RSC Merchant of Venice

A terrfic version http://www.sydneyartsguide.com.au/royal-shakespeare-on-screen-presents-the-merchant-of-venice/The latest production of Royal Shakespeare on Screen is THE MERCHANT OF VENICE in a gripping version of the narrative that is a little abridged and has been made contemporary. Magnificently directed by Polly Findlay it is very powerful, in certain sections joyous and funny, at other times extremely moving and somber. The play moves at a cracking pace , but still has room to ‘breathe’ and the famous set speeches are given time and space to make their impact. Even though the speech patterns are of today, the poetry still shines through. The play’s depiction of racism and intolerance comes across as clearly as ever. Johannes Schütz‘s designs deserve special mention. There is a giant looming proscenium arch above the thrust stage and a huge silver swinging pendulum. The dominant feel is for the clear, sparse, reflective golden panels– very appropriate in the context of the splendour of Portia’s Belmont palace. With multiple long mirrors, the design has the audience reflected on itself- asking us to ponder our own cultural and social values. A few simple, clean lined props at times (for example, chairs and tables for the courtroom scene in Act 2) are included. Depending on the action the cast sit on the side of the stage when not required on stage . For Shylock’s house the set also functions well, Jessica appearing bleakly at the top. (I liked the use of the fancy rhinestone glittering balaclavas for the elopement scene). The Cloudgate Dance like lyrical use of a mass of candles in the final scene came across as symbols of hope. The caskets of gold silver and lead on stage are each of a different shape and descend on rope pulleys . The music, including a small child choir, is integrated superbly. Our Portia, Patsy Ferran, is elfin, dark and at times strong In a tremendous performance. Already at least sort of half in love with Bassanio when the play starts she is all giggly, blushing and nervous in their first scene together but grows and develops into a strong, passionate woman who would do anything for the man she loves. In the courtroom scene ,severe in black, she turns her anger about discovering Antonio’ s until then generally discreet relationship with Bassanio onto Shylock. Antonio, the Merchant of the title, is given a very sympathetic, melancholic, finely detailed, lyrically passionate performance by Jamie Ballard. He opens the play in tears ( ‘In sooth I know not why I am so sad’). In this frank and revealing production it is obvious that he is gay and that he and Bassanio are lovers. Bassanio, however, is breaking off their relationship and going off to marry Portia who knows but unhappily accepts the situation. Reality hits badly- Antonio is shattered not so much by debts and storms as by his love for Bassanio, whom he risks all to help . The play ends sadly for Antonio, sinking alone upon a bench. Shylock is shown as charming, at least at first when we meet him, but underneath is a cold, implacable hidden interior determined on revenge. He ignores all please for mercy, determined to act enforce the bond. Makram J Khoury gives a tremendous, multi layered bravura performance. The antagonism between Antonio and Shylock is intense and of long standing. Khoury begins patient and stoic, describing the racist ill-treatment he has received, and ends shattered but calm having his life turned upside down . The very handsome Jacob Fortune-Lloyd is wonderful as the lovestruck Bassanio, upset at how he has let Antonio down. Jessica and Lorenzo, the other pair of young lovers, become almost sidelined as minor characters in this production, but nevertheless are given strong performances by Scarlett Brookes and James Corrigan. Nerissa, Portia’s confidante, is given a sprightly performance by Nadia Albina and Gratiano, is as a witty, charming gangster rapper by Ken Nwosu. The clown role, Launcelot Gobbo, is played, wearing clown face makeup, with great relish by Tim Samuels, who performs his first monologue to the man he sits down next in the front row of the audience. This production ends on a happy note and we are left to ponder the uncertainties of love, honour, friendship and morals. Running time- two and a half hours without interval. The film features a brief introductory segment beforehand and a brief ‘’interval’’ look at backstage behind the scenes – costumes, technical stage production etc The Royal Shakespeare Company’s production of THE MERCHANT OF VENICE screens at cinemas on the weekend of the 22nd and the 23rd August.

