Café Zimmerman

17 March

This yearly event is always well attended and appeals to variety of music (and food!) lovers. The casual atmosphere, sitting around tables with a glass of wine or cup of coffee intends to emulate J.S.Bach’s Friday evening gatherings in the Leipzig café, where players and listeners were involved in new compositions and in discussions. We enjoyed the wonderful music and maybe next year the musicians could mingle and engage in conversation with the audience, too.
The Adelaide Baroque Orchestra is a relatively new addition to the Adelaide Ensembles and it was gratifying to see and hear so much local talent engaging with each other. During the concert, different formations meant each player was a soloist and yet they merged very well with each other as a group.
The guest singer, Sally-Anne Russell, embodied her songs, illustrating the words with dramatic actions that brought the music to life. Zelenka’s expressive Italian arias were full of passion and Handel’s aria “Dopo Note” also showed the Italian style of the era. The final aria by Handel “Verdi Prati” was beautifully performed, with deep feeling and yet reserve.
The program was a good mix of colour. The Telemann pieces used the sonorous sound of the full orchestra, plus two recorder players, Jayne Varnish and Lynton Rivers, who played a lovely solo Musette. The two cellists, Anton Baba and Kate Morgan shone in the virtuoso Vivaldi Concerto for two cellos and the leader of the orchestra, Ben Dollman, gave a fluent, expressive performance of Bach’s Violin Concerto in A minor.
The Adelaide Baroque Orchestra is trying to establish a secure footing in the Adelaide music scene and their vision is to find sponsorship in the corporate world. Their confident, informed performances could be an asset to a culturally-minded organisation and the audience was asked to help them make contacts. So spread the word and if you didn’t hear the concert this year, look out for it next year!
They can be contacted through

Gabrielle Scherrer

Cecile McLorin Salvant

Adelaide Festival

Festival Theatre

17 March


The favourite of critics all over the globe and one of the talked about jazz vocalist for a long time came to Adelaide for her Australian debut and what a show it was.

Backed by her current band comprising wonderful pianist Aaron Diehl, bassist Kyle Poole and drummer Paul Sikivie, Salvant took us on a trawl through the American songbook with a few exceptions, notably Paul McCartney’s “And I Love Her”, performing largely from her excellent new double CD “Dreams And Daggers”, available through Planet Company , station sponsor.

Salvant’s very distinctive voice was clearly evident but more important was her impeccable delivery. Throughout the near two hour programme she sang with with great emotion and  humor (for example, “Wild Women”), proving that all the hype surrounding her is justified. But it’s the ease and confidence in her singing that takes her to the highest levels of jazz vocals and made it a privilege to be in the audience

Dial did not follow the rule book on piano vocal accompaniment, using block chords, atonality and repetitive motifs to avoided clique and add greatly to the music. The rhythm section were more traditional but a perfect fit, with new bassist Kyle Poole outstanding.

Three encores establish that the audience agreed. The final was telling. Salvant sang solo, but most striking was the song, “Naomi Wise”. Clearly a murder ballad, its roots are in English traditional music and I suspect the song origins, though referring to the murder of an  American bride to be in the early 19th century, can be found in songs such as “Pretty Saro” or “Pretty Polly”. The point is that Salvent is no one trick pony, is she wanted to she could just as well be a successful bluegrass or traditional vocalist.

Michael Prescott

The Triplets Of Belleville

Adelaide Festival

Adelaide Town Hall

15 March


The brilliant animated film, a joint French, British, Belgium, and Canadian project, features a jazzy and wonderful score, composed by Benoit Charest. With little dialogue the setting is perfect for the score to be performed live to the film and so it was at this magical performance.

Led by the effervescent composer himself, the Le Terrible Orchestre de Belleville played the score to perfection with pin point timing, making the whole event a sheer joy. The music is very French, very jazzy and very good.

It can be difficult to maintain one’s focus in a performance such as this, there is the temptation to simply watch the animated film with its tale of a the young boy turned by his grandmother into a great cyclist and Tour De France rider only to be kidnapped by the French mafia and taken to Belleville for devious purposes and the subsequent efforts of his grandmother and the Triplets Of Belleville to secure his return from the mafia clutches.

On the other hand there was were the musicians, scattered in an arc on the stage below the screen, Charest on guitars directing the group which included sax, flute, vibes, accordion and, of course, a vacuum cleaner, bicycle spokes, paper and an odd instrument sounding  a bit like tuning forks!

This was a totally captivating performance and and no doubt one of this year’s Festival’s triumphs.

Michael Prescott


Fortuna Spiegeltent

Garden Of Unearthly Delights

14 March 


Scottish traditional band, Breabach, returned to the Garden of Unearthly Delights following on from last years’ great show at the same venue. Touting their latest release, “Astar”, the band once again delighted the audience with their original take on the Scottish tradition.

The performance featured a number of original tunes from the band members which complimented the more traditional songs perfectly. After launching the show with a selection of reels, Megan Henderson displayed her fine vocal skills, complimenting her  beautiful fiddle.

