Reviews:
2011
               
          

As You Like It

Carmen

Cosi fan tutte

The Girl of the Golden West

King Arthur and the Tales of Camelot

The Little Mermaid

Romeo and Juliet

Swan Lake

Tosca

Vis-a-Vis: Studio Series

Vis-a-Vis: Studio Series - Venus and Mars

Waltzing our Matilda

Wyrd Sisters

www.STAGEDIARY.com: Queensland's Online Stage Magazine
Earlier reviews

Swan Lake  
Queensland Ballet (Playhouse)

As the world mourns the death of Czech poet and politician Vaclav Havel (leader of the Velvet Revolution), this unusual production of Swan Lake is played out amidst the turmoil leading to the Russian Revolution of the Bolsheviks in 1917. Artistic director Francois Klaus takes us through the dramatic triangle of the last Russian Tsar, Nicholas, his future bride Alexandra and his beloved prima ballerina Mathilde Kschessinka.

The instantly recognisable but forever powerful music of Tchaikovsky is particularly apt for this setting. Guest conductor Andrew Mogrella and brilliant violinist Warwick Adeney lead the Queensland Orchestra in a melodic rendition of this score. One feels the stirring of Mother Russia in the grand tragedy which unfolds on stage.

This treatment is a repeat of the 2008 production but, when you're on a good thing ...

Keian Langdon gives a splendid performance as Rasputin amidst the intrigues of the Tsarist court. His steps are as artful as they are malign. Such deft footwork seems so rare these days in politics as in art.

The corps de ballet give a richness and texture to this tragedy. One senses not only the lyrical heartbreak of the swan but also the rent in the social fabric of the Russian masses. The tears of the swans do not merely fill a lake but spark a regime change.

Teri Crilly gives yet another strong performance. She exemplifies the depth of young talented Queenslanders in this company ready for the opportunity of principal roles. The idea of a Queensland Ballet company is not merely to give audiences access to sublime dance but also to provide pathways for our local young stars to shine in the firmament.

Clare Morehen dances beautifully in this production. She brings grace and virtuosity to this sad tale.

Regrettably there is no happy ending. Some things just cannot be adapted. As Robert Frost soberly observed, "there are roughly zones whose laws must be obeyed".


3-21 December 2011

Duration: 2 hours with one interval (20 minutes)

— Matt Foley

(Performance seen: 17th December 2011)
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Tosca  
Opera Queensland (Lyric Theatre)

This is a powerful and compelling production of one of the great operas of the repertoire. The John Copley production has been around for 30 years, but Opera Queensland shows that breathing new life into an established format can be much better than novelty for its own sake.

With Puccini's glorious music, vivid characters, relentless plot and spine-tingling scenes of torture, murder and execution, a well-performed Tosca is a rare theatrical experience.

The sets designed by Allan Lees are as stunning as any opera sets can be — the baroque church of act 1, Scarpia's palace quarters in act 2, and the ramparts of the Castel Sant'Angelo in act 3 (which brought applause from the audience). While unlikely that the imposing stone angel above the turrets would have been floodlit in 1800, it is indeed a powerful part of the setting.

The overall visual richness of the production is enhanced by the costumes and lighting, together with the sheer artistry of such scenes as the 'Te Deum' that closes act 1.

Adding to the opulence is the richness and variety of the orchestral music under conductor Nicholas Braithwaite, plus the robust work of Narelle French's chorus, including the children who run amok and then contribute to the singing in church.

Cheryl Barker is a richly resplendent Tosca, beautiful in voice and appearance. Her scenes with Scarpia are harrowing, distressing and totally engrossing. Her "Vissi d'arte", which she opens from a semi-prone position on the couch, is the most beautiful and dramatic of any live performance of this aria I've seen.

As Cavaradossi, Julian Gavin sings with good intonation but not quite the crystal clarity desirable. Gavin doesn't seem entirely comfortable in the role and was not up to the high standard he set as Ramades in Aida last year.

But Douglas McNicol's rich baritone is perfect for the role of Scarpia, whose pervading evil he embodies with relish.