Tales of Hoffmann

http://www.sydneyartsguide.com.au/david-strattons-great-britain-retro-film-festival-the-tales-of-hoffmann-cremorne-orpheum/ As part of David Stratton’s Great British Film Festival currently screening at the Cremorne Orpheum we have a rare chance to see this classic 1951 film. Brought to us by the team who also made The Red Shoes, (also screening as part of the Festival), Michael Powell and Emeric Pressburger, this is the fresh, lavish 4k restoration of the film released in the UK March this year and includes previously unseen footage. Michael Powell called this a ‘composed film’ in that everything in the film was governed by the music. It is sung in an English translation of the French libretto and faithful to the traditional adaptations of Offenbach’s last opera bar a few adjustments. Dancers were mostly used as actors on screen ,with the great opera stars as voice over. The film features Robert Rounseville (Hoffmann) , Moira Shearer (Stella/Olympia), Robert Helpmann (as Lindorf/Coppélius/Dapertutto/Dr Miracle) , Frederick Ashton, (Kleinsach/Cochenille) Léonide Massine ( Schlemil, Spalanzani/Franz )and Pamela Brown (in the ‘trouser ‘ role of Nicklaus), Ludmilla Tchérina(Giuletta) and Ann Ayars (Antonia). Only Rounseville and Ayars sang their own roles. The soundtrack recorded by the Royal Philharmonic Orchestra for the film was conducted by the legendary Sir Thomas Beecham. The principal singers apart from Rounseville and Ayars were Dorothy Bond ( Stella/Olympia), Margherita Grandi ( (Giuletta) , Monica Sinclair (Nicklaus) and BruceDargavel(Lindorf/Coppélius/Dapertutto/Dr Miracle). What is very exciting for dance fans is the chance to see several of the greats of the period together in one film . The film is notable for its spectacular, surrealistic designs by Hein Heckroth and for its special cinematic effects. One can pick the Dali influences and also touches of Loudon Sainthill. The film is very obviously of its time and perhaps dated a little now but still sumptuous and enthralling , and the costumes are ravishing. ( Heckroth was nominated for two Academy Awards for this film) . The photography is splendid, with very effective use of close up when required ( the amazing makeup the cast wears is visible in loving, intimate detail!).The ‘Dragonfly’ ballet is shot partly from above to obtain full visual impact and so we can see the various lilypads . In the prologue, Hoffmann (Rounseville) is in the audience at a performance by Stella ( Shearer ), a prima ballerina. (Here we see the dragonfly ballet. Are we meant to pick up a Pavlova influence ? The designs for the dragonflies were quite startling for the film’s period). Stella sends Hoffmann a note asking him to meet her after the performance, but the note is intercepted by his rival, Councillor Lindorf (Helpmann). Not having received her note, Hoffmann goes to Luther’s Tavern during the interval, where he tells the sad romantic tale of a clown, Kleinzach (Ashton) – inspired by mugs in the tavern- and three stories of his past loves— Olympia, Giulietta and Antonia, and becomes drunk. In the first story, set in Paris , we hear how Olympia is a life sized mechanical doll created by scientist Spalanzani and magic spectacle maker Coppelius. Hoffmann falls for Olympia, ignorant of her artificiality and is mocked when he finally discovers she is an automaton. Shearer has a quite difficult long extended solo here as Olympia. It is very romantic in part with her lying on the swinging bench a la Watteau or Sleeping Beauty. There are some allusions to the full length ballet Coppelia as well, Helpmann with enormous eyebrows giving a glimpse of one of his most famous roles. Shearer is terrific as Stella/Olympia and the manic destruction of Olympia is quite gruesome and nightmarish. In the second story, Hoffmann , now in Venice,falls for Giulietta, a courtesan, but she seduces him to steal his reflection ( ie his soul) for the magician Dapertutto. Sultry Ballets Russes great Ludmilla Tchérina is cooly elegant, enigmatic and seductive as Giuletta while Helpmann is chilling and scary as Dapertutto. This story features the famous ‘Barcarolle’, here with Giuletta and Dapertutto floating in a gondola. The dominant colour here is a dark red. In the third story, set on a Greek island, Antonia is a famous delicate soprano suffering from an incurable illness who must not sing, ( shades of Violetta and Mimi ) but the evil Dr Miracle ( Helpmann again, pale and Dracula like) makes her sing and she dies, breaking the hearts of Hoffmann and her father, Crespel ( a terrific performance by Mogans Wieth/ Owen Brannigan ) Ayars gives a tremendous performance as Antonia. Massine features here as the deaf servant , with incredible petit batterie and jumps. The colour theme here is blue and Antonia’s house and garden have huge Surrealist like statues, particularly for her mother. In the epilogue, we learn from Hoffmann that all three women are all aspects of his love, Stella, who then appears in the tavern and, seeing Hoffmann totally drunk, is led away by Councillor Lindorf.( A figure of death, perhaps?! Running time allow two and a half hours no interval includes brief documentary about the history of the film and a most enthusiastic introduction by Martin Scorsese. Sessions of THE TALES OF HOFFMANN are screenings at the current festival currently screening at the Cremorne Orpheum until the 18th August. There is a screening today, and then on 15th, 16th and 18th August. Share this:1Click to share on Twitter (Opens in new window)1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)

