Opera's Triple Threat

this was fabulous
here's my rave for Sydney Arts Guide
http://www.sydneyartsguide.com.au/2013/06/operas-triple-threat/

Cheryl Baker

A hefty combined birthday party (centenary for Britten, bicentenary for both Verdi and Wagner) this concert featured the combined dazzling talents of the  Sydney Philharmonia Festival Chorus and Orchestra under conductors Brett Weymark and Anthony Pasquill and especially the magnificent voices of Cheryl Barker and Stuart Skelton.
In the theatrical world, a ‘triple threat’ is an inspiring someone who can dance, sing and act. For this concert the idea was that the operatic ‘triple threat’ combined music, drama and passion and it did so in spades.
These were tenor Stuart Skelton’s only Sydney performances this year, straight after performances in London and just before he performs in the Paris , Seattle and Melbourne ‘Ring’ cycles and has  a return performance in Berlin with Sir Simon Rattle .It was the first time he has sung excerpts from Verdi’s ‘Otello’ and he did so brilliantly . Soprano Cheryl Barker has just finished performing ‘Madama Butterfly’ for the Welsh National Opera and we will soon see her in Opera Australia’s ‘Tosca’, and as Desdemona Queensland Opera’s ‘Otello’.
The Sydney Philharmonia Festival Chorus with over three hundred voices, was sensational – a stirring , thrilling performance. They were an energised, broiling mass , at times angry , at times celebratory or reflective – a huge wave of sound.
The Orchestra was excellent, dealing with everything from the sharp , spiky Britten in the first section to the lush, rather overwhelming Wagner in the final part.
Youngest first. The wonderful opening section was selections from Britten’s ‘Peter Grimes’. ( For those of us of a particular era the ‘Sea Interludes’ from this will always be associated with Graeme Murphy’s ‘Some Rooms’.) The opening section, ’Dawn’, conjured visions of shimmering sunlight and rippling waves. Other sections were far more tempestuous. The chorus ‘Old Joe Has Gone Fishing’ to a galvanising insistent drum roll was terrific.
Stuart Skelton stopped the show with his glorious , breathtaking solo ‘Now The Great Bear and Pleiades’ . Barker sang ’Embroidery In Childhood’ exquisitely. (She wore a long elegant blue gown throughout the show , Skelton traditional theatrical black ).
Back a hundred years for a selection from Verdi’s ‘Otello’ .Proud and passionate this section had aural hints of ‘Aida’, ‘Il Trovatore’ and ‘Turandot’ . It opened tempestuously, the chorus fabulous in their storm drenched yet celebratory ‘ Una Vela!Una Vela! Un Vessilo! ‘. Their ‘Viva !Evviva ! Viva il Leon di San Marco !’ was an extraordinary wall of sound.
There was a wonderful , touching duet for Chery l Barker as Desdemona and Stuart Skelton as Otello ( ‘ Gia nella  nota densa’) and Desdemona’s ‘Willow Song ‘ ( ‘ Piangea Cantando  nell’erma landa’ ) was tremendous. But Skelton brought the house down with his superb rendering of Otello’s tense death scene ‘ Nium mi Tema ‘ that was tremendously sung and acted.
After interval the third section featured excerpts from Wagner’s ‘Lohengrin’, ‘Tannhauser’ and ‘Meistersinger ‘ . Highlights included the opening now world famous ‘Wedding March ‘ or Bridal Chorus ( ‘Treulich Gefurt’ ) and Lohengrin’s amazing solo ‘ in fernem Land, unnabar euren Schritten’ ) – once again Skelton was absolutely magnificent . Various other solos were used to showcase Barker and Skelton’s tremendous talents as well as that of the chorus in this vast, rather over-rich and overpowering section. Extra horns supplemented the brass section of the Orchestra for both this Wagner and the Verdi segments.
An absolutely ravishing, glorious concert that gave one goosebumps and shivers.
OPERA’S TRIPLE THREAT played at the Concert Hall of the Sydney Opera House on the 8^th and 9^th June, 2013. Running time 2 and a half hours including one interval

Antony and Cleopatra at the King Street Theatre

here's what I thought for Artshub

http://au.artshub.com/au/newsprint.aspx?listingId=195635

Berynn Schwedt as Antony and Denby Weller as Cleopatra.

Punchbug bring us an unusual and striking production of this heavy historical play. With quite minimalist staging, much depends on the two main leads, and they do not disappoint.

Set in ancient Rome and Egypt, Shakespeare’s Antony and Cleopatra explores the tumultuous relationship between Mark Antony, one of the three rulers of the Roman Empire, and his lover Cleopatra, the Egyptian queen. The major antagonist is Octavius Caesar, one of Antony's fellow triumviri and the future first emperor of Rome.