From there the versatility of the band was on show, with James Duncan Mackenzie on pipes and whistles and Calum MacCrimmon also playing pipes and whistles plus Bouzouki. The bagpipe was, of course, originally an instrument played in small groups, such as this, rather than the massed pipes of more popular music. Hence it was great to hear the pipes played in their original environment and the audience certainly appeared to agree.

As the show come to its conclusion, Henderson demonstrated that she’s  a pretty good tap dancer as well, much to the delight of the gathered.

It’s  a rare  occasion that traditional music comes to Adelaide and the class of Breabach made the show all that more special.

Michael Prescott

Balanescu Quartet


Festival Of Arts

Adelaide Town Hall

March 13


Although a tad on the short side, 80 minutes, this was one show not to be missed. In a nutshell, stunning.

Led by Alexander Balanescu, with his trademark hat, the quartet trawled though a few of the leaders personal choices from their extensive catalogue.

First came “Luminitza Suite”, written in response to his first trip home to Romania in 1991 after a 22 year absence. Influenced by folk song, the suite also utilized backing tapes and spoken word to great effect. The following “Maria T Suite” celebrated the most famous Romanian singer, Maria Tanase, and over tapes of her voice the quartet performed a powerful work, including the haunting “The Young Conscript and the Moon”

As if to lighten the mood and as a complete contrast the show climaxed with a suite of Kraftwerk songs, bringing the 1970’s German bands electronica back to life in a new form, complete with the hit “Model”

Although a string quartet, they stretch the boundaries by adding several modern touches, backing tapes, a  subdued light show and most significantly, amplification from plugged in instruments. This gave the performance for more power than the usual quartet and freed the performers from being seated. This was most evident during the last bracket when Balanescu pranced about the stage like a maniac.

Balanescu was not alone, of course, the quartet was brilliantly completed by James Shenton – Violin, Katie Wilkinson – Viola and Nick Holland – Cello

The audience was totally captivated by the performance as was this reviewer. I’ll say it again, stunning!

Michael Prescott



The Lab, Queens Theatre 12, 14, 15 16 March
Emily Sutherland

Fringe and Festival brings some wonderful musicians to Adelaide during March, but Sally Greenaway and Louise Page must be among the most accomplished. They combine to present numbers from the American Song Book, where the music of Tin Pan Alley joined forces with the Black American Jazz to create some of the most memorable music of that time.
So they began with two numbers from Porgy and Bess and concluded with ‘Can’t help lovin’ dat man’, from Showboat, but played with a Gershwin twist. In between were other favourites, such as ‘Somewhere over the Rainbow’ and a ragtime version of a Bach Invention. The commentary, where one or the other set the scene and put the music into context, added to intimate atmosphere, and sense of being invited guests rather than an audience.
Louise Page is a very successful opera singer. But she knows how to use her immense vocal talent and technique to enhance these songs, without making it sound like an opera singer dumbing down and not sounding really at home, as can happen when opera singers venture out of their comfort zone. Louise was very comfortable in this different genre. She has charm, verve, and a great sense of rhythm as she showcases this music. I could have listened to many more songs.
Sally Greenaway trained originally as a jazz pianist and she is terrific. There is no doubt that her skill and imaginative arrangements added to the interpretation. This was a true partnership, such as you find between accompanist and singer of lieder. But this was more fun!
The stage was set in the style of a very respectable speakeasy, as I imagine they were in that time. No sleaze allowed. The lighting changes were subtle but added to the feeling that we were being transported back to another time. Don’t miss the chance to hear these top-class artists performing fabulous songs which have stood the test of time.


Fringe Festival

St Johns Church Halifax Street, 11 February

Estuudio Youth Choir – conducted by Külli Lokko
Festival Statesmen Chorus – conducted by Jonathan Bligh

Emily Sutherland

When we see the words WORLDS COLLIDE we think H.G.Wells and disaster. The collision, if that is what you could call it, between Estonia and Adelaide resulted in refreshing and wonderful music. Members of both choirs are, in the main, young people, and it is fitting that their initial contact came, not by colliding, but through Facebook. There were introductions from both choir groups, talking to the audience in a relaxed and humorous way that helped set the atmosphere.
The program began with the Festival Statesmen singing three religious songs, but not in conventional settings. The arrangements by Doug Harrington and Rasmus Krigstom (Amazing Grace) David Harrington (It is Well With My Soul) and James Stevens (Nearer my God to Thee)  allowed the choir to sing with a robust vigour, intricate rhythms and harmonies. Tim Bartel, guest soloist in the last hymn, is more usually heard singing in a Rock band, yet he was able to produce a full throated top C at the conclusion. Combine barbershop quartet multiplied by many, Spirituals and a touch of Gospel and you have some idea of the sound this chorus produces.

