the shadows of the dancers on the rear screen, gives a strong sense of a fourth dimension beyond the ordinary – creating meaning in our own imaginations.

This, to me, is the purpose of art – opening our minds to unexpected possibilities – integrating in ALTER a fascinating choreography of screen visuals with the actions and emotions of the dancing, linked in musically with original sound and rhythm.

This is perhaps the most expressive of Liz Lea’s works that I have seen to date, like a wonderfully complex poem as the elements come together as you read, to form a complete creation: a new whole greater than its parts.  

A positive appreciation of life in Canberra, as people bring their children to join in on stage in a warm feeling of togetherness in the finale.

 

 

 

 

AMERICA - Fred Smith - The B - Queanbeyan Performing Arts Centre

 

AMERICA – Presented by Fred Smith.

The B, Queanbeyan Performing Arts Centre, November 3.

Reviewed by BILL STEPHENS.

Fred Smith presenting "America"

It took a cannily programmed concert on the eve of what could prove one of the most momentous days in American political history, for this reviewer to finally experience the brilliance of Fred Smith.

Folksinger, troubadour, balladeer, political satirist, storyteller, no matter which label seems most appropriate, Smith blithely discards normal rules of good presentation to mesmerise with the profound perceptiveness of his lyrics, and the ear-worm catchiness of his tunes.

To paraphrase the late Dolly Parton, it takes a lot of skill to appear so relaxed on stage, but it is precisely Smith’s relaxed demeanour that skilfully masks the meticulous preparation and attention to detail that is obvious in the professionalism of his performance.

Surrounded by a quintet of outstanding musicians in Dave O’Neill (Electric guitar, violin), Jacqui Bradley (Banjo, violin and backing vocals), Matt Nightingale (Double bass, backing vocals), Hayden Kinsman (Keyboard) and Mitch Preston (Drums), all of whom appeared to breathe with him, Smith delivered a masterful musical PowerPoint presentation of American history that was as enlightening as it was entertaining.

Striking visuals often proved as affecting as his razor-sharp verbal observations delivered among powerful songs, some funny, some sad, some both funny and sad, and most sugar-coated with catchy tunes.

Commencing with “Wind and Wind”, outlining the contribution of Irish immigrants to the growth of American mechanisation, Smith followed with “Long Run Wilmington Joe”, a comment on the Joe Biden administration, which led inevitably into “What Could Go Wrong” and the election of Donald Trump.

If on paper these song titles sound a bit dry, as delivered by Smith they are electrifying.

Songs like “Don’t Dig My Grave” and “Deep Deep River” highlighting pivotal incidents resulting from presidential decisions, especially the latter for which Smith declined to show the image which inspired it.

“Chinese Car”, a new song with references to the opera Madam Butterfly, and some unsettling images of Putin and Trump together, sounded a wry warning concerning a predicament in which the present administration has unwittingly found itself, while “Asshole” proved a heart-felt sing-along in which the audience happily participated.

However, not every song offered deep and meaningful comment on American politics.  

“Song of the Open Road” and “American Guitar” provided opportunities for Smith to share a self-deprecating account of his attempt to break into the American folk scene, and while “Addicted to Addiction” is a witty comment on America’s fascination with addictive substances, it could also be an alert to others in the audience still discovering the brilliance of Fred Smith, that attendance at his concerts could also become an addiction.

                                                           Photos by Sam De Sousa

This review first published in the digital edition CITY NEWS on 04.11.2026 Link here

 

AMERICA FRED SMITH

 

America. 

Written and performed by Fred Smith with band members Dave O’Neill, Jacqui Bradley, Mitch Preston, Matt Nightingale and Hayden Kinsman. Artistic Director Jordan Best. Lighting Linda Buck. Sound Engineer Adam Maples. Bicentennial Hall. Q Theatre. One performance only Tuesday November 3^rd.

Reviewed by Peter Wilkins

 

Fred Smith is the soothsayer who writes the songs we need to hear. If only every kid in high school could see Smith’s song cycle through American history. If only adults of voting age in America could witness the truth behind the fabric of the real fake news. Would it make a difference to how we see the American Dream? Possibly not but this is a concert that makes it impossible for Smith’s insights to fall on deaf ears.