Director Ira Seidenstein’s production is sparse, almost a ‘black box’ studio version, with just a few white panelled walls, occasional chairs and some small props. The (generally very young) cast copes excellently with all the doubling and tripling of roles required. Shifts between Roman and Egyptian scenes are usually distinguished by a loud conch-like horn that sounds like a ferry on the Harbour; percussion dominates the score. The Romans are dressed in elegant soft suits, the Egyptians and Antony’s side far more casually.  Cleopatra wears a sexy black leather outfit with a slashed ribbon bustier top.

Antony was excellently played by Berynn Schwerdt, a tall, thin, craggy rather scruffy man of multiple talents (army man, admiral, town planner and and and. ..). Roman to the core, he was an excellent commander and Triumvir.  He could be volcanic in anger (as we see in one of his interactions with Cleopatra). His death scene showcased yet more of his magnificent acting. Brilliant.

Fascinating Cleopatra, the bewitching ‘Serpent of the Nile’ was impressively played by Denby Weller. She was shown as imperious, demanding, proud, skittish, kittenish and full of suddenly changing moods. And yet always, always Egyptian and torn with the conflict of loving the foreigner Antony.  (Spoiler alert : her famous death scene has no hidden asp in a basket, rather it is a lethal self-administered injection, the syringes hidden in a small battered suitcase. )

In the smaller roles, special mention must be made of Brinley Meyer as Enocarbus – delightful compelling acting. Brava. Also keep a look out for the terrific Jonathan Dunk, imposing and in fine voice as Octavian. Bron Lim as various messengers and assorted underlings of both sides wore many different guises, and Yiss Mill as a musician, fortune teller and in other roles was also terrific. Some of the other smaller roles however were hammed badly and woodenly ‘telegraphed ‘ their emotions – perhaps this was due to opening night nerves ?

A key feature of this production is the way women are used and viewed, with women strongly playing men’s parts most effectively. Speech rhythms have been contemporised. Movement on the very small stage was at times very athletic, and included dance as well as more formal frieze-like blocks of movement, and also some rather risqué Commedia del’arte effects. Sometimes scenes were played for laughs when perhaps they shouldn’t have been (e.g. dragging poor Antony around when he is dying of his wounds). Some of the play could perhaps be trimmed a little, eliminating repetition.

Overall, however, an exciting, intriguing and challenging version of this long, complicated and convoluted history play.  There were cheers and whistles at the end and most enthusiastic applause.   

Rating: 3 ½ stars out of 5

Punchbug Productions in association with Emu Productions present
Antony and Cleopatra
By William Shakespeare
Director: Ira Seidenstein
Music: Yiss Mill
Lighting: Kyle Stephens
Running time: 3 hours 20 mins (approx) including one interval

 King St Street Theatre, Newtown
 4 - 15 June
 

Bangarra's 'Blak'

Here's what I thought for Sydney Arts Guide 

http://www.sydneyartsguide.com.au/2013/06/bangarra-dance-theatres-blak/

In three parts, some of this dance journey worked extremely well, some less so. All three sections were strong, the first two especially dark, dealing with major social and cultural issues. Technically the dancing was strong featuring the distinctive Bangarra style, blending contemporary dance and traditional forms.
Overall the production values were, as always for Bangarra magnificent, and included dramatic, atmospheric lighting. I particularly liked the spectacular rock design for the third section ,’Keepers’ with the wonderful use of what seemed to be water and mist ,and the fine line of raining sand at the end ,a terrific visual ‘coup de theatre.’
For me while the first section was very powerful it was the least successful. It was about men being initiated into the clan. The dramatic lighting created an ominous feeling. The dancers wore leather jackets and grey/black leggings. Some of the choreography resembled martial arts and there was a militaristic feel. Spears materialised from t-shirts. It was disturbing and threatening with hidden brutality just under the surface. The ‘clan’ or group was represented by white paint on the forehead. It was perhaps a bit messy and overlong and the pulsating, beeping, throbbing soundtrack was overloud and quite dominating.
‘Yearning ‘, the middle section, had seven women in five short sequences exploring various issues related to domestic violence, suicide and asserting personal identity. The long dresses with the linear designs were wonderful. There was a section where a female answered the repeatedly ringing phone ( a hanging payphone) and left the phone off the hook – she was comforted by her friends or were they watchful, supportive yet uneasy spirits? Another sequence has all the women in a row on hard plastic seats as in a hospital waiting room and they have short solos. The soundtrack for this section included speech and sounds of domestic violence.
The third section ‘Keepers’ had, as already mentioned, a fabulous rocky backdrop.  A ‘homage to the legacy of their elders, all those who went before them ‘, it was as if the dancers were the spirits of the environment .There was a great sense of ritual to the techno beat soundscape. The dancers wore skimpy black costumes (meant to be seaweed? ) Choreographically in some ways I was reminded of Macmillan’s ‘Rite of Spring’. There were huge group circular dances and the choreography at times demanded great fluidity of movement and sudden soft feline like jumps. There were also excellent slithery pas de deux.  A powerful piece provoking much discussion afterwards.
Bangara Dance Theatre’s BLAK, running 90 minutes without interval, opened at the Drama Theatre, Sydney Opera House on Friday 7^th June and runs until Saturday June 29 and then goes on to play Canberra and Brisbane.

