Sport for Jove's Merchant of Venice

http://www.sydneyartsguide.com.au/sport-for-joves-merchant-of-venice-at-the-york-theatre-seymour-centre/ Under the excellent direction of Richard Cottrell Sport For Jove have brought us a most impressive, tense version of one of Shakespeare’s troubling plays, THE MERCHANT OF VENICE. Although classified as one of Shakespeare’s comedies, with a mostly happy ending, there is plenty of sinister drama happening behind the scenes. This production, with the play a little abridged, is slickly and briskly delivered. Cottrell’s version sets the events just before the Second World War. Mostly the men are in expensively cut elegant suits, the women dressed in lovely flowing dresses. Anna Gardiner’s set design places the characters in a very posh, gold and white art deco world featuring revolving doors and sliding panels. This Shakespeare play examines issues of hate, greed , resentment, racial intolerance and seeking revenge for long held grudges, but also shows the other side- the need for compassion and mercy. At the centre of Shakespeare’s THE MERCHANT OF VENICE is its troubling anti-Semitic portrayal of the main character, Shylock, the Jewish moneylender. Nowadays productions have to consider adjusting their versions to be acceptable to contemporary views while still remaining faithful to Shakespeare’s original. As the production is set in pre-WWII, we are encouraged to see Shakespeare’s aspersions in a context relating to the rise of Nazism. John Turnbull as Shylock is fascinating– he is cold, implacable and chilling in the courtroom scene. Full of vigour he is sinister and dangerous.Yet we also see good sides to his character and can, to some degree, sympathise with his lust for revenge without mercy. It is a stylish , mesmerising performance at once precise and, at the same, time powerful. Portia, played by the beautiful Lizzie Schebetsa, is elegantly portrayed . Portia is shown as thoughtful and extremely clever revealing an intelligence and strength that continues throughout the play. Her famous ’Quality of Mercy’ speech was very impressive . As Portia’s true love Bassanio, the very handsome Christopher Stalley was resolute, bold and determined- a delight to watch. As the second pair of lovers, Gratiano (Bassanio‘s friend ) Damien Strouthos as Gratiano (Bassanio’s friend) and Erica Lovell as Nerissa (Portia’s lady-in-waiting/companion/confidant) provided charming, necessary comic relief when needed. James Lugton was quiet and understated in his delicately nuanced and measured performance as Antonio, the eponymous merchant of the title who stands to lose everything. There was fine ensemble work from the supporting cast. Special mentions…Michael Cullen who showed excellent comic timing playing Lancelot Gobbo, Bassanio’s servant and one of Shakespeare’s clowns. Lucy Heffernan as Jessica, Shylock’s daughter, was sweetly determined and enchanting. Jason Kos was stalwart as her suitor Lorenzo. Aaron Tsindos revels in his over the top portrayal of the arrogant Prince of Morocco, almost stealing the show. Richard Cottrell provides audiences with an interesting, enigmatic ending. Summing up, this was a very challenging, thought provoking and exciting production of this dark Shakespeare comedy. Running time 2 & ½ hours including one interval. Sport for Jove’s production of THE MERCHANT OF VENICE is playing the York theatre at the Seymour Centre until Saturday 30th May. For more about this production visit http://www.sportforjove.com.au. Share this:3Click to share on Twitter (Opens in new window)3Share on Facebook (Opens in new window)Click to share on Google+ (Opens in new window)Click to email this to a friend (Opens in new window)