The Estuudio Youth Choir was on the very last leg of a three week tour, celebrating one hundred years of Estonia’s independence. Their sound was closer to a conventional choir, but not therefore lacking in the freshness of young voices, controlled dynamics and impeccable musicianship. They began their bracket with two songs by Arvo Pärt and then three songs in English including Enjoy the Silence, arranged by Eric Whitacre, allowing us to appreciate their clear melodic line and good diction. After the interval they returned, this time dressed in the national colours, to sing traditional songs, Forced to Marry and Ending and Going Home, both by Veljo Tormis.

The Festival Statesmen, in their final bracket sang two songs by Billy Joel, which would have pleased Billy Joel fans, and then gave a very lively performance of Moondance by Van Morrison, letting their hair down and revealing their normally choreographed presentation when not confined by an ecclesiastical setting.

Finally the two choirs combined in two numbers Mis on Immune by Pärt Uusberg and MLK (U2) arranged by Bob Chilcott. That left the capacity audience clamouring for more. It was an excellent program highlighting the joy of young people making music of a very high quality. There was no collision of worlds, but cooperation and harmony and unity.

 Tom Gleeson


Garden Of Unearthly Delights

7 March

Tom Gleeson, he of the ABC and “Hard Chat”, returned to the Fringe and the Garden for a sell-out season and I suspect that he has a bit of a soft spot for this gig.

There are many reasons why Gleeson stands out in the crowded stand-up market. One is that he has a perpetual smile on his face, he is having a ball onstage and that rubs off onto the audience. It’s not a chore, something that has to be done, he enjoys the interaction with the odd audience member (hello Ron!) and delivers his spiel with real enthusiasm.

Then there’s his super quick thinking and wit. He is probably as good or better simply adlibbing. Not to mention his perfect delivery.

Titled “Sure Thing”, the show, sort of drawn from personal experiences, covered a range of topics, including the family travelling to Bali and the resulting chaos that ensued, the ABC and the Catholic Church.

In a twist to the usual comedy, Gleeson finished by inviting the audience to ask him which parts of the show they thought were real and which were not. Conclusion? Some, but not too much!!

If you’re going to see comedy at the Fringe, why not simply go to the top of the comedy tree? Oh, and he’s funny, very funny.

 Michael Prescott


Bakehouse Theatre February 26-March 16

In association with Smokescreen Productions

Emily Sutherland

Shell Shock is one of four plays which come under the umbrella title ‘Lest We Forget’. We tend to think of this phrase applying to those who died in wars, but Shell Shock brings us starkly to recognise that not all the casualties of war lie buried in some far flung field. Soldiers who return from active duty in countries such as Afghanistan and Iraq have witnessed atrocities and violence, lived with the constant fear of death and seen their comrades maimed or killed. So, when a soldier leaves the army, ready to take up his or her life in civilian society it is not an easy transition.In Shell Shock we meet one such soldier who shares his experiences from the first euphoric sense of freedom, to the final despair, after his relationships have broken down, his attempt at employment has ended in disaster, his mood swings, nightmares and anger have alienated those around him and life seems to hold nothing more for him. The story is told with self deprecating humour, and an endearing lack of self-pity. There are lighter moments and humour as Tim Marriott narrates the story – a story which mirrors that of thousands of ex-soldiers. The play is adapted from a novel of the same name by Neil Watkins, and we are told afterwards that this story rebounds again and again.

Shell Shock really brings home  what so many servicemen and women suffer. How can they relate to normal everyday life, where what we call ‘first world problems’ dominate the conversation? Go and see a strong performance of a superb script, and come away more aware of how crippling and widespread is the post traumatic stress suffered by those who believe that they have served their country. Has their country then served them?

Soweto Gospel Choir



To March 18

Back for a longer season than last years triumph at the Royal Croquet Club, the choir did not disappoint.

Thankfully is was not exactly the same show as last year, but the incredible energy and power remained intact. This was a show dedicated to Nelson Mandela and his presence was palpable throughout the performance.

The choir, decked in their signature bright outfits, hit the ground running, literally, with a series of African songs, all powerful stuff. They presented a range of music, from deeply African to James Brown’s “I Feel Good”,  a few slower songs, probably placed so that the members could catch their breath and closed with Leonard Cohen’s majestic “Hallelujah”

More than the songs, it is the energy and passion not only in the singing, but also in the very demanding choreography, not to mention dancing and drumming in the brilliant percussion interlude. With very little in the way of breaks between numbers the choir kept up the energy level to fever pitch right to the penultimate number, letting us down slowly with the deeply moving finale.

The only downsides were a slightly muddy sound, sometimes making it hard to clearly hear the singing, and the sounds infiltrating the venue from other events.

The audience wanted more, but as Fringe show rules dictate an hour is it. Great way to spend an hour though!

Michael Prescott

Matthew Sheens


St Mary’s College

27 February

There is something special seeing a local talent blossom in the the largest melting pot of jazz that is New York. And to see his talents on full display is not to be missed or forgotten.