The Australian Ballet in Symmetries in Canberra

I specially went to Canberra for this
here's what I said for Artshub

http://au.artshub.com/au/news-article/reviews/performing-arts/symmetries-195486

As part of its 100^th birthday celebrations Canberra hosted the Australian Ballet in a short programme entitled ‘Symmetries’, which included a specially commissioned work ‘Monument’ choreographed by Garry Stewart.
 
First, however, was Balanchine’s ‘The Four Temperaments’ (1946) which oddly enough I enjoyed much more here in this Canberra performance than in the recent Sydney season. In this work Balanchine analyses and presents the formal structure and vocabulary of ballet in an abstract, almost clinical way. The sparse, refined choreography was performed elegantly and with great panache – it seemed new and fresh as if seen through different eyes.

The dancing as always was magnificent. Andrew Killian shone in his blazing ‘Choleric’ solo. Canberran Lana Jones also dazzled in her home town, giving a tremendous performance. And Leanne Stojmenov was marvellous. In this performance what I especially noted was the use of supported pirouettes in the opening section, demanding incredible control.

 Sheer theatrical bliss for the haunting, lyrical pas de deux from Christopher Wheeldon’s  ‘After the Rain’, performed by Robyn Hendricks in a soft pink leotard and Rudy Hawkes in white trousers with a grey waistband. The magical, wistful, elegiac loving atmosphere was palpable. Fiendishly difficult to perform it was a giant crowd pleaser.

After interval came the specially commissioned ‘Monument’, choreographed by Garry Stewart of the Australian Dance Theatre. Sharp and futuristic in atmosphere and appearance it is based on the concept of the construction of the ‘new’ Parliament House and Canberra. Rear projections of animated linear architectural maps and plans were used. It was as if the dancers were the spirit of an architect’s imagination.

Sometimes the dancers, in white costumes with black lines, were like ancient Egyptians (Stewart’s choreography incorporates ‘Tutting’) measuring and/ or laying foundations. They moved with angular arms in corridors of light, at various points in dynamic diagonal blocks of movement or contrasting frieze –like sections across the stage. Sometimes it was as if the dancers were alien beings, descending from somewhere to mysteriously build Canberra.

The work uses typical very demanding Stewart choreography – I was particularly reminded of his ‘Birdbrain’ – but it wasn’t quite as ‘way out’ as it possibly could have been. Splintered, fragmented short solos are incorporated into the writhing sculptural ensemble masses.  At one point there is an ‘Expressionist’ machine like tableaux. Very effective use is made of silhouette. Huey Benjamin’s soundscape was a hypnotic, driving, edgy score that includes Tibetan chant and percussion.     
 A most exciting triple bill greeted with especial delight by native Canberrans.

Running time – 100 minutes (approx) one interval
CANBERRA THEATRE CENTRE     
MAY 2013

4 stars
The Four  Temperaments
Choreography: George Balanchine
Repetuteur: Eve Lawson
Music: Paul Hindemith ‘The Four Temperaments’
Lighting design: Ronald Bates, reproduced by Graham Silver
Solo pianist: Stuart Macklin

Pas de deux from After The Rain
Choreography: Christopher Wheeldon
Music: Arvo Part ‘Speigel im Speigel’
Costume design: Holly Hynes
Lighting design: Mark Stanley reproduced by Graham Silver
Danced by: Robyn Hendricks and Rudy Hawkes

Monument
Choreography: Garry Stewart
Music: Huey Benjamin
Costume and set design: Mary Moore
Creative collaborator: Aldo Giurgola
3D animations: Paul Lawence-Jennings
 Lighting deisgn: John Buswell

Lineage at Parramatta

Again at Parramatta a great show combing Indian classical dance and  contemporary 
http://au.artshub.com/au/newsprint.aspx?listingId=195533

Here's what Isaid for artshub

LINEAGE

By Lynne Lancaster | Wednesday May 29 2013

Lineage, a collaboration of traditional Indian dance forms of Kathak and Bharatanatyam.

