Latest Adelaide arts reviews: ASO, Arcadia, On by Circa, Chalkface
The latest reviews from The Tiser’s arts critics, including ASO’s Tragedy to Triumph, Arcadia, On by Circa, Chalkface and more.
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ASO Symphony Series 6 – Tragedy to Triumph
Adelaide Town Hall
August 12
Natural disasters have been on everybody’s minds lately, including composers.
There has been a rush of new works about bushfires and floods. None have evoked the terrifying power of nature so vividlyas the third movement of Paul Dean’s Concerto for Horn and Orchestra, given its premiere with Andrew Bain, pictured.
Music being an abstract medium, it might have been difficult to say whether we were listening to a bushfire, a tsunami or a volcanic eruption if the composer hadn’t told us.
One thing is certain though – the climax of this piece was immensely loud and chaotic.
There was a long period of escalating tension leading up to this moment, in which Bain displayed his extraordinary command of his instrument.
Conductor Alpesh Chauhan directed a very impressive and dramatic Shostakovich’s Symphony No. 10, an epic work of vast emotional range, like an expansive novel by Tolstoy.
In the second movement Chauhan’s baton turned into a cattle prod, with an electrifying effect on the orchestra, eliciting the most exciting playing I have heard from the ASO in some time.
Seemingly unafraid to push the boundaries, Chauhan’s tempos were sometimes extreme, though what might have been lost in pinpoint accuracy was more than compensated for in sheer excitement. But he also allowed the music to breathe when it needed to, sinking into reflection and melancholy.
With a dynamic range larger than we usually hear from the ASO, the performance was compelling from beginning to end.
– Stephen Whittington
Arcadia
University of Adelaide Theatre Guild
Little Theatre
Until August 21
One of the very great plays of the 20th century, Tom Stoppard’s Arcadia is a brilliant piece, a detective story played at a remove of two hundred years.
Memorably described when it opened as “a theatrical whodunit or rather who didn’t”, two stories run in parallel, concerning on the one hand an eventful couple of days in the lives of the landed gentry in the early 19th century, and on the other the records of the time providing a fertile ground for ambitious researchers as the new millennium approaches.
One could be forgiven for supposing Arcadia is too difficult a piece for community theatre. (And fair enough, what other piece combines mathematics, landscape gardening and chaos theory?) But not a bit of it: it is that well written, and Matthew Chapman’s production for the University of Adelaide Theatre Guild is a winner.
The entire 12-strong cast give of their talents in abundance. There are a few real standouts, especially Kate Anolak as the imperious Lady Croom, on whose estate many shenanigans of more or less scandalous nature take place, in full Lady Bracknell mode. Within her home, her daughter Thomasina is played with naive wisdom by Pari Nehvi, and her tutor, Septimus Hodge, with charming decadence by Robert Baulderstone.
In the present day, a University environment could hardly be more appropriate to witness the intellectual contortions of the blindly ambitious, foppish Nightingale (John Rosen) and, a complete contrast, the cool logic of the textbook academic, Hannah Jarvis (Allison Sharber).
A beautiful set in regency blue from Brittany Daw is the icing on the cake.
A good production, well worth seeing.
– Peter Burdon
On by Circa
Her Majesty’s Theatre
August 12
It’s been quite a while since Brisbane-based circus superstars Circa visited Adelaide on tour, so the fans were out in numbers for a one-night only performance of “On by Circa” from the company’s long-time artistic director Yaron Lifschitz.
Lifschitz describes On by Circa as exploring weight as a particular element of acrobatics. Keeping this in mind is very instructive when watching, accustomed as audiences (and critics) are to looking at strength, or agility, or – especially in Circa’s case – the choreography. Suddenly the interaction between the artists becomes much more than a demonstration of the laws of motion. The piece is of a predictably high standard.
Within the first few moments, there are scenes of astounding complexity and technical prowess.
Amazing hand to hand work is a hallmark of the entire piece, with breathtaking feats of sheer strength, scarcely a tremor when one, or two, or indeed more are balanced in daring formation.
The high work is abundant, and covers the entire textbook plus a few moves that haven’t been described yet. Possibly the finest sequence was a long – so long – episode where one performer, seated, remained in precisely that position while lifted high by another, held there motionless for what seemed like an eternity, then lowered at an incredibly slow pace.