The ACO in Mostly Mendelssohn

This was divine http://www.sydneyartsguide.com.au/australian-chamber-orchestra-mostly-mendelssohn-at-sydney-city-recital-hall/ This incredible concert had the ecstatic audience cheering at the end. Led by Satu Vanska and with amazing guest artist Stefan Jackiw the ACO was in glorious, inspired form . First was the enchanting Mendelssohn String Symphony No. 9 in C Minor , ‘La Suisse’ . The first movement opened sharply then became brighter and faster with flourishes of the repeated dance like melody. The second movement was divine, heartbreaking and lyrical. It had a semi Baroque feel as well as similarities to Mendelssohn’s ‘ Midsummer Night’s Dream’ music and included glorious cello sections. It was ravishing, full of exquisite beauty. The third movement had a very busy opening with hints of Vivaldi’s ‘The Four Seasons’’. Again the melody was stated and repeated , with circling flourishes and scurries. This movement had a dramatic,operatic feel at times. It developed to become a dialogue between the two sections of the orchestra that were slower and more lyrical but the work was brought to a conclusion with brisk flourishes. The second work, the Bottesini ( arr. Rofe) Grand Duo Concertante for double bass and violin featured the extraordinary talents of the ACO’s own Maxime Bibeau on his late 16th century Gasparo da Salo double bass and the astonishing special guest Stefan Jackiw on violin. Jackiw had his eyes closed, succumbing to the music while Bibeau stared intently in concentration at his fellow soloist. There was tight, synchronised playing by both. At times it was dynamic and fiery, I thought of Bizet’s‘ ‘Carmen’, at other times waltz like. Mostly the two soloists tossed the melody back and forth in dialogue as equals with the body of the orchestra acting as accompanying chorus. Jackiw’s bravura playing was superb , the violin soared passionately and there was some blisteringly fast fingering at times as well as the playing being achingly emotional. After interval we heard the playful Wolf ‘Italian Serenade’ which sounded far more contemporary than the other previous works. It was swirling and pulsating with slinky violin passages. The main bulk of the second half of the programme was the Mendelssohn Violin Concerto in E minor, Op. 64(arr. Tognetti) again featuring Jackiw. Tognetti’s arrangement strips the music to its bare essentials. Jackiw stood relaxed , as in a martial arts or fencing pose, lunging to one side with bent knees. The first movement was darting soaring and lyrical, with dazzling mesmerizing playing by Jackiw. The violin sobbed and yearned during the breathless finale of the movement. The second movement was mostly slower and was more an ‘aria’ for the soloist contrasted with some short sharp sections .It was magnificent and once more we heard some dazzling playing in the sparkling third movement as we were whirled towards the finale. Jackiw‘s playing confirmed the impression he had made in the Bottesini : it showed he has a well projected and warm tone, technique that is assured and with a delicate yet powerful aura of mastery. At only 30 and already a major talent, Jackiw is a name to keep a look out for. Running time – just under two hours including interval. THE AUSTRALIAN CHAMBER ORCHESTRA: MOSTLY MENDELSSOHN played the Sydney City Recital Hall on Friday 23rd and Saturday 24th May. Program MENDELSSOHN String Symphony No.9 BOTTESINI Gran Duo Concertante for Double Bass and Violin WOLF Italian Serenade MENDELSSOHN (arr. Tognetti) Violin Concerto in E minor Artists Stefan Jackiw Violin Satu Vänskä Lead Violin Maxime Bibeau Double Bass For more about Australian Chamber Orchestra Mostly Mendelssohn, visit https://www.aco.com.au/whats_on/event_detail/mostly?gclid=COvypd6s2cUCFU8JvAod4DwA9w