NT Live Everyman

http://www.sydneyartsguide.com.au/nt-live-everyman/ This riveting production will enthrall you and give you much to think about. EVERYMAN is Rufus Norris’s first production as artistic director at the National and is a contemporary adaption by poet laureate Carol Ann Duffy of a medieval Mystery Play. At times the rather galumphing rhyming couplets are witty, at times clunky and in the main powerful and dynamic. The designs are quite sparse and functional, combined with excellent use of projections and special effects, storm crashes, lightning etc. The use of the revolve works well. The scene where Everyman’s friends have morphed into luxurious gold robots and he realizes ‘you can’t take it with you’ is great. He is left with nothing but his name and shame. Javier de Frutos’ distinctive at times angular, fluid and explosive choreography is beautifully integrated into the work. Updated to now, Death comes to Everyman on his 40th birthday and announces he has to provide an account to God of his life, We see Everyman appeal to his friends, his family, all of whom are unable to really help him. In the scene with his friends are we meant to see allusions to The Last Supper? The scene with his family– his very ill Mother (Sharon D Clarke), senile Father (Philip Martin Brown, and a very strong, caring but angry sister (Michelle Butterly) looking after them is intense and bitter, sad and revealing, and features sensational performances. Omnipotent God is portrayed as a cleaning woman (Kate Duchen ). God is questioning bleakly as to the current situation of humanity. At the beginning we are informed- “The angels weep to see the ruin of the Earth.” Duchene also brilliantly doubles as Good Deeds, giving a bravura performance as a dying bag lady . Everyman’s Conscience– alter ego /best friend /doppeldanger is given an ironic, biting searching performance by Coral Messam, in some ways similar to Lear’s Fool? Death, in a white mortuary attendant suit and a black beanie with flames on the rim (perhaps Satan) is given a splendid, witty, ironic performance by Dermot Crowley. There is a wonderful monologue where he glowingly remembers the Titanic musicians and the French Revolution. This production however belongs to Chiwetel Ejiofor as Everyman. Ejiofor is best known for his work in Twelve Years A Slave. He has a spectacular, slow-falling entrance from high up– a flashing, kaleidoscope of images conjuring bygone moments of his life. He shines in a towering, bravura performance. We follow his quest and see him change from a rather hedonistic, selfish guy who seemingly has everything to one who has lost everything and seeks answers. A recognisably contemporary man, he is here presented as an archetype of “me-culture”, of self-centered materialism. He’s obviously Catholic and suffers greatly– walking on broken glass and flagellating himself . It is like he is trapped in Purgatory and is waiting to give an his account of himself. The Beatitudes are quoted and the Seven Deadly sins enthusiastically experienced and represented, An orgy and cocaine snorting are featured just for starters. There is a stunning coup de theatre when Ian MacNeil’s design, Paul Anderson’s lighting and Paul Arditti’s sound blend to simulate the effect of a tsunami . As Everyman says though ‘why me? ‘and ‘God, why are you so harsh?’ ‘God, if you are everywhere, it is difficult to understand for us weak humans.’…… The production ends with God’s rather ironic last speech, encompassing her love for all of us. We are each Everyman and our turn may come next… Running time – an hour fifty minutes including a short introduction and a rehearsal documentary. This production is currently playing in London until the end of August. The NT Live screenings of EVERYMAN will screen at selected cinemas as of 8th August.