The control that this will have required on the part of both performers is near miraculous. Extraordinary as the moves are, they’re overused, and the piece could easily lose an entire scene without any problem. As it is, the 8-strong ensemble is evidently exhausted as the hour ticks over, and there’s still 15 minutes to go. It was at this point that one or two small errors started to intrude. Not that anyone much cared, as they cheered them off the stage.
– Peter Burdon
Chalkface
State Theatre South Australia
Dunstan Playhouse
Until August 20
By all accounts there were a lot of teachers at the opening night of Chalkface, if the chuckles-cum-groans of recognition were anything to go by.
Chalkface is a breezy comedy from Australian playwright Angela Betzien, receiving its world premiere in Adelaide in a co-production with Sydney Theatre Company.
It’s set in a down-at-heel suburban school, where burnt out staff do their best with a motley bunch of students, the overwhelmed principal has resorted to bureaucratic Newspeak, and the jaded administrator keeps the storeroom locked, lest the staff use all the coloured paper. And the unseen Hurricane Little, the teachers’ nemesis who’ll probably wound if he doesn’t actually kill. It would be even funnier if it didn’t ring at least partly true.
Pat is one of the longest-serving teachers. She’s committed, but weary and more than a bit jaded, and is in no mood to accommodate eager new teacher Anna (“I have a Masters in Neuroplasticity”). Even Anna’s declaration that Pat, an award-winner in the past, is the reason she’s in this dump goes to no avail. It’s their evolving relationship that is at the heart of the play.
Given in a continuous hundred minutes, the first half is given over to setting the scene. We clean out the fetid fridge with Pat – a winning performance from Catherine McClements – while we accentuate the positive with the unflappable Anna (Stephanie Somerville). Well, almost unflappable: when she cracks it’s a riot.
The second half is more episodic, and partly given over to a white-collar whodunit alongside the character-driven story. We groan at the headmaster’s chirpy pep talks and inane jargon, which transforms a Parent-Teacher night to a Client-Focused Consultancy Seminar: Nathan O’Keefe is in fine uninhibited form. We loathe the tyrannical administrator (Michelle Ny).
There’s much excellent writing in Chalkface, and slapstick comedy that’s beautifully directed by Jessica Arthur. Ailsa Paterson continues her reputation for brilliant design with a marvellous set, a staffroom with peeling paint and mismatched furniture speaking volumes without a word being said.
Chalkface shares with Betzien’s last outing with State Theatre, Mortido (2015) a loss of focus towards the end, when the urge to tie up all the loose ends might have been resisted. But let that pass, settle in and have a good laugh.
– Peter Burdon
Sheku Kanneh-Mason & The Kanneh-Mason Family
Her Majesty’s Theatre
August 7
The long awaited arrival of the Kanneh-Mason family to Adelaide brought us a concert of two halves.
The first half showed of the chamber music credentials of two remarkable gifted musicians Sheku, the ‘cellist and Isata the pianist. Individually musicians of the highest calibre they make a splendid pairing in this repertoire. They began with a lyrical performance of the rarely heard Sonata for ‘cello and piano by Frank Bridge.
Following that with a George Gershwin prelude for solo piano, a gently engaging Mendelssohn Song Without Words and a Sicilienne by Maria Theresia von Paradis, they ended with a striking piece, the Sonata for ‘cello and piano by Shostakovitch.
It’s a great work delivered with energy and insight. The transition from the melancholy third movement into the exuberant and spiky rondo finale was outstanding.
The second half brought the other five members of the family on stage. Violinist Braimah took on the Sarasate Gypsy Songs and Jeneba, Aminata and Mariatu gave us one movement of a Mendelssohn Piano trio. Before the end when the family played their own Fiddler of the Roof medley, Jeneba played the second Hungarian Rhapsody by Franz Liszt. She brought the house down, playing with such force and speed, her hands a blur on the keyboard.
– Ewart Shaw
Adelaide Baroque Orchestra with Sally-Anne Russell
Elder Hall
August 7
Adelaide Baroque’s ambitious orchestral series continues with a concert evocatively entitled “Jewel of the City: Music of Dresden”.
There’s no doubt about the splendour of the musical life of the Saxon capital in the 18th century, with a spectacular musical establishment at the court, along with the development of the chamber orchestra and an opera tradition that was the envy of Europe. The program hinted enticingly at the riches of the period.
Things got off to a regal start with the splendour of natural horns with Johann David Heinichen’s Concerto in F, its four movements all giving members of the orchestra time to shine, with some particularly fine recorder work. It was a suitably grand introduction to soprano soloist Sally-Anne Russell, with the first of a number of sensational arias from popular operas of the period.