Evita at the Concourse

http://www.sydneyartsguide.com.au/willoughby-theatre-companys-evita-the-concourse/ Willoughby Theatre Company productions just keep on getting better and better. This amazing production of this now iconic musical, with its huge cast, under the direction of Declan Moore, transports us to Buenos Aires. As we enter and take our seats, tango music softly plays. Greed, power and corruption ooze through this show. There is much cynical manipulation of the common people and unacknowledged hypocrisy. The musical, told in flashback- it starts with Eva’s funeral- tells the story of the life of Argentine political leader Eva Perón, the second wife of Argentine president Juan Perón. The narrative of the show follows Eva’s early life, rise to power, charity work, international tours and eventual death at a young age of cancer.The narrator/commentator figure of Che acts as an everyman figure. There is one gigantic set for the entire production with revolving doors, sliding panels allowing for mainly fluid, almost cinematic ,scene changes. Lighting by Sean Clarke is dramatic and atmospheric. There are umpteen amazing costumes throughout, ranging from colourful yet poverty stricken garb to Eva’s many ultra glamorous, sumptuous gowns. The orchestra under the baton of maestro Greg Jones is tremendous and performed Lloyd Webber’s rather astringent, challenging rock opera with gusto. Alert listeners will notice hints of his other scores for ‘Jesus Christ Superstar’ and ‘Phantom of the Opera’ . Amy Gough’s choreography is sometimes inspired by the tango music whilst at other times feels more stylised and formal. As our heroine, of sorts, Eva Peron, Virginia Natoli, similar in looks to Nicole Kidman, dazzles . We see her grow from ambitious minx to radio star, and then transform into the stunning First Lady of Argentina. At times she is progressive and poignant yet we also we see the hard, ruthless and aggressive side of her. Natoli handles the difficult and extremely demanding role very well, fiery and passionate at times, dancing up a storm and stopping the show with her iconic ‘Don’t Cry For Me Argentina’ . Clive Hobson as Juan Peron is tremendous, – distinguished looking yet slightly sinister, with a terrific voice and displaying a great deal of tenderness at the tragic end. Imposing and charismatic, Che, cynical , questioning and demanding was well played by Rob Hale. Tango singer Augustin Magaldi , who was Eva’s first lover, is slickly played by Jeremy Curtin. Peron’s former mistress, evicted by Eva, was memorably played by raven haired beauty Lucy Hood who exquisitely sang the haunting ‘Another Suitcase in Another Hall’. The huge boisterous crowd scenes show Eva’s popularity with the common people and mention must be made of the children in the cast – Julia Manias made the most of a beautiful poignant solo in the second half of the show. This is an exciting, enthralling and captivating production. Running time 2 hours 30 mins (approx) including one interval Willoughby Theatre Company’s production of EVITA is playing the Concourse at Chatswood until the 31st May. For more about Willoughby Theatre Company’s Evita, visit http://willoughbytheatreco.com.au/

Rotunda

At Parramatta , this was great! Here's what I said for Dance Informa http://www.danceinforma.com/magazine/2015/05/rotunda-by-new-zealand-dance-company/ The New Zealand Dance Company recently hurtled onto the stage at Parramatta with Rotunda, a work presenting gut-wrenchingly powerful performances from eight dancers. Part of a current national tour, the performance was linked in with the current ANZAC and Gallipoli remembrances. Rotunda is a work choreographed and created by NZDC Artistic Director Shona McCullagh and Musical Director Don McGlashan in collaboration with the amazing cast, who has extraordinary technique, sensational yet explosive soft jumps, and at times, seems boneless. It features costumes reflecting the World War 1 period and presents a score that blends old hymns, such as Jerusalem as a haunting tuba solo, with other classics, including the stirring, elegiac Nimrod variation by Elgar and contemporary brass works by Don McGlashan and Garath Farr. The entrance through the audience by the smartly uniformed City of Holroyd Brass Band (led by Marc Taddei and drummer Cameron Lee) is thrilling and has enormous impact. New Zealand Dance Company’s ‘Rotunda’. Photo by John McDermott. A looming, shadowy figure stoops to pick up a fragile piece of material that is almost ectoplasmic. Redolent of memories and guilt, there are also allusions to the ballet Raymonda. Rotunda’s narrative follows the story of boys dressed in khaki-like colours flirting with girls in red and white. The group bonding through playful, innocent war games eventually changes to show these boys becoming shattered men fighting in WWI. It continues to express the horrific nature of the trench warfare and battles, together with the loss and grief of those who waited back home and/or the men suffering from what was called “shellshock” and is now referred to as Post Traumatic Stress Disorder (PTSD). There is terror, madness and despair, a grieving soldier trying to revive his fallen friend. Choreographically, there is relentless precision (hinting at military training) and there are martial arts moves incorporated. Much fun is had with the band leaders’ mace, which becomes everything from an aeroplane propeller, to a gun, to a fishing rod and other objects. Incredible swooping, swirling lifts are also featured. There is also a haka contrasting with other far more ritualised, stylised sections. There is an eerie circle of large fans making the silk scarf waft and float as the group tries to keep the memories of their fallen comrades alive. A tumultuous battle scene with the effective use of white banners as projection screens and shadows are also included. There are also projections of dramatic red and white banners with the names of the fallen. Throughout the work, moods change from buoyant and excited to broken and burdened as men arrive home, now dysfunctional and damaged. The work concludes with a final poignant section on recovery and memoriam. Overall, Rotunda is an emotionally involving, tremendously danced work and I am eagerly looking forward to future visits by the company.

