Perfect 5ths - Review

Perfect 5ths
The Metropolitan Orchestra
Eugene Goosens Hall
ABC Centre
Sydney
Reviewed by Ben Oxley

The Metropolitan Orchestra, conductor Sarah-Grace Williams

From the famous fateful phrase to the rousing finale, this was seminal Beethoven. All our lives are defined by these hammering, questioning tones. "What have you done -, what have you done! - -". It even spawned a nightclub mega hit. Disco, film score, and PDQ Bach's clever commentary of the 1st movement as a sports game.

It also reminds me of the shortest critique of an orchestral concert: XYZ Symphony Orchestra played Beethoven. Beethoven won.

The Metropolitan Orchestra under their Artistic Director, Sarah-Grace Williams gave nobility and a muscular tautness to the 1st movement. Wind solos were well defined, with 1st clarinet and 1st bassoon evident throughout.

The piece is also a showcase for the lower strings, with fine ensemble and balance across the sections. Trumpets were crisp and clear, and once the trombones found their way, it made a strong and compelling final section. Timpani playing was a real feature.

With the elation of the last movement taking us to the interval, we returned to the sobbing strains of wintry Russia. This is where Williams' experience shows out: she asks for long lines, inviting the strings in particular to sustain broad tempi, suggestive of the vast plains, and empty fields blown cold by arctic winds.

The brass were bolstered by some excellent tuba playing, and gave smouldering depth to the ensemble. Piquant winds gave way to the quintessential string sound, so well paced in the 2nd movement. The horn solo sustained the broad triplets, and drew us into the drawing room of the house. Here the piece was approached with reverence, as if returning to a nobler, more prosaic age.

Tchaikovsky shares with Beethoven a hopeful and uplifting conclusion. Apart from some attention to detail, the big finale was well constructed, and had some genuine Slavic brilliance. Brass chorales were handsomely set against the horn chords, with a glistening lustre of strings bringing out the authentic Tchaikovsky sound.

In five years this orchestra has matured in sound and style, and become a serious contender in the symphonic canon. The love of playing is still in evidence, and the rewards are being repaid: accompanying Sumi Jo, David Helfgott, and being the 'band' that will take on the projects that need passionate playing.

Happy birthday to TMO, and may you continue to engage us in childlike wonders of your special tones. What a blessing for children to hear this, and carry the memory of such joyous music-making! Book in for 2014 now.

LOVE FIELD; A FLIGHT OF FANTASY - Review

Reviewed by Regi Su
From the 24th of October until the 2nd of November, The Tap Gallery in Darlinghurst hosts the world premiere of Ron Elisha’s Love Field; A Flight of Fantasy. In this very interesting account of experimental history, playwright Elisha explores a very tense flight on Air Force One to Washington just after the assassination of John J Kennedy. The play imagines a conversation between Lyndon Baines Johnson and Jackie Kennedy over the still-warm coffin of her husband, President Kennedy.

The play hinges on character dynamics and the play shifts in power very easily. In portraying character, we see a distraught Jackie Kennedy in her overwhelmed state of grief, still covered in the blood spatters from the assassination. We are drawn into her closeted world of being first lady, love of America and doting wife. From there, we see her demise as she realises all the hopes for her future and the future of America have gone down with her husband. Meanwhile, LBJ has just had greatness thrust upon him in a very untimely manner. We see his character development shift and change along the play, according to his interactions with Jackie; his apprehension towards this new role, his vulnerability and finally his newfound Presidential confidence.

Lizzie Schebesta and Ben Wood performed with so much power, conviction and passion as Jackie Kennedy and Lyndon Baines Johnson. Schebesta was feisty, like a live cracker and her performance seemed very akin to the characterisation of a grieving First Lady. Schebesta is very powerful on stage and has a lot of control, attention to gesture, detail and movement. Wood performed LBJ with such consistency. This man had stage presence and confidence and he was so easy to listen to.

In my opinion, the play was rather rushed to come to a conclusion. At times, I wasn’t sure where the plot was going because the audience was only peering in on an in-flight conversation between the two leads. Then the characters shifted and I felt the power seemed a little unbalanced. I think the ending was believable and the actors carried the play with their passionate performances, however I think had there been time for an interval, the final character twists may have seemed less rushed.