Russell is one of Australia’s most versatile singers, from bel canto to the baroque, and her extraordinary versatility was much on show, from coloratura lightness and agility to tremendous intensity in the long, slow passages in ‘Alto Giove’ from Porpora’s Polifemo.
The other orchestral pieces showed similar variety, from pure Vivaldi in his Concert in F RV569 with the horns in hunting mode to the fascinating Imitation des caractères de la danse from the famed court composer Johann Georg Pisendel, a 7 minute summary of baroque style and elegance. Every member of the 17-strong ensemble gave their all, with director Ben Dollman in particular contributing many dazzling solo passages.
Adelaide Baroque’s enterprise in mounting these concerts is to be strongly commended, and fully deserved the large and appreciative audience that it attracted.
– Peter Burdon
Adelaide Baroque Orchestra with Sally-Anne Russell
Elder Hall
August 7
Women were all the rage in Baroque opera. Literally.
They may have been oppressed by society of the times but on the opera stage you could hear them roar. In ‘rage arias’ they vented their fury on cruel gods, deceitful men, scheming women and anybody else who annoyed them. Salley-Anne Russell distilled pure anger in rage arias by Hasse. Orlandini and Ristori. Evidently being angry brings on fits of vocal gymnastics which she was more than a match for.
With a lovely, rich and mellow mezzo soprano voice, Sally-Anne Russell also showed another more tender and expressive side in beautifully fashioned arias by Porpora and Hasse.
This concert celebrated the glory days of Dresden during a few decades either side of 1700, when its population was about the same as Mount Gambier – the difference being that Dresden had enlightened rulers who generously patronised the arts. Stars of the instrumental parts of this program were Sarah Barrett and Emma Gregan, doing a splendid job playing notoriously cranky natural horns whose raucous sound is one of the joys of Baroque music on period instruments.
The composers ranged from the great Vivaldi to Meinichen and Zelenka who are now reduced to mere footnotes to musical history but were excellent musicians. The standard of performance throughout was impressive, as the orchestra, under the leadership of Ben Dollman, continues to grow in stature and confidence.
– Stephen Whittington
Othello
Independent Theatre
Star Theatres
Until August 13
It was as if 11 years were but a blink of an eye as Independent Theatre reprised its acclaimed production of Othello.
That production was notable for being the first in Australia to cast a local actor of African heritage, Shedrick Yarkpai, in the role of the Moorish general. It’s a mark of the excellence of that production that it evokes so many memories. And now, many more.
In 2011, I wrote that Yarkpai was “impressive, with a confident swagger and an innate authority”.
In the intervening years he’s matured as an actor – his performance now is mesmerising. His descent from heroic leadership through insecurity and self-doubt to madness is truly a thing to behold.
Director Rob Croser was confronted with a nightmare situation when the pandemic felled his chosen Iago, the master manipulator whose trickery twists more than Othello’s mind. The fates smiled, however, and local actor Arran Beattie leapt into the breach at short notice, revelling in one of Shakespeare’s most prosaic roles.
Mastering the internal rhythm of Iago’s deceitful tales while all the while sounding sincere is an artistic peak to be scaled, and so convincing was Beattie – assisted not a little by a fetching Glaswegian accent – that the presence of a script hardly intruded.
And so to the others. As Othello’s devoted wife Desdemona, Eloise Quinn-Valentine gives a nuanced performance, with a grace and confidence that makes her cruel death all the more sad.
As the loyal lieutenant Cassio, Eddie Sims exudes the charm and charisma which Iago needs to enact his fell plans.
The other standout – like Yarkpai, reprising a memorable performance – is Lyn Wilson as Emilia. Her explosive denunciation of Iago’s perfidy is magnificent, giving full voice to the audience’s outrage. She drives home the truth in truly monumental fashion.
The set is all Gothic arches, very apt, and beautifully lit by Luke Bartholomew.
Othello is inevitably a balancing act between the grandiose warrior and the treacherous ensign who brings him undone. This production treads the line well, and is well worth the effort.
– Peter Burdon
Dogfight
St Jude’s Players
St Jude’s Hall, Brighton
Until August 13
St Jude’s Players steps well outside its customary fare with the SA premiere of Dogfight, the successful – and controversial – off-Broadway hit from the American songwriting duo and composing team Pasek and Paul.