America is Smith’s personal account of a nation built on migration (Wind on Wind), slavery, wars and divisive politics (What Could Go Wrong?). Seen through his eyes, he sings his songs of illumination from the south to the north, and the east and the west along the highways and the byways of a vast nation, teeming with contradiction united by a constitution and divided by a grand canyon of political, social and economic difference. Using projections to depict the people and events from the arrival of the Pilgrim Fathers to the time of Trump, Smith intersperses historical tales with accounts of his own experiences as the accompanying spouse at the Washington embassy and a touring folk singer at Folk Festivals throughout America. He is backed by outstanding band members Dave O’Neill on violin and electric guitar, Jacqui Bradley on backing vocals,banjo and violin, Mitch Preston on drums, Matt Nightingale on Double bass and backing vocals  and Hayden Kinsman on Keys. From soul to pop to rock and roll and folk Smith and his band are in perfect sync, taking us on a journey of discovery that is as engrossing as it is entertaining.

America is entertainment with a sting in the tail. Smith sings of a nation built on belief and competition and where violence is justified. His manner is casual, his appearance relaxed but his message is a barb to the conscience in Don’t Dig My Grave. He proudly  announces “George Bush. My Part in His Downfall” and the disastrous American penchant for starting wars with catastrophic consequence. Images glare from a screen at the back of the stage of Vietnam, Iraq, Afghanistan, and Iran.  Smith turns up the temperature of recrimination. History may have its own panacea as Smith exhorts his audience to  clap along or sing the chorus of Deep Deep River a politically charged narrative. But Smith’s facts are not fake news. They leave a bitter taste at an NRA convention or on the banks of the Rio Grande where a migrant father and his 26 year old  daughter drowned while attempting to evade Border Protection officers in their desperate search for a new life. Smith drives a stake into the heart of inhumanity. America delves deep into the nation’s tragedy. It mocks its absurdity. Smith is the master storyteller with anecdotal songs dripping with irony, witty and provocative, honest and insightful.

There is no ambivalence in Smith’s concluding commentary on America’s current presidential incumbent. “I’m An Asshole” leaves us in no doubt of his opinion of a man who inspires Smith’s ridicule. I am writing this after the Blue Tsunami that swept the Democrats to control of the Congress in the Mid Terms. America is Smith’s anthem of hope for a nation that he obviously regards with affection. However it may still be a couple of years before he can return to sing his Song of the Open Road.

There are lessons learned and lessons ignored in America’s crucible of contradiction. Smith and his band are troubadours of truth, minstrels with a mission. Sadly, America has left the building too soon, but if you happen to be on an open road near where it is showing get a ticket before it’s too late. This is one history lesson you won’t want to miss

Photos Sam de Souza and David Atfield

THE METAVERSE - Ausdance ACT 2026 Youth Dance Festival.

                 THE METAVERSE - Ausdance ACT 2026 Youth Dance Festival.

                    Performance on 29th October reviewed by BILL STEPHENS

Trinity Catholic College, Goulburn, performing "lost in the Signal"

For more than 40 years, Ausdance ACT has staged the annual Youth Dance Festival. In that time the event has become one of the ACT’s longest running and most significant arts programs.

This year the non-competitive event was staged in the Canberra Theatre Centre Playhouse, where over three night more than 700 secondary students from across Canberra and the ACT participated in the non-competitive event.   

Attending the final night, the immediate impression was how much the overall quality of the presentations had improved, no doubt due to dance being included in the curriculum of the participating schools and colleges.

Participating on this night were troupes representing Trinity Catholic College in Goulburn, Kingsford Smith School, Hawker College and Narrabundah College. Some institutions fielded more than one troupe including Amaroo School, St John Paul 11 College, Gungahlin College and Erindale College, all offering works responding to this year’s theme, “The Metaverse”.

The variation of interpretations of the theme was fascinating, but in all cases obvious thought and much rehearsal had gone into preparing each offering for an impressively presented program in which twelve widely varying works were presented in a little over an hour.

Trinity Catholic College, Goulburn, performing "Lost in the Signal"

Commencing the program, Trinity College Goulburn set a high bar with their work for which all the dancers were costumed in chic black and white leotards. Danced on a black-draped stage, their cleverly choreographed work was notable for its well-rehearsed presentation and effective use of hand-held lights.

The first of two works from Gungahlin College followed. “Infiltrated”, performed by 10 dancers from Year 12, costumed in white shorts and painted tops, featured striking use of shadows. The second, “The Disconnect”, performed by Year 11 students, wearing short, beaded skirts, closed the program. Both were notable for the originality of the demanding, well-danced choreography.

Amaroo School also offered two works.  “Back in My Day” was performed by a large troupe of Year 8 dancers costumed in blue shorts, white shirts and black ties, offered a light-hearted look back at dance styles through the years. Their second item, performed later in the program by another large contingent of years 9 & 10 students wearing black pants and various shades of pink tops, was entitled “Dress to Impress”.

Erindale College performing "Reconnected". 