Samson

A terrific first play http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/samson-248015 Print Email  Email to a friend Your email Please enter a valid email Your name Please enter your name Friend's email Please enter a valid email Friend's name Please enter your friend's name Verification (type the code in the image) Invalid security codeGenerate New Image Close Related Articles Venus In Fur The Sydney premiere of David Ives' play within a play is polished, professional and beautifully cast. The Dream This Australian Ballet's crowd-pleasing retelling of A Midsummer Night’s Dream is gorgeous and it is not the only joy in this triple bill. Unveiled: Latest announcements (locked) A musician remembered, and an expanded program at Cairns Indigenous Art Fair are amongst this week's announcements. Children and Art Tyran Parke crafts a compelling family narrative with honesty, tenderness and immense talent. Lynne Lancaster Wednesday 13 May, 2015 Challenging and confronting, ​Samson is an extremely impressive first play by Julia-Rose Lewis. Image: Lisa Tomasetti Challenging and confronting, ​Samson is an extremely impressive first play by Julia-Rose Lewis. One that asks the big questions of life – our purpose for being, death, and God’s existence. Lewis’ play focuses on three teenagers trying to come to terms with the death of a never seen close friend, Samson. A newcomer to the area, nicknamed Rabbit (Benjamin Creek) slowly befriends Essie (Ashleigh Cummings) which greatly disrupts the dynamics of the group and leads to a vicious fight. Set in a remote outback town, the residents of which have very limited futures, Essie is desperate to escape. The four close-knit friends live a seemingly carefree existence until one tragically drowns, a defining catalyst which causes suppressed feelings and emotions to surface. Guilt ,grief and despair are evident. Amidst issues ​of racism, gender, family illness, religion and sexuality, the way friendships change as children grow from adolescence into mature adults is examined with an honest,warm eye. The story is almost cinematic, told in short, sharp scenes. At one point the quartet, while overlapping, appear in different times and places. The terrific young cast of four give passionate performances, full of vibrant energy and passionate commitment. As fragile, vulnerable Essie, with braided hair and a defiant attitude, Ashleigh Cummings is terrific, almost unrecognizable as the same person who plays Dot in the Phryne Fisher mysteries. Benjamin Creek is delightful as cheeky, handsome Rabbit who is also a great dancer. Charles Wu is most impressive as conflicted Sid, whose dead end job gives him nightmares and wants to be Beth’s companion, now that Samson has passed away. Beth is played with intensity by Belinda Jombwe. The almost multi level set is light in colour with dappled lighting and takes up the entire tiny stage of Belvoir downstairs. It becomes a hidden place where the friends hang out. A jagged wooden sculpture and a cross, decorated with teddy bears, flowers etc are ‘the memorial’ for Samson that Beth, in particular, fusses over. Overall, Samson is a challenging thoughtful play about friendships and guilt, with fine performances by all of the cast. Rating: 4 out of 5 stars Samson By Julia-Rose Lewis Director Kristine Landon-Smith Composer /Sound designer Kim Bowers Lighting Ben Hughes Set & costumes Michael Hili CAST Rabbit Benjamin Creek Essie Ashleigh Cummings Beth Belinda Jombwe Sid Charles Wu A co-production between La Boite Theatre Company and Belvoir Downstairs Theatre​ 7–31 May 2015