It’s the early ’60s, and three marines, about to be deployed, are out for a last night of freedom. They’re off to a “dogfight”, a grotesque tradition in which a hall would be hired, the booze laid on, and the marine who brought the ugliest date win a cash prize.
Leader of the pack is Eddie Birdlace, a full-on GI type, buzz-cut and all. He pinpoints a plain girl, Rose, working for tips in a suburban diner, as his date – his victim, in truth. But when the truth is revealed, she shreds him in one of the finest take-downs imaginable, and not only for herself, but for every woman who’s been subject to such disgusting and cowardly behaviour. That is the importance of the piece.
Director Brian Godfrey has drawn together a decent company with fair musical as well as acting chops. Gus Robson as Eddie and Ruby Pinkerton as Rose are both solid, with Robson in particular doing well with Eddie’s very wide vocal range. The other lead – a scene stealer – is the raddled prostitute Marcy, a gutsy performance from Sarah Whalen.
The rest of the large cast – 14 in all – do creditable duty, though the music at times demands stronger voices. Ben Stefanoff directs a tight six-piece band.
– Peter Burdon
The Big Sing McLaren Vale
The Armed Man
Tatachilla Lutheran College Stadium
July 31
The Welsh composer Karl Jenkins is among the most performed living composers.
His 2000 work The Armed Man: A Mass For Peace has racked up nearly 3000 performances to date, and receives its first “full” Australian performance in the 2022 edition of The Big Sing.
Jenkins takes the text of the Latin Mass as his basis, and around it weaves other texts including a Muslim call to prayer, the Indian epic Mahabharata, and poetry by Kipling, Dryden, Malory, and the Japanese poet Sankichi.
The Big Sing is now firmly established as a major community event in the southern vales, and this mammoth undertaking is by far their most ambitious project to date.
No fewer than five choirs, 300-odd voices, plus the combined orchestras of Marryatville High School and Brighton Secondary School (with some illustrious alumni in section leads) were under the outstanding direction of Carl Crossin.
Crossin is among the finest choral conductors in Australia, and brought together the disparate forces with consummate skill.
And so to the music. The 13 movements are very diverse, from martial pomp to poignant reflection, and there is some very exacting writing.
It has its memorable tunes – the Benedictus is played to a madness on ABC Classic. But when experienced with the accompanying film – the first performance in Australia – the whole enterprise takes on a new depth.
Harrowing vision of the preparations for war, of conflict itself, and of days of so-called victory, from days gone by and into the 21st century, left many members of the packed house profoundly moved.
The great take-home message was the vision of refugees who have, in utter desperation, taken to the seas – or, sickeningly, shores strewn with unused life-jackets – as the text of the Benedictus was sung.
“Blessed is the one who comes in the name of the Lord.” That one, those dozens, those thousands, those tens of thousands, are the refugees.
The Armed Man makes a political, as well as a musical, statement, written as it was in the shadow of the Kosovo War. And in this full form, it does so in spades. Think, friends, of Ukraine.
There are two more performances in the Adelaide Town Hall on Saturday, August 3. It can hardly be more strongly recommended.
– Peter Burdon
Symphony Series 5 – Spellbound
Adelaide Symphony Orchestra
Town Hall
July 29
Compacting eighteen hours of Wagner’s Ring Cycle into a single 80-minute span containing just the orchestral plums might seem a recipe for disaster. But that’s what conductor Lorin Maazel did with his Der Ring ohne Worte in 1987 and our ASO and its Conductor Laureate Nicholas Braithwaite were up for it.
Of course, it also involved packing in an enormously expanded orchestra (including nine horns) so the decibel level was bound to be in the red.
Given those circumstances the result was thought provoking with never a dull moment. Admittedly it was hard to keep pace with a score that has The Ride of the Valkyries one moment and Siegfried slaying the Dragon from the next opera seemingly a moment later.
Wagner’s orchestration is always fascinating though, and the ASO’s expanded winds – especially the brass – did themselves proud.
Colin Prichard’s trombone solos were magnificent and matched by Adrian Uren’s fine French horn moments, both on and off stage. Braithwaite maintained a truly magisterial pace so at least the music could expand in the moment, and the final pages, containing really large homogenous chunks were breathtaking.
Earlier Australian, now international, soprano Nicole Car was an utterly persuasive soloist in six Richard Strauss Songs with the composer’s and others’ full orchestral accompaniments. Her ringing upper register and rapt pianissimos challenged the ASO almost beyond their comfort zone with the final Morgen! for voice and strings only probably most successful.
– Rodney Smith
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