Other splendid performances come from John Bolton Wood, an entertaining and earthy sacristan, the ever-reliable Andrew Collis as the deeply distressed escaped political prisoner Angelotti, the passionate Virgilio Marino as Spoletto and David Hibbard as Scarpia's minder, Sciarrone. Guy Booth seems a humane gaoler, and treble Oscar Medek sings angelically as the shepherd boy.

Revival director Cathy Dadd has obviously worked hard and imaginatively with her performers and has introduced interesting new touches — a spy scurrying from the church when seeing the fugitive, an attractive cleaning lady who draws lustful attention from the sacristan. Dadd has guided the singers as actors into making good use of position and movement to convey their feelings and torments: Julian Gavin patiently puts up with his lover's jealousy while frantically trying to protect his fugitive friend; Virgilio Marino is in palpable fear of Scarpia when about to give him bad news; Cheryl Barker is like a limp rag after witnessing Cavaradossi's torture; Scarpia is so sexually energised by the torture of his enemy that you can practically smell the testosterone.

This is an engrossing and memorable Tosca, a credit to Opera Queensland.


— John Henningham

(Performance seen: 25th October 2011)
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King Arthur and the Tales of Camelot  
Queensland Ballet (QPAC Playhouse)

Kevin Rudd — the Ballet!

The story of the once and future king is brought to life in the guise of King Arthur and his Knights striving to draw warring factions together against a common enemy.

At about this point the analogy breaks down; nonetheless this Queensland Ballet production is a marvellous journey into Celtic medieval myths, Oedipal father-son conflict and the tragic love triangle of Arthur, Guinevere and Lancelot.

The first Act brings us an exquisite moonlight scene where Morgane, half sister of Arthur (Clare Morehen) and Vivienne, Chief Priestess of Avalon (Lisa Edwards) carry out sacred rites with the priestesses of Avalon to the haunting music of "Claire de Lune" by Claude Debussy played by 14 members of the Queensland Symphony Orchestra. The virginal purity of the priestesses dressed in white against the backdrop of stars gives a sacred dimension to the story.

Shortly thereafter the Beltane fires are lit and a pagan orgy ensues where the pale light of moon and stars is offset by flickering firelight to reveal writhing bodies in pagan orgy. This is definitely not the light frolic of Lerner & LoeweÕs musical and film "Camelot". The Queensland Ballet brings to the stage both the sacred and profane impulses which have kept the Camelot legend alive for so many centuries.

Keian Langdon gives a strong performance as Arthur, King of all Britain. In dancing the role of Arthur's half sister, Morgane, Clare Morehen delivers a tour de force. She displays both technical virtuosity and emotional range.

Shortly before the end of Act 1, Arthur's Queen Guinevere (Rachael Walsh) brings her magic presence to the stage. Walsh is a preternatural gift of the gods to the world of ballet. She glides through a heart-wrenching pas de trois with her husband Arthur and her beloved Lancelot. Walsh's dance embodies an empathy and at times pathos of which only a truly great artist is capable.

It is heartening to hear the Queensland Symphony Orchestra play live at the ballet. These fine musicians take us through an eclectic range of music from Gustav Mahler to Edward Elgar. The use of Albert Ginastera's music in the sensual pagan rituals is particularly effective.

In an unusual twist, the role of Merlin (Dan Crestani) involves not only dancing but also narrative. He pops up in unexpected spots to tell the audience each step in the complex tales of the sword Excalibur, the incestuous union of Arthur with his half sister Morgane, Arthur's conflict with their son Mordred and the quest for the Holy Grail. Dan Cristani is a fine story-teller in both dance and voice.

This is a must-see ballet. It tells us the legend of what drove folk way back when and what drives us now.


Choreographer and director: Francois Klaus
Music director and arranger: Craig Allister Young
Music by Albert Ginastera, Max Bruch, Gustav Mahler, Gabriel Faure, Edward Elgar, Claude Debussy, Ottorino Respighi and Eric Whitacre
Music performed by Queensland Symphony Orchestra
Set designer: Bruce McKinven
Costume designer: Noelene Hill
Lighting designer: David Walters
Synopsis development: Francois Klaus, David Walters, Robin White
Text by Helen Howard

Performances 15-29 October 2011
Duration: 2 hours 30 minutes (including interval)


— Matt Foley

(Performance seen: 15th October, 2011)
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www.STAGEDIARY.com: Queensland's Online Stage Magazine
Romeo and Juliet  
Australian Ballet (State Theatre, Arts Centre, Melbourne)

The freshness and originality we have come to expect in a Graeme Murphy ballet permeates this new and exciting production of Romeo and Juliet.