Part of Form Dance and Parramatta Riverside’s ‘Dance Bites’ season this is the most exciting, colourful and rather exotic mixed bill that brings together traditional Indian dance and contemporary dance styles. It is a collaboration between Shruti  Ghosh and Aruna Gandhimathinathan using the Indian classical dance forms of Kathak and Bharatanatyam.

Abstract patterns and the compelling rhythms of the dance are used in a very exciting, mesmerizing display. Both Ghosh and Gandhimathinathan are magnificent performers and we see how the movement of even just a finger is important (the ‘mudras’ or hand positions). Mehndi (the hand decorations) is prominent in the featured solos.

The first half, under the umbrella title ‘Nritya Roopa’ opens with a short invocation piece to the gods. The dancers are in traditional classical Indian red and gold costumes with the formal makeup etc and form a striking sculptural tableau.   

In Shruti’s ‘Kathak Nritta’ solo there was dramatic use of her shadow behind her. What I noticed was the particular ‘epaulement’ for this style of dance, with a regal, rigid back but snaky, fluid expressive arms, delicate yet fiery and a use of their diagonal lines in various poses. There was an almost Flamenco-like rhythm of the feet and lots of turns showing off the glittering, swirling costume.

In Aruna’s ‘Jatiswaram In Bharatanatyam’ sinuous solo there is a use of the deep Graham plie and spiky fingers. There is extremely expressive, tightly choreographed use of the neck and eyes and while the choreography possibly seems ‘softer’ than the Kathak style it also perhaps seemed more vertical and ‘boxed in’. There is a duet to take us to the interval (‘Yahi Madhava’), opening with Aruna mermaid-like. Shruti then appears in a blue and gold sari, hair down. Here again there is very expressive mime and dazzling  footwork to difficult intricate rhythms contrasted with sculptural poses .It is supposed to be a conversation between Radha and Krishna and combines both styles wonderfully.

After interval there was a great shift to a meld of strong ‘contemporary’ yet indigenous (Bangarra -like) work with ‘Dark Dream’, an eerie, dramatic duet for two men – Thomas E S Kelly and Carl Tolentino. Were they dreaming? Was any of it real? You could also see hints of the classical Indian style.  It was performed with a soft, fluid angularity which was simultaneously definitely masculine.

One of the strangest ‘contemporary’ solos I have seen for a while was ‘A Dip for Narcissus’ that followed, choreographed and performed by Tammi Gissell. There was wonderful use of soft grainy photos and poetry text in the dreamlike, floating film projected on the back screen. Gissell’s body and costume had dye smeared on it .Confronting, a bit confusing and challenging, Gissell wore huge reflective goggles at one point and did a headstand in one of the three plastic buckets that were part of the set.

The finale of the programme was a wonderful dialogue between Aruna and Shruti’s two similar but different dance styles. Fresh and vibrant it was enchanting. Special mention must be made of the percussive music for this played by Prabhu Osoniqs on Hang that combined elements of the tabla, harmonium, sarangi, miridangam, violin flute and vocals. 

It’s a fascinating mixed programme showcasing some tremendous performances.

Rating: 4 stars
Dates: 23-25 May 2013
Running Time: 90 mins (approx) including one interval

Form Dance Projects and Riverside present

Walking the path of Lineage
Shruti  Ghosh and Aruna Gandhimathinathan
Music – Prabhu Osoniqs 

Dark Dream
Thomas S E Kelly and Carl Tolentino
Music – Venetian Snares, Bloc Party

A Dip For Narcissus
Tammi Gissell
Choreographed and Performed by Tammi Gissell
Music – Meredith Monk, Edgard Varese, Goldmund
Sound design Tammi Gissell and Thomas E .S Kelly
Poetry and projection Tammi Gissell

Expressions R & J at Parramatta

A most exciting performance here's what I said for Dance Informa
http://www.danceinforma.com/magazine/2013/05/rj-expressions-dance-company/

Categorized | Australian Dance Reviews

R&J – Expressions Dance Company

Posted on20 May 2013. Tags: Australian Dance Theatre, Benjamin Chapman, Bruce McKinven, Contemporary dance, David Walters, Elise May, Expressions Dance Company, G, Graeme Murphy, Groundhog Day, Jack Zeising, John Babbage, Michelle Barnett, Natalie Weir, Parramatta Riverside Theatre, Phillip Glass, R&J, Riannon McLean, Romeo and Juliet, Thomas Gundry Greenfield