He may not have, as yet, become a Chick Corea or Keith Jarrett, but his enormous talent was on display at this concert which took place at in the quiet environment of a school hall. After three  openers featuring some of the school’s own talent it was down to business.

Sheens, playing a grand piano as opposed to the electric version he usually plays in clubs, was supported by some of the countries finest jazz musicians, San Anning on bass, Gian Slater on vocals and Tim Firth, drums.

Whilst the main part of the concert was relatively short, it featured, in its entirety, his new work, the soon to be released “American Counterpoint”, his musical take on the current American political situation. Whilst it is largely a composed piece, it is a completely cohesive and powerful musical statement.

Composed for piano, drums, bass and a string quartet, here Slater was given the part of the string quartet, well at least the first violin, and her wordless vocals drifted beautifully above the band. But it was Sheens brilliant playing that made the work gell and provided that main ingredient.

Standout performance.

Michael Prescott

Scientology: The Musical


The Speakeasy, Gluttony

To March 4


Following appearances in previous Fringes and Edinburgh, the show returns to this years Fringe in the enlarged Gluttony venue. There have been some changes to the show and it’s all be better for it.

The venue is as one would expect from Gluttony, rustic with a small performance space and the audience packed closely to the stage. This adds immediacy to the performance, not to mention a punch!

It is, of course, a musical and thus there are songs. In this case, the all original songs are, well, pretty good with all four cast members singing and playing with much gusto.

In the course of the one hour show, we are treated to a sort of history of this “religion” and at times it is hard to keep up with the rapid fire script, full of one liners and a great big dollop of sarcasm. A bit of background knowledge is advised!

Nonetheless, thoroughly entertaining.

Michael Prescott

Mike McClellan


Trinity Sessions

February 23


Another bout of nostalgia for a long forgotten 70’s artist? Sorry, not here. Sure McClellan played his best known songs, “Song & Dance Man”, “Rock’n Roll Lady”, “Saturday Dance” and “The One I Love” which has just recorded by Tommy Emmanuel & Ricky Scraggs.

But far more than this he featured many songs from his recent return to live performance after many years as an advertising exec. and confirmed that his brilliant guitar playing is intact as is his superb voice. Great songs flowed on and on over the two hour plus solo show, confirming his status as one of this country’s greatest songwriters. Many of the songs come from his excellent new CD “No Intermission” and his previous release “Dancing In The Rain”.

McClellan is the complete performer, great original songs, an emotional voice and a virtuoso guitarist. He demonstrated the latter with a stunning performance of Davey Graham’s “Angie”, made famous by Bert Jansch and Paul Simon, which he bookeneded with his own “Still”. Covers were sparse but excellent, Jerry Jeff Walker’s “Mr Bojangles” and the show closer, Paul Simon’s “The Boxer”.

Also deserving a mention is the venue. Trinity Church provides very good sound in a relaxed space. Perfect.

A night to remember.

Michael Prescott


Guy Masterson- Bakehouse Theatre February 19 – March 3

Emily Sutherland

Guy Masterson, who has been bringing quality theatre to Adelaide Fringe for many years, is well known to Adelaide audiences. This year he has brought four plays under the umbrella title of Lest We Forget, and each of these plays deal in some way with war. The first of these performances is not a play as such but a selection of war poetry, selected from English, French and German poets. The poems are presented with some sound and lighting effects but the strength of the performance is in the words, and in the brilliant way that Masterson delivers them.
While most people have some idea of the horrors of trench warfare during World War I these poems highlight both the minutiae of dealing with cold, lice, and noise along with the fear, facing death, seeing friends and comrades shot or shelled,  left in pieces on the battlefield. Or, they die a slow lingering death, with no hope of recovery.
The story of the first Christmas Eve of the war, when the German and British troops joined in celebrating Christmas in no-mans land introduced humour while demonstrating that these soldiers who had been trying to kill each other were just ordinary men who could have been friends under different circumstances. This piece was not by a poet but by Guy Masterson himself, showing another side to his talents. There were other moments of humour, it was not all heavy doom and gloom. These soldiers had been persuaded that they were saving their country. That made them heroes. Yet when they returned maimed, blind, shell shocked and cynical, that became their reality.
For lovers of wonderful writing delivered by a consummate actor, this performance is one that you would really appreciate. Some of the poets, such as Wilfred Owen and Sassoon are well known. Others less so, and Masterson gives us their story along with their poems.

The other plays in this series are: Mengele, Shell Shock and Between the Crosses all at Bakehouse Theatre.

Mike Rudd


German Club

17 February



For those who can remember, Rudd will need no introduction. As leader of Spectrum he was at the forefront of progressive rock in Australia in the 70’s and then with the rather more commercial Ariel. He has continued to perform in various formations ever since and in this performance he is supported by the unusual lineup of electric / acoustic bass  and accordion. The man himself has a distinctive guitar sound as he plays fingerstyle, that is no plectrum.