Murphy has thoroughly internationalised the tragic tale, achieved through time warps and place warps. The conventional medieval European townscape of the first scene morphs into an Indian bazaar for the fatal duels involving Tybalt and Mercutio, while Friar Lawrence is converted to a Buddhist holy man with a support group of Hare Krishna monks, and the final tomb is an open-air burial place in the desert.

It's an intriguing approach, although I'd personally prefer a consistency of theme. A Bollywood Romeo and Juliet, fine, or an east Asian R & J, but the mixture of these elements can be distracting. (Indeed, when it became clear that Juliet's spiritual advisor was a Buddhist rather than a Catholic friar, I couldn't help reflect that problems lay ahead given that cremation is the conventional Eastern funeral rite!)

Gerard Manion's sets and Akira Isogawa's costumes are simply magnificent, with unparalleled variety given the global nature of the scenes. The Indian bazaar design elicits spontaneous applause. Damien Cooper's lighting and Jason Lam's projections are impressive in both their subtlety and surprises, including the disintegrating moon.

Murphy's concept has many startling and effective elements. The opening moments of the production portray the lovers contained within a large seashell which is suddenly split asunder. A gritty street scene has nasty business going on in alleyways, and murder on the bridge. The death of Mercutio becomes a calculated killing rather than the consequence of a duel. Figuring in death sequences is a Grim Reaper figure — most effectively in the dispatch of the servant who never makes it to Romeo's city of exile. An Indian wedding procession adds some joy.

Undercurrents of violence break out everywhere. Particularly shocking is the aggression within the Capulet clan, as shown by their behaviour at the ball. Yet the enormity of the slaughter of the Capulets and Montagues with piles of bodies in tumbrils seemed rather overdone, more fitting for a battle scene than urban gang warfare or family feuds.

Nicolette Fraillon brings out a confident, rich sound from Orchestra Victoria, emphasising in particular Prokofiev's contrasting brass and string work, together with beautiful woodwind support and dynamic timpani and percussion sound.

Leanne Stojmenov is an absolutely lovely Juliet, capturing with grace and style the complex dimensions of the young Capulet, from her early charm and innocence through the palpable passion of her love for Romeo, her distress and agitation at the prospect of an arranged marriage and the depth of her distress at the final betrayal Fate served up for her.

Daniel Gaudiello is a manly and capable Romeo, showing strength and gentleness. The emotional highlight for me was the balcony scene pas de deux. The interaction between the lovers to Prokofiev's gorgeous music (surely the best ballet music of the 20th century) is almost painfully beautiful.

The comedy capers of Romeo's companions (danced and even cycled by Calvin Hannaford and Yosvani Ramos) give a delightful relief to the more serious themes. Ramos as Mercutio is particularly impressive and an audience favorite.

Chengwu Guo as Tybalt injects a real nastiness into the character, while Ben Davis is a suitably disappointed Paris. Jarryd Madden and Miwako Kubota as the senior Capulets and Elizabeth Hill as the nurse each dance their parts with confidence. Other soloists and the corps are equally splendid, and the overall effect is a credit to the dancers' skills and energy and to those of Graeme Murphy and creative associate Janet Vernon.


— John Henningham

(Performance seen: 23rd September 2011)
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www.STAGEDIARY.com: Queensland's Online Stage Magazine
Waltzing our Matilda  
Opera Queensland

The previously successful 2009 Q150 production of Waltzing our Matilda has returned to Queensland to again charm the audience with its clever presentation.

The show is driven by the fanciful story of the writing of our national hymn, Waltzing Matilda, as the conduit to recall some of Australia's most celebrated and accomplished musical performers.

Helping Banjo Paterson (Jason Barry-Smith) pen the verses are legendary Australian performers of times past, including baritone Peter Dawson (Guy Booth) who toured England and Europe a century ago, and tenor Donald Smith (David Kidd) who began his singing career as a country and western artist on Bundaberg radio after his return from the ravages of war in New Guinea. (Smith, the record shows, went on to study opera at London's National School of Opera and by 1973 he was the first to sing at the Sydney Opera House.) Banjo also gets some help from Australia's first opera super-star, Dame Nelle Melba (Emily Burke). And 'Our Glad' — Gladys Moncrieff (Zoe Taylor) — chips in with ideas for the words.