Apart from that, I was wholly impressed with the production. The set was perfect and the use of space was economical and rather clever. The sound and lighting was carefully managed, with interjections of multimedia. Actual archival footage from that fateful day in November, 1963, coupled with authentic sound bites really added to the play. I was very impressed. Furthermore, the Tap Gallery was a very amiable host for this event. Comfortable for an intimate audience, the Tap Gallery is a nice fusion of art and culture in the one centre.

I’d recommend catching Love Field in commemoration of the Kennedy assassination’s 50 year anniversary and I’d recommend it to people who are interested and curious at all things historical. It was a great experimental history.

Dirty Rotten Scoundrels - Review

Dirty Rotten Scoundrels
Theatre Royal, Sydney
Reviewed by Ben Oxley

Credit: dirtyrottenscoundrels.com.au

Tony Sheldon (Lawrence Jamieson), Matt Hetherington (Freddy) and Amy Lehpalmer (Christina Colgate) combine expertly to bring a fast moving musical comedy to the stage. By the response from the opening night audience, it was clear the show is a big hit, thanks to the work of Roger Hodgman. You may have come to the theatre expecting something else, but you go out with a buzz, whirling around the dance floor.

'Great Big Stuff' sets Freddy's aspirational stall out; what he doesn't know is how he will figure in this elegant swindle. 'Love Sneaks In' is the perfect foil for this, expertly contrasting the two cads. In fact, David Yazbeck’s clever score takes you on a journey through cabaret and Broadway styles. You feel like you know these songs.

'Oklahoma?' is more than a passing nod to the more familiar musical. Katrina Retallick as Jolene is a firm favourite, giving home-style glitz to her role. She brings a cast iron brass to the elegant world of Beaumont sur Mer. Her only challenge is how to deal with 'Ruprecht', Freddy's take on Lawrence's special needs sibling.

Anne Wood, as the medicated Muriel, has the experience and timing for "What Was a Woman to Do". Her balcony scenes, with Andre (John Wood) are beautifully crafted and deftly delivered from both of them.

But the songs sell the show, with "The Miracle" in Act I Finale, "The More We Dance" and the final "Dirty Rotten Number" giving the cast and fabulous ensemble much to create lasting impressions.

Choreography by Dana Jolly had the feel of elegant revue, with lovely use of the stage, balustrade and staircase. Michael Hankin created a summery set, allowing the action to rattle on, costume and scene changes taken onstage when needed.

Nicholas Rayment’s lighting is everything, if you agree with Tony Sheldon. It is also key to the final outcome of the scam. Big rap for music director Guy Simpson and his orchestra in keeping the story alive through the twists of this tale. While you might not be able to hum the tunes on first hearing, this is a welcome return to stylish musical comedy of yesteryear, with plenty of today's jokes. Go!

For more information go to www.DirtyRottenScoundrelstheMusical.com

An Ordinary Person - Review

Reviewed by Nathan Finger and Sydney Abba

Now playing with the Sydney Independent Theatre Company is Robert Allan’s new play, An Ordinary Person (2013). This is a refreshing piece of theatre: it tells a genuine and by turns touching story, with Allan taking the issue of victimhood as his springboard. At the opening we meet Aggie and Topher, an old married couple who are set in their ways and comfortable with each other. However, they aren’t without a veiled past. Aggie became pregnant at the age of 14 and was made to give up her daughter for adoption, the story being that Topher had forced himself upon her. Only now, at the age of 35 has their daughter, Louise, sought them out as part of her own healing process. There are a couple of twists in this play so one wouldn’t want to give any of it away. Needless to say, there are some well-crafted and nuanced characters in this piece who have and continue to make difficult life decisions, though they genuinely attempt to be the best they can be, particularly Topher.

This play is making an important statement on what it is to be a victim. It explores how victimhood defines us and how we deal with it, for almost all of the characters have suffered in their past. We can ignore and repress these feelings, but this doesn’t lead to healing; we can make a fetish out of our suffering, but this only locks us into the past and prevents us from living. In the end, Aggie proves that the only way forward is to accept what has happened and recognize what that means for you, but ultimately to let the past be the past.

Cherilyn Price plays Aggie Reynolds, the mother that would never be. Aggie barely copes with loss and it affects her courage in life. In performance Price gives us Aggie’s struggle and is clearly a strong presence on stage. Her daughter Louise (played by Mel Dodge) similarly struggles with a traumatic past. In fact, she defines herself by it. Louise attends everything from support groups and healing centres, to meditation and stone sculpting, all in an effort to finally ‘deal’ with her past. Dodge gives us this ‘love-to-hate’ character, and is a wonderfully tight screw in every scene.