It was an informal show before a devoted audience and all the better for it! There was much banter and background to the songs which this reviewer found riveting. After getting the obligatory “I’ll Be Gone” out the way as an opener, noting that this was a great stripped down version, he suddenly launched into the Beatles “She’s A Woman” in tribute to their influence.

From there it was a succession of selections from the back catalogue, the well known, “Superbody” and the Ariel chart topper, “Jamaican Farewell” (a suicide song, apparently) and the obscure, all presented superbly by the Mike Rudd Trio. With the presence of an accordion, a much maligned instrument, bringing rock classics to life in a trio setting sounds like a big ask, but no problem here, they brought new life into the songs and even managed to perform  “I’ll Be Gone” again in a completely different arrangement.

Mike Rudd is a veteran, no question, but that doesn’t mean he’s there simply to wallow in the past, instead he has reinvented it and dressed it in new and colourful clothes.



The Spire, Clayton Wesley Uniting Church, Beulah Park
18 & 25 February 4 March


Emily Sutherland

The saxophone is becoming more and more accepted as a versatile instrument, which can feature in classical music as well as jazz. With this in mind four saxophonists, Lindsay Heesom, Kym Gluyas, Sylvan Elhay and Steve Eads played Baroque, with a couple of ‘ring-in’ composers. So with much enthusiasm and no small skill they presented a program that included Handel, Mozart (not quite Baroque, but near enough) and Frescobaldi. The final two items in the first half of the program were the most successful, possibly because Singlee and Gershwin wrote with the saxophone in mind, so that these works made the best use of the instruments. Marilla’s arrangement of Gershwin’s American in Paris, in particular, allowed each player to shine.
After interval the quartet was joined by two young trumpet players, Carly Cameron and Hayden King, and the addition of these instruments added an extra element of enjoyment. This was a concert which allowed people who love to play music share their passion with a very appreciative audience. A very pleasant way to spend a Sunday afternoon.



 Australian String Quartet

Adelaide Town Hall February 15th 2018

Gabrielle Scherrer

The evening started with a lucid, comprehensive overview of the Brett Dean and Philip Glass Quartets given by the cellist, Sharon Grigoryan. So we were somewhat prepared for the musical experiences that followed and that was helpful as this music, especially Brett Dean’s ‘Eclipse’, is challenging and confronting.
The first piece, Philip Glass’ ‘Mishima’, is drawn from the score written for the film of that name. Each movement is an incident from the film but the music is independent, one doesn’t need to know the titles. The repetitive figures revolving around a few chords are hypnotic, a shifting miasma of sound, the blend and texture so admirably captured by the ASQ. The cello was often independent, weaving a thread through the rippling broken chords with a beautiful ethereal sound. At one point the viola joined the cello in a chorale like passage evocative of higher ideals and the ending with its driving triplets and energetic pulse inspired one to action!. The piece was performed in darkness, only the musicians’ screens showing. At the end of the piece a blue light appeared and set the mood for the brooding opening of ‘Eclipse’. I would have liked more time for the Glass atmosphere to dissipate – but that is a personal thing. We had been told in advance that there would be no break before the second work and the lightening of the stage was a good way of indicating; it also set the mood, as did the stillness of the performers. The continuity was possible thanks to technology – no changing of scores or turning pages.
We knew that this quartet was written as a response to the Tampa incident in 2001 when a Norwegian captain went to the aid of a leaking boat full of refugees in the Indian Ocean and Australian Government denied them entry. This helped understand and appreciate the abstract, discordant and explorative music. The three sections are clearly evident, but as the troubled and despairing first section exploded into the nervous, aggressive second section, the light changed to brilliant red which highlighted not only the mood but also the cello and its repetitive motives. The sounds depicted the screams, the terror, the violence of the sea and the situation. The unanimity of the quartet was admirable, one had the impression the players thought as one. After this churning, turbulent segment the mood calms and the tensions disappear. I expected the lighting to change back to the blue effect – but it didn’t! So we had to calm ourselves aurally not visually! The ending was sombre, questioning – what else can one say. The work has a profound effect on the emotions.
The interval was a time to return to normal and the Mendelssohn Quartet in D major, a favourite of the composer, was a welcome comforter. But no less demanding for the players: the running quavers of the Trio, reminiscent of his youthful “Midsummer night’s Dream” score, the linked semiquaver arpeggios in the first movement and the extreme tempo of the last movement were beautifully executed with lightness and virtuosity. Dale Barltrop’s perfect mastery of the 1st violin part which was like a violin concerto complete with cadenzas. Francesca Hiew competently brought out her solos in the difficult middle region of the instrument and the lovely contrasting semiquavers of the third movement. Stephen King revelled in the rich viola sound, sometimes in unexpected places! Sharon Grigoryan proved cello playing to be as light and effortless as on the smaller instruments. The four players united in an exuberant, dramatic, perfectly coordinated performance that left the audience enthusiastic and optimistic.