The production is chock full of comedic exchanges, extraordinary local voices and a tale as enchanting as the song itself. Burke interprets Melba with a joyous sense of the egocentric diva so finely tuned it must be accurate. Her soprano range is, of course, stunning.

As Gladys Moncrieff, tiny Zoe Taylor produces sounds that reverberate throughout the wonderfully intimate Conservatorium Theatre.

The Brisbane audience was treated to an appearance by tenor Robin Donald Smith, son of the great Don Smith.

Known professionally as Robin Donald, Smith followed his father onto the stage where he became principal tenor at the English National Opera before he returned to Australia in 1974 to take up the position of principal tenor with Opera Australia for more than a decade.

Now nudging 70, Smith shows us in Waltzing our Matilda the strength and purity of this amazing voice has not yet deserted him. A grand performance. Smith is also singing in the Redlands performance of this touring show.

At the Conservatorium, the sound was somewhat muted in places. Perhaps it was the style of microphone or the technical adjustments, but at times the piano was a little too loud for the voices.

The costumes and stage setting were perfect depictions of the time and place reviewed.

Soft and intimate lighting drew the audience into the party on stage. The creators of this quintessential Australian opera, Jason Barry-Smith, Leisa Barry-Smith and Narelle French (musical director) have done their job well.

For this reviewer, piano accompanist, associate musical director and performer Donna Balson was a stand out. Her virtuosity, piano and soprano skills combined with a real sense of ebullience, passion and sheer pleasure at the keyboard gave this polished performance an added dimension.

Waltzing our Matilda harks back to the days of families sitting around the radio to listen to the voices of these great Australians coming home from far-off lands. Highly recommended!

Tour dates: July 31 (Redland, 2pm), August 2 (Roma), 3 (Chinchilla), 5 (Stanthorpe), 6 (Warwick, 3pm), 9 (Gympie), 11 (Ipswich), 12 (Gold Coast), 13 (Logan). All times 7.30pm except Redland and Warwick.


— Desley Bartlett

(Performance seen: 29th July 2011)
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www.STAGEDIARY.com: Queensland's Online Stage Magazine
R & J  
Expressions Dance Company (Playhouse, QPAC)


Shakespeare's Romeo & Juliet provides the foundation for Expressions Dance Company's contemporary ballet telling the story of the star-crossed lovers across three eras.

Natalie Weir's choreography gives new steps to this age-old story. A Fortitude Valley nightclub provides the setting for Act 1. Juliet (Riannon McLean) meets Romeo (Richard Causer) and the sparks ignite. Initial passion gives way to a love triangle with attendant jealousy and a brawl. McLean dances her role of Juliet brilliantly. She brings intensity and virtuosity to the role of 'true and faithful Juliet' but cruel destiny will have its way. 'For never was a story of more woe than this of Juliet and her Romeo'.

The second act is set in Shakespeare's original setting of Verona in Italy. Jack Ziesing dances the role of Romeo with Samantha Mitchell as Juliet. Weir's approach is inclusive. Students from Expressions' training partner, QUT Creative Industries and the Aboriginal Centre for Performing Arts, help tell the story in this act (and also in Act 1).

The prosaic setting of 1950s suburbia provides a background for Act 3 danced by Elise May (Juliet) and David Williams (Romeo). Weir's treatment brings out the irony in the ordered comfy pleasure of the post-war period.

The musical score is composed by John Babbage, a saxophonist with the group Topology who perform live on stage. There is a freshness and originality to their work which brings out the emotion in this tragic tale.

It is good to see the production support of this piece by the Queensland Performing Arts Centre through its chief executive (John Kotzas). QPAC takes the view, correctly in your reviewer's opinion, that it is more than just a set of venues for hire. It is a friend and partner to the performing arts in Queensland. In this regard John Kotzas continues to build on the strong legacy of Tony Gould, the inaugural artistic director of QPAC.