The first of two items by Erindale College, a cleverly choreographed, scrupulously rehearsed work entitled “Reconnected” was performed by year 10-11-12 girls in black costumes highlighted with glimpses of bright colour. Their second offering “Piece of Me” performed by year 11-12 students costumed in black and white, commented on the influence of technology, through inventive choreography featuring impressive unison floor work.  

St John Paul 11 College performing "Finding My Frequency"

Kingsford Smith School chose playful, multi-coloured costumes for its dancers to interpret the possibility of being trapped in virtual reality. Entitled “System Override”, the team included four male rap-dancers and ended with a cleverly integrated tableau.

Perhaps the most moving work of the night was performed by eight final year students from St John Paul 11 College, entitled “Archive: Class of 2026”.  For the duration of the work the students sat on stage watching a filmed montage of their experiences and achievements during their school years, ending with the students departing the stage to commence new lives.

St John Paul 11 College performing "Finding My Frequency"

A second work from St John Paul 11 College, entitled “Finding My Frequency” was performed by years 7 – 12 students.  A light-hearted look at diverse dance styles over the years, this work featured well danced examples of various dance genres, among them ballet and tap dance.

Hawker College performing "Unmasked"

Hawker College contribution, “Unmasked”, performed by dancers wearing gold masks over sequined tops and black pants, encouraged viewers to discard their masks and reveal their real selves.

Narrabundah College performing "Escape the Metaverse"

Narrabundah College offered “Escape the Metaverse” performed by 8 girls in shiny white costumes with a lone male desperately trying to find his place.

As the multitude of dancers who had performed in this night’s program filed on to the stage for their final bows, it was impossible not to be impressed by the realisation of the amount of time, skill and commitment that had been poured into staging this performance.

Not only by the indefatigable team at Ausdance ACT, but also the choreographers, teachers, costumiers, creatives and of course the young dancers themselves who, for the privilege of representing their school or college, had spent long hours perfecting the impressive ensemble works presented over the three nights of the festival.

                                                    Photos by Andrew Sikorski

 

STRINGS IN SPRING III: FIRE & FOLKSONG

 

Presented by David Pereira

Australian Centre for Christianity & Culture, Barton November 1

 

Reviewed by Len Power

 

A Hungarian inspired program of works for cello, piano and violin promised to be memorable, but with four top musicians to play them, the result was superb.

The program ranged from Franz Liszt, Johannes Brahms and David Popper from the 19^th Century, to Béla Bartók and Ernst von Dohnányi from the 20^th century. There was also a first performance of a new work by our 21^st century cellist, David Pereira.

There were spoken introductions to each work, but the amplification of the microphone used, or the acoustic of the performance space, or a combination of both, made them a serious challenge to hear clearly.

Pereira was joined by Edward Neeman, piano, for the first work, Ruralia Hungarica for cello and piano Op.32d, by von Dohnányi. Immediately, we were plunged into the fiery, passionate music so distinctive of Hungary. This highly romantic work engaged the emotions and was given an excellent performance.

Edward Neeman

Edward Neeman then played the solo piano work, Funérailles, by Franz Liszt. It was written as a tribute to three of Liszt’s friends who suffered in the failed Hungarian uprising against Habsburg rule in 1848. Neeman performed this highly emotional, intense and demanding work brilliantly and fully deserved the sustained applause from the audience at the conclusion.

Eloise Ng (cello), Edward Neeman (piano), David Pereira (cello)

David Pereira was joined by Eloise Ng, cello, and Edward Neeman, piano, for the first performance of his new work, Variations on a Hungarian Folksong. This lush, melodic and appealing work was particularly notable for the fine cello playing of Ng and Pereira.

Eloise Ng, cello, then joined Edward Neeman, piano, for David Popper’s Hungarian Rhapsody for Cello & Piano Op. 68. This fiery, complex work, composed in 1893, and played so well by both performers, was a particularly fine showcase for Ng’s excellent cello playing.

Tor Frømhyr (violin), Edward Neeman (piano), David Pereira (cello)

Pereira, Neeman and guest artist, violinist Tor Frømhyr, next played Brahms’ Andante con moto, Trio No. 2 in C major, Op. 87. Melodic and distinctly Hungarian, the three performers gave it a stirring and exciting performance.

Edward Neeman then performed a piano solo of Liszt’s Paganini Étude No. 1 in G minor S141.The light and shade in his playing added so much emotion to this beautiful work.

The final work of the concert was Béla Bartók’s 1^st Rhapsody for Cello & Piano. It was played by Neeman and Pereira. Their incisive performance of Bartók’s complex and distinctive work was a rousing end to this excellent concert.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 2 November 2026.