The Studio – German Club 16-18 February

Emily Sutherland

Max Riebl is an established counter tenor who can whip through the most intricate music with consummate ease and a voice as clear and untroubled by excessive vibrato as anyone could wish for. His show began with such a bravura display, which was followed by ‘The Great Pretender’. It is not easy to combine the worlds of pop and classical and for me, while the voice never failed to please, I wondered why he bothered with a Presley hit. Maybe he became bored with being brilliant in the normal counter tenor repertoire? Maybe he wanted to try something different as an alternative artist? I also wondered why he used a microphone, especially when singing with a guitar accompaniment, as his voice was powerful throughout the range, and at times the microphone distorted that sound. Was this because singers of popular music always use a microphone?
Where the pop/classical combination worked really well was in ‘Somewhere Over the Rainbow’ a cheeky and clever marriage of both genres. Purcell’s ‘Cold Song’ from King Arthur, a masterpiece in anybody’s musical language, was the final piece and before that we heard Schubert’s Ave Maria, with a pure line and a voice of crystal clarity.
Max Riebl has a strong stage presence and when relaxed he communicates well with the audience. More personal anecdotes and composers’ backgrounds might smooth the edges between the two music worlds. However I would far rather hear Max Riebl sing Morissey than hear Sting sing John Dowland.
There didn’t seem to be a printed program so I can’t give a name to the guitarist who played two solos and supported Max splendidly. At other times the musical support came from a recorded backing.


Molly Taylor
Holden Street Theatre 14 February – 1 March

Emily Sutherland

The concept behind this performance is disarmingly simple. We love being told stories; we even love gossip, if we dare admit it; so when a young woman sits on a bus seat and talks to her audience as though they are fellow passengers all partaking in a bit of a natter, one sided as it is, we settle back and enjoy. Molly Taylor draws in her audience beginning with the story of her heartbreak. What follows is a journey through England on public transport, and as the end of this journey brings her happiness for a while, she feels compelled to write to all the drivers who facilitated this journey, in appreciation of their contribution. For fear we may feel that Molly is too centred on self, she tells us other stories of people whose lives are changed while on a bus. It is enough to inspire one to throw away the driver’s licence and head for the nearest bus stop.
Molly Taylor tells her stories with such charm and vivacity that only the most cynical or jaded person would not respond and share with her the joys and disappointments that come her way. We rejoice in her appreciation of the transport network, and feel for her when Northern Rail is the last entity to reply to her letters, she being from North of England and thus feeling this lack of prompt response personally.
Go along and be charmed, spend a delightful hour watching a show that was a sellout at Edinburgh Fringe and will surely be a sell out here as well.


Written and Directed by Henry Naylor

Holden Street Theatres 13 February to 18 March

Emily Sutherland

A writer of political satire visits a war zone and is confronted by the face of suffering. He decides to practise his craft differently. Thus Henry Naylor, who was head writer for Spitting Images and Headcases, wrote his first drama-tragedy, The Collector, in 2014. This was followed by Echoes, and Angel, which have been performed in Adelaide, and finally Borders, the play which he has brought to Holden Street Theatres this year. All of these plays have dealt with aspects of war-torn Middle East, but from a very personal angle.

The essence of good drama is to challenge an audience, and bring people to question and reflect on serious issues as well as to entertain. The challenge to the playwright is to write a play which does just that without being didactic. In this Naylor has succeeded. His approach to theatre is minimalist. He relies on the quality of his writing and direction to allow excellent performances from his actors. The result is compelling and enthralling drama. Credit should also be given to the two co-directors, Michael Cabot and Louise Skanning.

The narrative revolves around two characters, Sebastian Nightingale, (Graham O’Mara) a British photojournalist who begins as a young man wanting to save the world and finishes as a society photographer, with a second wife, keeping up a lifestyle that requires a beautiful home and a rose garden. Nameless, (Avital Lvova) a young woman in worn torn Syria, is an artist who becomes an activist, forced to flee her home and become a refugee. The contrast between these two people using their creative talents in different ways is not a coincidence.

Along with these two characters each actor convincingly portrays others, who flesh out their stories. The lives of Nightingale and Nameless come together at the conclusion of the play under circumstances which are all too familiar to those who follow international news.

Borders scores highly as theatre, in its writing, the quality of the acting and in the way it challenges our complacency. It is highly recommended.





La Bohème  Puccini Directed by Mario Bellanova
The Flour Shed, Harts Mill Complex Port Adelaide 8-10 December
Co-Opera Intermezzo Series

Emily Sutherland

This is the fourth opera in Co-Opera’s Intermezzo series, and it does them proud. For this production the singers were prepared, over the course of a year, by Mario Bellanova, and they benefited from his many years experience singing and directing opera in Europe. I have seldom heard Italian sung by non-Italians with such clear diction and obvious deep knowledge of the libretto. Puccini’s music matches every word, every syllable in fact, so while the orchestra and voices are important, equally so are the words.