This thoughtful and moving contemporary dance production has also been supported by the Queensland Music Festival which is living up to its charter of being a festival of international excellence accessible to Queenslanders from all walks of life.

Choreographer and artistic director, Natalie Weir has a gift for bringing literary works into the world of dance. She has previously choreographed the work 'Glass Heart' based on Emily Bronte's Wuthering Heights and 'Where the Heart Is' based on the novel 12 Edmonstone Street by Brisbane writing legend David Malouf. All too often contemporary dance can lose audiences in a maze of abstractions but Weir connects with her audience with a clear and strong narrative.

Natalie Weir and the Expression Dance Company have produced in R & J a fine, original, creative work set in a great tradition.


Choreography and artistic director: Natalie Weir
Music composed by John Babbage and performed by Topology
Designer: Bruce McKinven
Lighting designer: David Walters
Performances: 15 to 23 July 2011


— Matt Foley

(Performance seen: 22nd July 2011)
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www.STAGEDIARY.com: Queensland's Online Stage Magazine
Vis-a-Vis: Studio Series - Venus and Mars  
Queensland Ballet (Thomas Dixon Centre)


The theme of this studio series is "Venus and Mars: There is a difference".

Set in the intimate surroundings of the Queensland Ballet's Charles Lisner Studio normally used for rehearsal, this series gives the audience a chance to get up close and personal with the arcane mysteries of dance.

Artistic director Francois Klaus leads us through demonstrations and excerpts from current ballets to illustrate specific dance steps. He points out the differences between the male dancers and ballerinas in training for and executing the individual moves that go to make up a choreographed work.

The youth and vigour of this company are highlighted in a demonstration with Queensland Ballet Junior Extension Program students. These stars of tomorrow mingle with the artists of the Queensland Ballet. Their passion and skill augur well for the future.

This session is very different from the studio series presented in April and May which focussed on the theme of timing. It retains a sense of wonder at the audience being able to go behind the scenes to explore the minutiae and magic of the dance.

It is good to see the dancers being given an opportunity at choreography. Nathan Scicluna performs with Clare Morehen a piece entitled "Rendezvous" which he choreographed to the music of a Bach cello suite.

Rachael Walsh is stunning in her pas de deux from "The Lady of the Camellias" danced with Christian Tatchev to the music of Chopin's Piano Concerto No. 1.

A vivid touch of comedy is injected into the evening in a facade fantasy from "Fonteyn Remembered" to the music of Shostakovich. Teri Crilly again shows the cheeky, comic flair which she characteristically brings to QB productions.

The atmosphere of the rehearsal studio gives the audience an insight not only into the mechanics of creating a performance but also into the art and craft of dancers working and learning together. It is a special kind of evening.


Choreography and direction by Francois Klaus
Running Time: 2 hours with a 20-minute interval
Performances: 1, 2, 7, 8, 9, 12, 15, 16 July, 7.30pm and 9 July, 2pm

— Matt Foley

(Performance seen: 16th July 2011)
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Cosi fan tutte  
Opera Queensland (Conservatorium Theatre)

This is an amusing and well-structured production, harnessing local talent who do well in the challenging roles.

A reworking of director Sue Rider's Cosi presented by Opera Queensland in 2000, the opera is a perfect fit for the intimate Conservatorium Theatre.

Staging under the direction of David Berthold is top-class, the characters interacting in believable ways while making the most of their space.

The action takes place in a walled garden, with subtle representational touches (designed by Christopher Smith), beautifully lit by David Walters. His deep purples are a wonder to behold.

Conductor Stephen Mould brings a crystal clear sound from the sub-set of the Queensland Orchestra in a theatre renowned for its acoustics. Perhaps at times some of the brass break rank, and lower strings can overdominate, but in all the balance is right, with Mould providing that great classic sound with the harpsichord continuo.

Leanne Kenneally, who impressed as the Countess at her last Mozart outing for OQ in 2005, also sang Fiordiligi here in 2000. She again offers a richly varied performance, with impressive coloratura singing. Her first aria, "Come scoglio" ("Like a rock") is a real treat.

Zoe Taylor as her character sister Dorabella is understandably somewhat overshadowed by Kenneally, but sings sweetly and contributes well to the many lovely ensemble pieces.