Mylinda Joyce at Pitt Street Uniting Church

http://www.sydneyartsguide.com.au/mylinda-joyce-in-recital-pitt-street-uniting-church/ Rather rich, dark and heavy, the latest Resonance concert at Pitt St Uniting Church featured the great talents of dramatic soprano Mylinda Joyce accompanied by Chris Cartner on piano. The warm acoustics were splendid for this performance. Cartner, as usual, introduced each piece and opened with a breathless, blistering fast, darting performance on piano of Grieg’s ‘Puck’. Three short, passionate, turbulent songs by R. Strauss followed featuring the amazing voice of Mylinda Joyce who, with long dark hair and flashing dark eyes, wore a stunning turquoise evening/recital gown. Cartner then followed with a proud, emphatic rendition of I. Albenitz’s Asturias from his Suite Espagnol, featuring Moorish and Flamenco influences and cascading repeats. Lo son l’ultima ancilla from Cilea’s Adriana Lecouvreur was given a dark, lushly romantic performance by Joyce. O del mio amato ben by S. Donaudy , with its fractured, ghost like, waltz like ripples for a lover seeking her lost love, was lyrically and wistfully performed. The concert changed tack with the confident, teasing , flirtatious Quando m’en vo- Musetta’s waltz from Puccini’s La Boheme- revealing another enchanting aspect to Joyce’s rich, secure, firm voice. Two extraordinarily impressive pieces by Wagner followed– first Cartner was solo on the piano performing the wonderful Elsa’s procession to the Cathedral music from Lohengrin- lyrical and stately, yet it also bubbled, cascaded and rippled in a bravura performance. Joyce then enthralled in an amazing performance of Seglinde’s sword song from Act 1 of Die Walkure , surging darkly and passionately with the tempestuous music. Then came a gripping, thrilling rendition of Rusalka’s Song to the Moon by Dvorak that was melancholic and filled with yearning. For a well deserved encore we heard an enchanting, dramatic, passionate, wistful version of the lovely, rather poignant O Mio Babbino Caro from Puccini’s Gianni Scicchi. The concert ran for an hour without interval. MYLINDA JOYCE IN RECITAL played the Christ at Lavender Bay on the 17th July, the Pitt Street Uniting Church on the 24th July and the Hunter Baillie in Annandale on the 26th July. For details about upcoming Resonance concert events visit- http://www.resonance.net.au/