Royal Ballet Swan Lake

This was superb .Here's my Sydney Arts Guide review http://www.sydneyartsguide.com.au/palace-opera-and-ballet-the-royal-ballet-in-swan-lake/ This particular version by Sir Anthony Dowell for the Royal Ballet is now almost thirty years old. I have previously seen it with other casts, both live in London at the Royal Opera House and on screen, and it is still enthralling. SWAN LAKE is now regarded as one of the definitive classical romantic ballet, and this is a magnificent ‘traditional’ version, using the well known Ivanov/Petipa choreography. The story of doomed love and an evil sorcerer is elegantly portrayed. There are fascinating close ups of maestro Boris Gruzin and the terrific Orchestra of the Royal Opera House who give a splendid performance. Designer Yolanda Sonnanbend has set the production in Russia in the era of Tchaikovsky with plenty of gold and a wonderful mirror effect is used in Act3. In Act 1 the colours are predominantly autumnal. There is wonderful ensemble work from the corps de ballet throughout. The swans in unison are tremendous . The corps are also well drilled peasants and courtiers. The pas de trios in Act1 was vibrant and the national dances in Act 3 were exciting. Natalia Osipova, originally from the Bolshoi and now a Royal Ballet principal, in the challenging dual role of Odette/Odile is sensational. Technically superb , she is ravishing. As Odette, Osipova is noble ,yet complex and vulnerable. An enchanted, ethereal, mysterious moonlit creature with a luminous, long extended ‘line’. As laughing, villainous Odile, she is vibrantly, evilly enchanting , a glamorous femme fatale in black. As Prince Siegfried, Matthew Golding, who looks a bit like Brad Pitt, has incredible elevation and a fabulous, clean technique. Mostly, Golding is the stiff aristocrat, aloof and withdrawn, but we also the passionate side that he tries to hide. Golding’s solos in Act 3 in the ballroom are tremendous, and he is an attentive, thoughtful dance partner too. The pas de deux are sensational. The ‘white’ Act 2 pas de deux with the sobbing violin is sculptured beauty, and the audience is mesmerised. In Act 3 the ‘Black Swan’ pas de deux is dazzling and dynamic with Osipova effortlessly captivating Siegfried with the fizzing bravura 32 fouettes. Gary Avis as the evil sorcerer Von Rothbart is a mysterious, almost hunch backed owl like creature in the ‘white’ acts 2 & 4 , with a powerful menacing presence. In the ballroom scene in Act 3 he has a Mohawk punk hairdo and is a malicious, controlling presence. In this version the national dances are shown as Von Rothbart’s creatures who areconjured up to distract the court. Elizabeth Mcgorian as the Queen Mother gives an imposing yet finely nuanced performance and displays elegant mime. I have heard that this is the last time the Royal Ballet will perform this particular version. Catch it if you can. Running time – allow 3 & ½ hours Includes two intervals and special interviews and introduction by Darcy Bussell. Part of the Palace Opera and Ballet season, the Royal ballet in Swan Lake runs at selected cinemas 8-13 May For more about Palace Opera and Ballet :The Royal Ballet in Swan Lake. Share this:6Click to share on Twitter (Opens in new window)6Share on Facebook (Opens in new window)Click to share on Google+ (Opens in new window)Click to email this to a friend (Opens in new window)

Sydney Buses

Dear Sydney Buses .Why do you drive so stop / start jerkily and/or as if you are driving a Grand Prix racing car ? Why do drivers park more than 10cm away from the curb at odd diagonal angles so it is very awkward to get on/off ? Lynne