Virgilio Marino's light tenor voice is perfect for the role of Guglielmo. He offers a touching rendition of the difficult "Un'aura amorosa" ("A loving breath"), surely Mozart's most beautiful aria for tenor. Similarly, baritone Shaun Brown does well in the role of fellow wooer Ferrando, as does Stephen Bennett as their puppet-master Don Alfonso.

A deliciously rounded sound comes from Emily Burke as the maid Despina, who carries off her principal and disguised roles with equal elan.

Some of the singers struggle a little with aspects of Mozart's music in solo roles, but ensemble work is pleasing and harmonious. The chorus has been dropped in this production, which is a pity, for although their part is small, it would have given a few more of OQ's talented troupe a moment in the limelight.

The acting under Berthold's direction is of excellent quality, and the comedy capers work well. Especially memorable are the convulsions as Despina employs her large magnet to cure the pretend victims of arsenic. The acting as well as librettist da Ponte's clever words (surtitled well by Narelle French) provoke many laughs from the audience. The gaudy stereotypal Albanian costumes of the young men are splendid, representing west European fantasies about the strange beings who inhabit the inland eastern regions.

Cosi ends as a rather sad "opera buffa", with characters awakening to their loss of innocence. They see that they have tested their high principles a little too far, and nothing can be the same again. The production evokes this realisation in a touching and satisfying way.

One final comment: it's a mystery why some operas are known by their English titles (Marriage of Figaro, The Magic Flute) while others keep their original labels (Il trovatore, Il seraglio). One wonders if marketing of Cosi, particularly to younger audiences, could be enhanced with a sexy translation of the title such as "Women are like that", or "That's what women do".


— John Henningham

(Performance seen: 12th July 2011)
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Wyrd Sisters  
Nash Theatre

If you're going to break the rules, you'd best break them good and hard, or so thinks Granny Weatherwax in the theatre adaptation of Terry Pratchett's Wyrd Sisters.

Based on the novel of the same name from the popular Discworld series by Pratchett, this is, true to form, full of quirky characters and lashings of satire, borrowing heavily from Shakespeare's Macbeth.

The plot centres on three witches in the remote and mountainous Kingdom of Lancre, and their meddling in the affairs of state following the "accidental" death of King Verence.

Typical of Terry Pratchett's work, the Wyrd sisters' characters are full of personality and quirks, with a dippy Duke, a tantrum-prone Duchess, three manipulative witches, and an intelligent fool.

The Stephen Briggs adaptation manages to condense the rather action-packed novel into the constraints of a play, taking dialogue straight from the pages of the book.

Director James Hudson extracts a good and consistent level of energy from his performers, and stage manager Jonathan Collins choreographs the many transitions between scenes seamlessly.

Sets (Sue Watson and Harry Milner) and lighting (Greg Larson and Phil Carney) are constructed and employed in such a way as to create appropriate atmosphere, and ensure that all attention is on the action occurring in each scene. Sets and props are relatively simple, but clearly well-thought out, adding nicely to the strength of the performance.

The music, unfortunately not live, is aptly chosen, setting the scene well for the start of the play, and maintaining the atmosphere in between acts.

Costumes are very well done, but one can't help but wonder if the male cast members wouldn't prefer a slightly longer shirt and tights combination.

The cast, overall, does a fine job of portraying the rather strong personalities of their characters.

The Duke (James Hudson) is finely nuanced, and very well acted at all times.

Young Magrat Garlick, apprentice witch in the coven, is not exactly true to the character from the novel, but maintains a consistent performance. Witch Granny Weatherwax, played by Brenda Keith-Walker, similarly does not match exactly the character portrayed in the book, but instead maintains all the important traits of the forceful personality, with an added measure of class.

Nanny Ogg (Valerie Silver), rounding out the coven, is appropriately earthy and plain-speaking, as well as engaging. Duchess Felmet, played by Amanda Harper, is played with an emphasis on her character's overbearing and demanding nature. The not-so-foolish Fool Alex Smith is engaging, and played just right, neither over or under-acting the more quiet and thoughtful character.

Special mention should also go to Laura McKenna, on stage for only a brief time in her roles as the demon, and later Hwel, the dwarf playwright, for injecting life and humour each time she takes to the stage.

Overall, it's a fine amateur performance of the stage adaptation of Wyrd Sisters. An entertaining night out, in a small community environment.