Packemin's Mary Poppins at Parramatta Riverside

This was glorious! http://www.sydneyartsguide.com.au/packemin-productions-presents-mary-poppins-riverside-theatre-parramatta/ Packemin’s Supercalifragilisticexpialidocious production of MARY POPPINS is currently wowing ecstatic, cheering full houses at Parramatta Riverside. Bright, bold and colourful, it is an absolute treat. This show is the now-standard much loved Disney/Cameron Macintosh version, slightly amended/trimmed from the London version which was seen here at the Capitol several years ago now. Matthew Bourne’s choreography is not retained but rather altered and adapted by Camilla Jakimowicz. Yes there are still the allusions to his Swan Lake. Set in Edwardian times, the ever popular MARY POPPINS is based on the books by Australian author P.L.Travers, and narrates the tale of the rather dysfunctional Banks family, whose lives are changed completely and unexpectedly with the arrival of a new nanny, Mary Poppins. The Banks children, Michael and Jane, have rattled and disrupted a series of nannies of late. Will Mary Poppins be able to cope? Does she fulfill the selection criteria of both parents and children? You’ll have to see the show to discover what happens … It is an EPIC production with a GIGANTIC cast (perhaps rivaling Opera Australia’s Don Carlos with the number of people on stage, especially in the major show stopping mega- production numbers like Supercalifragilisticexpialidocious and Step in Time, both exuberantly performed and dazzling. The costumes for Supercal appear far more Strictly Ballroom in design than Edwardian, or perhaps they are escapees from Wicked? They are very exciting and colourful. I saw the ‘White’ cast of children .There are marvelous, visually impressive unfolding/sliding sets and excellent use of projections/back drops/technical effects. Penny McNamee is perfect as Mary Poppins. Looking stunning, with her iconic carpet bag and parrot umbrella, she has wonderful fun and sings and dances terrifically, weaving her spell over the audience. Crisp, elegant and extra super-efficient is she a magical being from another world, a wish fulfillment nanny? Shaun Rennie is in fine form as Bert, who acts as theatrical magician and narrator. He sings, acts, dances – and flies- up a storm and plays the part with enormous relish. His subtler, quieter moments are handled well and contrast delightfully with the big numbers such as Step in Time and Supercal. Order and precision are what are required by the actor playing Sam Banks, and Sam Moran, yes, the former yellow Wiggle, fits the bill well. Moran sympathetically develops his seemingly rather cold and wooden character to reveal the sad, torn, harried and stressed man inside in a splendid performance. His uncertain situation– facing a financial crash and unemployment– is still extremely relevant today. Beautiful Kate Maree Hoolihan is terrific as Mrs Banks, a picture of Edwardian loveliness . We see how her character grows stronger as she strives to save the rather stormy Banks marriage. The two children Jane and Michael were delightfully played by Stella Barahona and Brendan Godwin. Jessica Kelly has a whale of a time as the cook Mrs Brill and Michael Curtin is tremendous as clumsy, seemingly boneless Robertson Ay. Natalie Davis-Pratt as the Birdwoman gives a touching performance. Mention must also be made of the impressive performances of Joshua O’Connor as Valentine and Joe Howe as Neleus . Monique Lewis-Reynolds has a tremendous scene stealing time in Act 1 as Mrs Correy in red and gold for Supercal and a terrifying Beardsley black and white demonic ‘the Holy Terror ‘ a.k.a ‘The nastiest Nanny in the world ‘Miss Andrew (Brimstone and Treacle) moment in Act 2. The battle between her and Mary Poppins here is intense and operatic– in this production I was reminded of the battle between Caraboose and the Lilac Fairy in the ballet of Sleeping Beauty . Playing the Game and Feed the Birds are presented with a light touch, not quite as dark as they can be, and far less is made here of Neleus the Statue’s search for his father than usual. Nevertheless a simply splendid production that will have you singing along and dancing in the aisles. Some of the really little ones in the audience may find it too long and appeared restless midway through the second half. The musicianship of the orchestra under the dynamic baton of Peter Hayward is exemplary. In this show anything can happen if you let it ….There is theatrical magic at Cherry Tree Lane…. Running time 2 hours and 45 minutes with one interval. MARY POPPINS is playing the Riverside Theatre at Parramatta until 8th August. For more details about this show visit https://riversideparramatta.com.au/show/mary-poppins/