Across town is Carla Nirella whose character Fiona is caught in a deadend relationship with Nathan. Nirella was impressive for producing a nicely measured performance. She showed us the complexities of a long term but tumultuous relationship, where leaving threatens to abandon. Nirella continued to show us how hard this woman struggles to breathe in a partnership that has come to surround her life.

The stand out for the evening was David Jeffery playing Topher. Jeffery arguably produced the most complex character, harmonizing the multiple layers within the man. He presented that instantly recognizable Australian bloke, whilst at the same time negotiating the deep set repression that haunted his character. It was a difficult task which he more than pulled off, producing supple performance.

This is a nicely crafted story, and Allan has a knack for the nuts and bolts scene work, whilst maintaining his broader theme. This is one of the best productions at SITCO this year and well worth the trip in.

An Ordinary Person is playing with the Sydney Independent Theatre Company until the 16th of November. For more details see their website: www.sitco.net

Mini Festival Hub in Sydney Town Hall launches Sydney Festival 2014

“We are more than a bit excited about our 2014 Sydney Festival! Our new Festival Village in Hyde Park will be everybody’s favourite hangout this summer with free fun and ticketed events on offer from morning until late at night. If you are really into your arts, Sydney Festival will not disappoint, with opera, dance, theatre and music acts from across 17 countries”
Lieven Bertels, Festival Director

Following the official launch of Sydney Festival 2014 at 7pm on Wednesday 23 October, a mini Festival hub in Sydney Town Hall from Thursday 24 October – Sunday 27 October will offer Sydneysiders new ways to interact and engage with the program, and the first opportunity to purchase single tickets to Sydney Festival events.

Single tickets are available to the rest of the general public over the phone and online on Monday 28 October 9am. Multipacks can be purchased by phone and online from Thursday 24 October 9am.

In Lower Town Hall, an interactive multimedia exhibition will work as a live brochure to highlight key aspects of the program, with a dukebox to spin highlights from next year’s Spiegeltent music offerings, video footage from some of our biggest events, and special exhibits relating to aspects of the program.

The Australian War Memorial has generously granted Sydney Festival the loan of two special objects representing the significant theatre work and world premiere, Black Diggers. Black Diggers will uncover the contribution of the First World War Aboriginal and Torres Strait Islanders Diggers, following their exceptional stories from their homelands to the battlefields of Gallipoli, Palestine and Flanders. “Carmichael’s boomerang” will be one of the objects on display which was presented to Captain A C Carmichael, 36 Battalion AIF, by the Premier in 1918 for recruiting a large number of Aboriginal Diggers to serve in the Australian Imperial Force in the war. The Military Medal awarded to Aboriginal Digger Frederik Prentice, who was promoted to the rank of Corporal during his time in the AIF, for great courage, resource and ability in his actions in battle will also be featured in the exhibition.

Cult Melbourne group Boxwars have given us a preview of one of the Mad Max inspired suits they will be creating (and smashing) in the Parramatta Opening Party 2014 celebrations. Other freestanding exhibitions on offer include a replica of the graffiti decorated road case in the modern take on Shakespeare Othello: The Remix, the neon lighting of Big Star’s Third to celebrate their anticipated Enmore performance in January and the photographic chance to put yourself on the cover of our 2014 brochure - a guaranteed instagram favourite!

Festival Director Lieven Bertels will offer guided tours of the exhibition and the Sydney Festival 2014 brochure each day and a cash bar on Thursday 24 October and Friday 25 October will help get Sydney in the mood for January.

This is a new way to engage with the program – and if you’re a keen bean who comes along to Sydney Town Hall, you’ll get the first bite of the cherry when it comes to buying single tickets to the Festival. www.sydneyfestival.org.au

Mini Festival Hub Opening Hours:

Thursday 24 October 11am – 8pm (5pm – 8pm Cash Bar)
6:30pm Guided Tour with Lieven Bertels
Friday 25 October 11am – 8pm (5pm – 8pm Cash Bar)
6:30pm Guided Tour with Lieven Bertels
Saturday 26 October 10am – 4pm
2pm Guided Tour with Lieven Bertels
Sunday 27 October 10am – 4pm
2pm Guided Tour with Lieven Bertels