— Lara Lauth

(Performance seen: 9th July 2011)
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The Little Mermaid  
Queensland Ballet (Playhouse, QPAC)


Beneath the sea a Little Mermaid swims with fluid grace. The story of her contact with the world beyond the sea speaks of loss and the redemptive power of love.

Innovative choreography by Francois Klaus takes us into the underwater regions where ballerinas move magically as ineffable sea creatures.

Rachael Walsh dances the Little Mermaid with beauty, innocence and pathos. It is an astonishing transformation from her savage, guileful role as Carmen a mere week before. One is reminded of the formidable versatility of Laurence Olivier in his tragic and comic Shakespearean roles.

The Little Mermaid ventures to the surface of the sea on her fifteenth birthday. There she sees a sailing ship with a prince on board. The ship is artfully represented by the corps de ballet as a fair wind gives way to a sudden storm and shipwreck. Christian Tatchev brings a regal presence to the role of the prince -- rescued by The Little Mermaid who falls in love with him. Sadly, he mistakenly believes that he has been rescued by a princess, danced elegantly by Clare Morehen.

Back in the briny deep The Little Mermaid is head over fishtail in love with the prince. She makes a Faustian deal with the Sea Witch (Keian Langdon) to grant her legs on the harsh conditions that she must give up her beautiful voice and walking will always be very painful.

This is a children's tale, but not the anodyne version marketed by Disney. It retains the dark side of the original story by Hans Christian Andersen. It is sad that a generation of children have been raised on these dumbed-down versions of children's fables. Many young children and their parents attended the matinee session with your reviewer and were plainly moved with the delight and drama of this sad tale.

There is an exquisite moment in the ballet when the Little Mermaid is trying to move upon her newly acquired legs. To see such a goddess of dance as Rachael Walsh performing the role of a stumbling neophyte in pained clumsiness is akin to being witness to a momentary repeal of the laws of physics. The sun and stars might as well stop rolling about the heavens. It is a tribute to Walsh's craft that she is able so perfectly to re-create those first steps that all must take who seek to walk.

Upon her return to the beach, she is taken to the prince's court where all are charmed by her dancing though she cannot speak. Her pas de deux with the prince (Christian Tatchev) is finely moving, all the more so as she gradually realises that she cannot win the prince's heart away from the princess.

The Little Mermaid's sister cuts another savage deal with the Sea Witch to allow her life to be saved if she plunges a dagger into the prince's heart before the sun rises. In a triumph of love over self-interest she throws the dagger into the sea but, by a miracle, joins with beautiful beings in white to become a spirit of the air.

After Walsh's virtuoso performance in Carmen the audience was left to wonder whether love could survive in the face of powerful, driven beauty. Rachael Walsh soars through this question with a grand jete. Her dance enables the self to transcend its earthly bounds and move to a spiritual dimension known only by the most ancient of philosophers and the youngest of children.

Choreography and Direction by Francois Klaus
Music by Jean Sibelius, Gabriel Faure, Edvard Grieg and J.S. Bach
Costume designers: Noelene Hill and Selene Cochrane
Set designer: Graham Maclean
Lighting designer: Jason Organ
Duration: 1 hour 40 minutes with one interval (20 minutes) Performances: 10 to 12 June 2011 at Playhouse, QPAC
18 June 2011, The Arts Centre, Gold Coast
24 June 2011, Empire Theatre, Toowoomba


— Matt Foley

(Performance seen: 11th June 2011)
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Carmen  
Queensland Ballet (Playhouse, QPAC)

A dark power haunts this ballet. It is the power of beauty to overwhelm the limits of life and love. Rachael Walsh dances the role of Carmen with a smoldering, guileful sensuality. Soldier and Toreador alike have no chance within the gravitational pull of her presence.

The story is set on the banks of the Guadalquivir River in Adalucia, Spain in the late 19th century. As the Angelus bells ring out at dusk women come down to the river to bathe, eagerly watched by young soldiers. The irony of using the Angelus ("The angel of the Lord declared unto Mary") as backdrop to the lusty scene is a subtle touch.

Carmen, a fiery and attractive gypsy, flirts with the soldiers and teases one in particular, Don Jose, danced ably by Nathan Scicluna.