Being a means to train young singers on the cusp of a professional career the roles were alternated. On the night I was there Grace Bawden sang the role of Mimi, Branko Lovrinov sang Rodolfo and Alexandra Scott sang Musetta, and Daniel Smerdon sang Marcello. Schaunard was sung by James Moffatt, Colline by Daniel Goodburn and the hapless roles of Benoit and Alcindoro were sung by Peter Deane.

The Flour Shed is what is says, a shed, so the production was arranged on a makeshift stage, with the orchestra to one side, and the chorus seated next to them. Co-Opera is well used to performing under such conditions, and the opera lost nothing by being in a theatrically limited venue. The attic where the Bohemians lived and worked, froze in winter, and often went hungry was created with a minimum of props, but they used their space well. Having seen many performances of this opera it was the first time I was not irritated by the antics that begin the final act, and for this I think Mario Bellanova should take a bow.

Norbert Hohl, who was also to sing the tenor role fell ill, and one can imagine how frustrating and disappointing that must have been. Branko Lovrinov took the challenge of extra performances, and apart from some strain in his voice towards the end, he sang with a fine tenor voice, robust and strong, especially in the upper register. He is a singer who has developed wonderfully over the last few years. Grace Bawden seemed slightly tentative at first but soon warmed to the role as Mimi. Her singing of Donde Lieta was outstanding. Alexandra Scott sang and acted Musetta with style, but I would have liked less vibrato. Daniel Smerdon as Marcello completed this quartet of lovers. He created a strong presence on stage, matching the bravado of Rodolfo, as well as reacting to the provocations served by Musetta.

While the first two acts are obviously important they also lay the foundation for the drama and pathos of the final two acts where emotion is heightened, and brought to a climax in the final few bars as Mimi dies, and Rodolfo cries out his despair, augmented by the orchestra. Puccini knew exactly what he was doing. These final two acts were strong and effective. There may have been a dry eye in the audience, but there are many teary ones as well.

All other roles were well served. The small orchestra, conducted by Brian Chatterton, was excellent, and offered great support to the singers. Without any government assistance Co-Opera continues to give singers these opportunities, and to give audiences much pleasure. More strength to their arm!







The Conspirators by Vaclav Havel
Red Phoenix Theatre – Holden Street Theatres November 2-11

Politics is a variation on the theme of the Theatre of the Absurd, as The Conspirators amply demonstrates. Czech writer Vaclav Havel wrote this play at a time when his country was desperate to free itself from the yoke of Soviet Russia. Havel was a key player in the 1989 Velvet Revolution and eventually became president of Czechoslavakia in 1993. The Conspirators was written in 1971, while he was in prison, long before the revolution against Soviet occupation succeeded. It is important to realise this when watching the first act of the play where Machiavellian machinations vie with farce, and the audience is left wondering where it will all lead. During the second act it becomes clear – or does it? The clever twist in the ending surprises, as all the pieces fall into place.

This is the final of a series of political plays produced by Red Phoenix this season. Having seen them all but one of them I was struck by the revelation that in any period of history or any country, politics is reduced to plots, sub plots, betrayal and self-interest between those involved in government or in positions of power. So, who did we have embroiled in plots in The Conspirators? The power struggle was between Head of Joint Chiefs of Staff,Major Offir (Adrian Barnes) State Prosecutor, Dykl (Tony Busch) and the Chief of Police Intelligence, Colonel Moher (Brant Eustice), although all three were cleverly played off against each other by Helga (Emily Branford) who had her own agenda. All of these actors were magnificent, although I’d like to give an extra star to both Brant Eustice and Emily Branford who shone in major roles. There were no weak links in the acting however, even among the smaller roles.

Michael Eustice, as director, made clever use of what is not an easy stage area. The graffiti chalked on the walls, the martial music, the contrasting bright costumes blend to highlight the period in which the action takes place, yet allow colour and light to highlight the satirical nature of much of the text. The Colonel’s two bodyguards were a type of Greek chorus, the maid and secretary (both played by Anna Bampton) moved from flighty, as the maid, to the secretary who hid her role as spy under a bland cloak of efficiency. It was these seemingly small touches which provided the necessary light and shade.

The Conspirators is not an easy work, either for cast or audience, for it has sprung from a chilling reality. As does all worthwhile drama, however, it challenges the audience to ponder, long after the actors have given their final bow.

Emily Sutherland


MEETING POINTS    Australian Art Orchestra
OzAsia Festival Space Theatre Saturday 29 September

Featuring new music by Mindy Meng Wang (China), Bae Il Dong (South Korea),Daniel Wilfred (Arnhem Land) Keiichiro Shibuya (Japan),

Where but the OzAsia Festival would you hear a p’ansori singer from South Korea, an aboriginal singer from the stone spear group and a skat singer from Melbourne combine in an extraordinary display of sound colour, improvisation and a marriage of cultures? Bae Il Dong from South Korea, one of the few exponents of the art of p’ansori was a towering figure in his blue kimono and with a voice to match, while Daniel Wilfred from Arnhem Land singing with clarity and a beautiful sound brought thoughts of Gurrumul and the vast outback to mind. Jenny Barnes’s skat complemented the voices of the two men, in Seoul Meets Arnhem Land.