Parramatta Riverside, Sydney
May 16, 2013
By Lynne Lancaster.
Sydney has been very lucky this past week to have visits from both the wonderful Australian Dance Theatre in their amazing G and the marvellous Expressions Dance Company from Queensland with Natalie Weir’s R&J.
R&J features superb dancing that is laser sharp and sizzling with death defying rolls, jumps, runs and catches in the pas de deux. The small cast is magnificent!
The ballet takes the well-loved Shakespearean story of Romeo and Juliet as its base. The work is in three sections – Act 1 is Passion, Act 2 is Romance and Act 3 is Devotion, using various elements of the story with a twist.
In the first two sections we see the enforced separation of the two lovers. In Passion, our Juliet (the award-winning Elise May) is dark, passionate and intense. Some of the amazing, flowing pas de deux is Graeme Murphy-like in its dazzling rolls, jumps, catches and enfolding. Our excellent Romeo for both this and the third section, Devotion, was the handsome Jack Zeising.
In Romance our Romeo is dark and curly-haired Benjamin Chapman, and his Juliet is the exquisite blonde Michelle Barnett. This act is far more concentrated on the sad death of the lovers after some tremendous pas de deux and pas de trios. Tall, bearded Thomas Gundry Greenfield looms as the ominous figure of Death.
Particularly for the first two acts, Weir’s choreography has a circular feel, contrasted with some laser-sharp scissoring lines of legs and arms and wonderful enfolding and entwining for the sinuous pas de deux. In Romance there are waltz like movements and large blocks of dance for the ensemble as guests at a party. Romance also features long arcing lines, a joyous lyricism and floating lifts.  
The third section Devotion, set in the 1950s, opens with a tender and intimate ticklish pas de deux of tiny movements of a hand or finger; you can almost hear Juliet (Riannon McLean) giggling. There are lots of repeated phrases of everyday movement as Romeo leaves for work/arrives home repeatedly with almost a Groundhog Day feel. Eventually the phrases change and our Juliet is left sadly alone…waiting.
Bruce McKinven’s set is mostly various tilted boxes of assorted sizes. For the middle section of the work there is also a coffin-sized box mysteriously lit from the inside. The final section includes two chairs forming a split sofa.   
John Babbage’s score drives the show. Sometimes it is Phillip Glass-like, sometimes it is hot jazz with a cool saxophone solo, at other points it is delicate, joyous or anxious. The lighting by David Walters is stark yet atmospheric, eerie at appropriate points, and there is a marvellous coup de theatre at the end that gives a soft, poignant lyricism.
R&J is a hypnotic, enthralling performance showcasing a splendid, passionate cast and sensational dancing. Bravo!

Monkey Baa in Millie Jack and the Dancing Cat coming up

Wonderful Monkey Baa are back with a return season of Millie, Jack and the Dancing Cat

MILLI, JACK AND THE DANCING CAT

Based on the book by Stephen Michael King

Adapted for the stage by Eva Di Cesare, Sandra Eldridge & Tim McGarry

 �Delightful...very entertaining�  Sydney Morning Herald

 Starring   Alexis Fishman, Vincent Hooper, Tim McGarry & Greg Parke   

Directed                       John Saunders        Designer                      Imogen Ross

Composer                   Phillip Scott               Lighting Designer        Luiz Pampolha

Choreographer            Jack Webster                       Sound Designer          Jeremy Silver

Award winning children�s theatre company MONKEY BAA present the joyful musical MILLI, JACK AND THE DANCING CAT during the School Holidays at their new home, Lend Lease Darling Quarter Theatre from 3 to 27 July. 

 Milli, a solitary shoemaker, has a special gift for fixing things.  She can take a thing that is a nothing and make it...a something.  But the people in her industrialised town have no time or interest in the extraordinary.  They only want ordinary, practical things like boots.  Black boots, brown boots, ordinary, practical, familiar, everyday work boots! 

 Night after night Milli dreams that she is brave enough to show everyone what she can really do.  But each day is the same, until one morning she meets two vagabonds who come into town.

 Jack and his Cat dance their way into Milli�s life, and together they make the ordinary extraordinary and life is never the same again.

 Aimed at 3 to 9 year olds this very special musical focuses on the joy of creativity, of being brave enough to follow your dreams and the importance of friendship.

 LEND LEASE

DARLING QUARTER THEATRE

Terrace 3/1-25 Harbour Street, Sydney          

 Season:                       3 � 27 July at 11am & 1pm

Duration:                      55 minutes

Prices:                         $25pp / Family of 4 $90 / Family of 5 $110 / Groups 10+

Bookings:                     www.monkeybaa.com.au or call 1300 131 556