Paris Opera Ballet in L'Histoire de Manon

Yes the MacMillan classic .A terrific version here's my review : http://www.sydneyartsguide.com.au/paris-opera-ballet-presents-lhistoire-de-manon/ Lush, lavish, opulent and very detailed with a huge cast, this is an extraordinarily powerful version of the MacMillan masterpiece, wonderfully performed by the Paris Opera Ballet with a Gallic flavour. What makes this performance extra special is that it is the farewell performance by the amazing Aurelie Dupont. Dupont plays the part of Manon and she is simply superb. Technically the dancing, as one would expect from the Paris Opera Ballet, is outstanding, with fine ensemble work and dazzling displays by the leads. There is great attention paid to characterisation and the sumptuous, detailed costumes- set and costume design are by Nicholas Georgiadis- are magnificent. Just for example observe Madame X’s superb bronze coloured ‘Watteau – back‘ opulent dress. Mostly the Georgiadis designs are in russet, autumnal tones. The sets range from glittering salons to market squares, wharves and swamps. The stage lighting is very atmospheric. Macmillan’s demanding, athletic choreography is almost death defying at times, and the dancers of the Paris Opera delight in the challenge. In some ways structured in a similar way to a traditional nineteenth century ballet, the work nevertheless broke new ground when it premiered. The Orchestra of the Paris Opera, under the excellent baton of maestro Martin Yates, is tremendous. My general comments about one of my favourite ballets remain synonymous with what I about the Royal Ballet production. There are several amazing pas de deux spaced throughout the ballet for Manon herself. These include a joyous, lyrical falling in love sequence with Des Grieux in Act 1, and a delicious, exuberant bed room scene that directly follows on. Also in regards to Des Grieux there are headlong rushes and jumps into his arms contrasted with smaller more intimate gestures of affection, (closely followed by an amazing, lust and corruption pas de trois between Manon, Lescaut and Monsieur G.M. whilst Des Grieux is momentarily away). Add to this the appalling, explicit rape scene with the menacing jailer in Act 3 and the final, exhausting pas de deux again with Des Grieux As well, there is the magnificent, extraordinary set piece in Act 2 Scene 1 at Madame X’s where Manon is passed around by the men like a jewel, just another possession to be owned, with Monsieur G.M. stepping in and saying ‘she’s mine’ leaving poor Des Grieux broken hearted at her deception. You could also, at times, pick phrases of movement reminiscent of Macmillan’s production of Romeo and Juliet. Dupont’s Manon is a triumph. Elegant, beautiful, refined, she is regal with a distinct aura. She skims, floats, dives effortlessly through the fiendishly difficult MacMillan choreography. We see her change from an innocent young schoolgirl, deliciously in love, to a kept woman to what then becomes her disastrous downfall. The scene in Madame X’s where she is passed around by all the men has quite an intense almost suffocating atmosphere here and the final , despairing pas de deux at the end of the work is shattering . Des Grieux, Manon’s true love, was magnificently danced by a dreamily handsome Roberto Bolle. His solo introducing himself in Act 1 is heartstopping , with dazzling, impeccable technique including glorious fluid jumps, wonderful ballon and a fluid line. He is also tremendous in his partnering. Encore! Lescaut, Manon’s brother, was exuberantly, delightfully portrayed by dark, handsome Stephane Bulion. His blind, drunk solo and duet with his mistress in Act 2 was wittily, dangerously danced. Bulion’s saucy , foxy , flirtatious mistress was excellently danced by Alice Renavand . Taller, leaner and younger than we usually see Monsieur G.M, Benjamin Pech Is cold, implacable and determined to get what he sees and desires. His attitude is that money can buy anything. His passions are hidden under his chilly exterior. An interesting aside, does he have a foot fetish as revealed in the Act 1 trio scene with Manon and Lescaut ?! Karl Paquette played the Jailer with icy blue eyes, cold and full of menace in Act 3, sinister and chilling in the rape scene. My only quibble is with some of the cinematography was unnecessarily jumpy,fractured and distracting at times. The idea of seeing the traffic around Paris and the outside of the Opera, taking us to inside the theatre was great , but it was shot so fast one almost had motion sickness. And did we really have to ‘be told’ who was who at the start of every scene ? (yes it is helpful reminder sometimes , but … ). At the end, Dupont takes several solo curtain calls, in tears, and silver star confetti rains down to tumultuous applause both on and off stage. A sad, stirring finale. Running time is 2 hours and 45 minutes .There is one short interval and a feature interview with Dupont talking about her career and her experience playing the part of Manon. The Paris Opera Ballet in L’HISTOIRE DE MANON is screening at selected art-house cinemas until 29th July. For more details visit- http://www.palaceoperaandballet.com.au/production/lhistoire-de-manon