This was the second of three music performances. The first was Cocoon, showcasing the music of Mindy Meng Wang, a Chinese woman now living in Australia, who is an exponent of guzheng,(Chinese Zither) The guzheng is plucked with plectra attached to four fingers of one or both hands. Traditional playing styles use the right hand to pluck notes and the left hand to change the pitch and produce vibrato by pressing the strings. With this distinctly Chinese sound the arrangement and orchestration of Jem Savage brought music reminiscent at times of Chicago Jazz, and at other times medieval town bands. Again, an example of the blending of cultures.

The final piece in this trilogy was Scary Beauty where three songs were performed by Skeleton, an android, with the Australian Art Orchestra. The android, whose face was a neutral mask, was a compelling figure, especially with the lighting of Takayuki Fujimoto. The music combined tape loops, percussion, a string quartet, trumpet, saxophone and bass trombone, with the composer Kelichero Shibuya (Japan) conducting from the piano. This was an example not only of shared culture, but of  sharing traditional instruments with electronic sound and technical innovation.

Meeting Points as a whole was curated by Peter Knight, drawing on his background as a composer, performer and a creator of sound installations.

Emily Sutherland



AdYO Sunday 24 September 2017 3.00pm
Adelaide Town Hall

Emily Sutherland

Musical Director and Conductor Keith Crellin set a challenging program and the musicians rose to that challenge with verve, enthusiasm and skill. Beginning with Earth Cry by Peter Sculthorpe, the orchestra was joined by William Barton on the Didgeridoo and the combined sound of this ancient instrument and the orchestra was a reminder of how much we can gain by an equal sharing of cultures.

The second composition by Don Banks, Nexus for Symphony Orchestra and Jazz Quintet brought forth a new partnership, and it worked wonderfully. There, the blend of styles, with the large orchestra, and the more intimate jazz sound in what Don Banks called ‘Third Stream’ Music, resulted in a exciting, provocative perfomance. Brass, woodwind and percussion came into their own!After interval the orchestra played Holst’s The Planets, a well known work which calls for a large orchestra, and instruments ranging from tubular bells to the contrabassoon. Two harps, piano, great opportunities for the wooodwind, brass and percussion to shine all over again, and the final movement augmented by a female choir (Aurora) whose ethereal singing led us from Neptune and the sea to the great beyond.

As the program notes state: Concert repertoire is chosen to provide exhilarating programs for audiences whilst allowing our students to be challenged and given the most rewardng learning and performing experience possible. This was amply demonstrated in this performance. Note should be made, also, of the totally professional and disciplined way in which AdYO presents itself.



Fairweather   Space Theatre 23 September 2017

Emily Sutherland

Fairweather presents an skilfully woven performance, in which images, music and narration combine to portray the essence of the painter, Ian Fairweather and his life – a life which he says he would not have chosen. A reclusive man and austere, he was determinedly unrestrained by a society which neither fully accepted nor understood him. His painting, an ‘inner compulsion’, was self-consuming.

The performance of Fairweather as a sum of its parts, demonstrates the strength that comes through combining various theatrical, musical, artistic and technical elements.

 Ian Fairweather’s story is written and narrated by Rodney Hall. The text leads us to some understanding of the inner torments and difficulties that the artist endured, from the days of his early childhood, when he was given away by his parents to other members of his family, his travels, his travails, up to his last days on Bribie Island, living as a recluse in the bush, as he painted his best work.

Erik Griswold composed the music, which was played by Zephyr Quartet. They could be called the unofficial resident quartet at Festival Theatre as they often feature in dramatic presentations, and innovative music. Their musicianship and ability to lend themselves to a variety of musical styles is undoubted. The music, reflecting through layers of rhythm, textures and sound, supported the story that was unfolding. Satsuki Odamura joined the Zephyr Quartet playing both the Koto and Bass Koto, giving rhythmic energy and oriental colour. Placing these two elements, text and music, against the wonderful moving images of Glen Henderson, the essence of Ian Fairweather was brought into focus. Henderson is an established artist who can also make excellent use of video and computer techniques. The sometimes beautiful, sometimes stark images enhanced and highlighted the narration and the music.

While Fairweather gave the audience insights into the soul of a very unconventional artist it could have given more indication of his success. He has been exhibited in the Redfern Gallery and Tate in London, National Gallery, Victoria, the National Art Gallery, Canberra and was granted a solo exhibition in the Macquarie Gallery, Sydney in 1949. Sadly, much of his work was destroyed in a fire, but what remains has established him as an important artist. That said, the performance of Fairweather could claim to reflect the character of his paintings.