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/.

Len Power also presents the weekly Concert Hall program on Artsound FM, playing recordings of some of the best concerts from in and around Canberra. Concert Hall can be heard on Sundays at 8pm and is repeated on Wednesdays at 2pm.

 

GYPSY - A Musical Fable - Queanbeyan Players - The Q.

 

Emma White (Rose) - Elodie Sweett (Little Louise) - Matilda Hutchinson (Baby June) - "Gypsy"

Book by Arthur Laurents - Music by Jule Styne - Lyrics by Stephen Sondheim

Directed by Jude Colquhoun – Musical Direction by Brigid Cummins

Set Designed by Jude Colquhoun – Costumes designed by Suzan Cooper

Lighting designed by Zac Harvey – Sound Design by Telia Jansen

The Q, Queanbeyan Performing Arts Centre -October 30^th to November 8, 2026

Opening night performance on 30^th October reviewed by BILL STEPHENS

Emma White as Rose in Queanbeyan Players production of "Gypsy"

 The role of Rose in the musical Gypsy is considered the Holy Grail for most musical theatre leading ladies.

Written specifically for Ethel Merman, with a book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim, the storyline for Gypsy is loosely based on the 1957 memoir of striptease artist Gypsy Rose Lee.

The musical however focusses on Lee’s mother, Rose, and her efforts to live her life through her two daughters, June and Louise. The character of Louise is based on Lee, while June is based on Lee’s sister, actress June Havoc.

When Gypsy premiered on Broadway in 1959, American theatre critic Frank Rich described the musical as “nothing if not Broadway’s own brassy, unlikely answer to King Lear”, while Clive Barnes described Rose as “one of the few truly complex characters in the American musical”.

In Queanbeyan Player’s production, directed and designed by Jude Colquhoun, with costumes by Suzan Cooper, Rose is played by Emma White, who certainly has the clarion voice of a Merman, and is a formidable actress who manages to make the audience care about Rose despite her “take no prisoners” determination to make her daughters theatrical “stars” whatever the cost.

Steven Galinec (Herbie) - Emma White (Rose) 

However, White’s propensity to drop her voice suddenly during important speeches, therefore denying her audience significant information, along with an unsettling tendency to shout into her microphone during tense moments, weakened the impact of her otherwise excellent performance.

Paris Ellis (Dainty June) - Emily Pogson (Louise/Gypsy)

Emily Pogson makes Louise’s transition from talentless ‘spare’ to sophisticated burlesque queen, believable, while Paris Ellis, faced with the formidable challenge of following diminutive Matilda Hutchinson as Baby June, still managed to charm with her portrayal of the maturing Dainty June, the favoured daughter who escapes her mother’s clutches.

Steven Galinec brought a natural charm and fine singing voice to his performance as the ever-reliable, Herbie, while Alissa Pearson, offered a scene-stealing double-act in contrasting roles, first as the efficient Miss Cratchet, before lighting up the stage as stripper Electra when she joined Aleisha Croxford as Tessie Tura, and Sarah Hull as Mazeppa to enlighten the audience to the key to success as a stripper with “You Gotta Get A Gimmick”.

Allisa Pearson (Electra) -Aleisha Croxford (Tessie Tura) - Sara Hull (Mazeppa)

To do justice to the show’s superb score, which contains such classics as Everything’s Coming Up Roses, Small World, Together Wherever We Go, and Let Me Entertain You, Queanbeyan Players has mounted an excellent 22-piece orchestra, under the baton of Brigid Cummins.

But the decision to place the orchestra onstage, visible throughout the entire show, provided a series of visual impediments which compromised the success of the production.

Apart from making nonsense of Rose’s instructions to the orchestra, delivered to the orchestra pit in front of her, with the orchestra clearly behind her, it gave the show the appearance of being a concert version, rather than a full theatrical presentation.

Scenic elements were bundled on and off, in full view of the audience, lessening their impact, continually interrupting the pace of the show, and despite everyone’s best efforts, providing the show with an overall scrappy appearance, despite the spectacular lighting design by Zac Harvey.

Also, although the orchestra sounded magnificent once it settled on opening night, it was a shame that the celebrated overture got off to a shaky start, sounding under-rehearsed with significant sound balance issues.

A shame, given that the overture is the first thing the audience hears and therefore provides the all-important first impression of what is to follow.

Nevertheless, Queanbeyan Players is to be applauded for taking on the challenges and providing a welcome opportunity to experience one of Broadway’s most celebrated musicals.

 

                                               Photos by Janelle McMenamin

 

  This review first published in the digital edition of City News on 30.10.2026. Link Here