French Baroque- Brandenburg and Circa

Like wow This was AMAZING Here's my reveiw http://www.sydneyartsguide.com.au/australian-brandenburg-orchestra-and-circa-present-french-baroque-city-recital-hall/ This must be one of, if not the, major landmark concerts of the year. The extraordinary talents of both the Australian Brandenburg Orchestra and Circa are combined in an incredible feast of a concert. This is a celebration of luminous, thrilling French Baroque music.The first half, for the Brandenburg Orchestra alone , is an aural feast in itself. We start with a bang with the huge Orchestra in Rameau’s Overture to Nais which was played very fast but in a controlled manner by the Orchestra dressed in their formal, elegant, dark attire. Laissez durer la nuit by Le Camus introduced and featured the splendid guest artist Claire Lefilliâtre, sleek and stunning with dark hair and eyes in a strapless bronze coloured evening gown, accompanied by her harpsichord and theorbo. She has a glorious rich vibrant warm tone of voice and was dramatic ,passionate and soaring in her lament of a lover seeking the darkness. Then came the multilayered suite from Rameau’s Les Indes Galantes .Dyer was positively beaming as he emphatically conducted swaying from the keyboard. The first section was rather elegant and stately, the second part a rather more formal dance (note the use of the Baroque recorders), the third segment was a circular dance for strings which were eventually joined by the woodwinds. This was followed by an explosive flurrying scurrying section with strings and drums. A dialogue between the two halves of the string section then followed. Dyer was dancing in the following fast round dance that included tambourine. This was followed by an exquisite, flowing lament from the string section and the finale was a stirring, boisterous, martial piece with flutes, drums and trumpets to breathlessly take us to interval. In the second half, a ‘’pasticcio” of assorted French Baroque music, the Australian Brandenburg Orchestra was joined by the wonderful Circa company from Brisbane in a dazzling display. Translations of the songs were provided in the program. The interaction between the Orchestra and Circa members was tightly choreographed and performed with wicked enjoyment. Dyer conjured the Orchestra like a magician. In this half the Orchestra wore black and white outfits, Dyer wearing a floral detailed jacket matching the Circa members. The men of Circa all wore floral designs costumes, the women stunning long glamorous evening gowns in solid colours (red, blue, yellow, purple) with matching leotards underneath. The second half opened dramatically with standing backward somersaults. This was followed by an astonishing, joyous display of circus work– balancing, tumbling, juggling combined with swirling movements, formal dancing and plenty of floorwork. Musically the orchestra mostly shifted to the back of the stage, with a black tarquet floor and several white plastic chairs prepared for Circa and the singers. At one point there was a thrilling parade/entrance by Orchestra members. The Circa members performed fluid, rolling floorwork in their swishing , swirling long gowns. Did I detect a possible Pina Bausch/Meryl Tankard influence, and also Murphy’s Tivoli ?! The ‘Murphy walk’ was also used. Paul O’Keeffe had an amazing chair balancing act, Billie Wilson-Coffey had a mesmerizing silky ,swirling aerialist segment just to mention two of the many highlights . At a couple of points the huge entire Orchestra was crowded on stage as well as Circa, in simple lines. Lefilliâtre was also regally featured in this second half, ably supported by a handsome trio of male singers. This was as Dyer and Lifschitz in their opening night addresses before the concert reminded us , an exquisitely delightful ‘’entertainment’ that had the audience cheering and stamping ecstatically at the end. It is now 25 years since Dyer established the Australian Brandenburg Orchestra and a new CD has just been released to celebrate this. It is well worth purchasing. Running time 2 hours 20 mins including one interval. MUSIC Rameau Overture to Naïs Le Camus Laissez durer la nuit Rameau Suite from Les Indes Galantes A pasticcio created by Paul Dyer featuring music by Marais, Lully, Rameau, Boesset & more THE ARTISTS Paul Dyer AO artistic director and conductor Claire Lefilliâtre (France) soprano Circa (Australia) contemporary circus Yaron Lifschitz (Circa) artistic director Australian Brandenburg Orchestra Members of the Brandenburg Choir – Mark Nowicki alto, Richard Sanchez tenor bass The Australian Brandenburg Orchestra and Circa presentation of French Baroque plays the City Recital Hall until Saturday 1st August. The concert then moves to Melbourne. For more details visit https://brandenburg.com.au/