The next day in the midst of sweltering heat in the cigarette factory where the gypsies and village women work, a fight breaks out between Carmen and another worker, Mercedes (Iona Marques). Carmen slashes Mercedes' face with a knife. The soldiers come to arrest her. Don Jose is ordered to take Carmen to prison but he is mere putty in her hands. Soon she has escaped. Don Jose is himself demoted and imprisoned.

The tragic relationship of the young soldier, Don Jose (Nathan Scicluna), and Carmen (Rachael Walsh) leaves the audience wondering whether real love can survive in the face of such an unequal contest between the stunning beauty of Carmen and the lovestruck soldier.

The other love interest in Don Jose's life is his childhood friend, Micaela danced elegantly by Clare Morehen. As his tragic tale unfolds, Micaela tries to offer him comfort in his anguish but the spell of Carmen is too great. Don Jose's slow descent into hell includes his killing of his army lieutenant and his killing in the gypsy camp of Carmen's husband, Garcia (Keian Langdon) newly released from prison. When Don Jose learns of Carmen's fascination with the toreador Escamillo (Christian Tatchev) he slaughters her.

There is something aesthetically disturbing about this ballet. It is so moving that one is left to question whether innocence and love can prevail against the power of beauty and guile.

The ballet reveals an astonishing versatility in the performance of Rachael Walsh as Carmen. This goes beyond the dazzling technical virtuosity which Brisbane audiences have come to know and appreciate from this great artist. She brings to this role a sensuality which is, by turns, engaging and menacing.

The figure of Carmen is not, or should not be, a caricature of the gypsy woman, or a mere theatrical device to insert flair and colour into the drama. Walsh's exquisite command of dance makes us gasp but her acting makes us think and wonder. For those who have been estranged and scapegoated by the broader community and forced to work in sweatshop conditions should we be surprised that they seek power in diverse ways?

Again the Queensland ballet is obliged for financial reasons to perform without a live orchestra and to rely upon recorded music, and in this case, singing. This is unfortunate.

This is not a ballet for the faint-hearted. It is a reminder that love may often be but one pirouette away from death.


Choreography and direction by Francois Klaus

Music by Bizet

Set design by Graham Maclean

Costume design by Noelene Hill

Lighting design by David Walters

Running time: 2 hours 20 minutes with a 20 minute interval

Performances: 28 May to 7 June 2011

— Matt Foley

(Performance seen: 28th May 2011)
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The Girl of the Golden West  
Opera Queensland (Lyric Theatre)

First performed 100 years ago, Puccini's attempt at a western is a fascinating fusion of European opera style with an American frontier storyline.

But it also demonstrates an evolution of Puccini's style — away from show-stopping arias or ensemble pieces, and towards a more fluid concept of continuous sung dialogue.

Those waiting for a famous tune must keep their patience until the final act, when they are richly rewarded with the tenor aria "Ch'ella mi creda libero", belted out stirringly in this production by Carlo Barricelli as the enigmatic Dick Johnson.

The object of Johnson's love, Minnie, is powerfully sung and convincingly portrayed by Zara Barrett, while the third of the main principals, sheriff Jack Rance, is also very well acted and sung by baritone Douglas McNicol.

The production, directed by Nigel Jamieson and here revived by Gavin Robins, is a wonderful piece of art, drawing its inspiration from the cinematic images that form the basis of our impressions of the wild west. This theme is set from the outset with replications of shots from old westerns projected behind and onto the sets. But the whole design of sets, costumes and characters, aided by slides and shadows, becomes a representation of black-and-white western films.

It is quite extraordinary to see performers in a stage production in monochrome, the result of the melding of the talents of the design team, including Michael Scott-Mitchell (sets), Zoe Atkinson (costumes), Scott Otto Anderson (visual designer), Mic Gruchy (digital media producer) and Philip Lethlean (lighting).

Against the dull greyness of the gold miners in their dark world it is a joy to behold the blonde Minnie when she appears in her floral yellow dress — walking across the tavern's tables. This approach continues throughout the opera — splashes of colour which appear particularly vivid against their dull backdrop.

The only drawback of this approach comes when Jack Rance is interacting with Johnson and Minnie in the mountain cabin. In contrast with the flesh-coloured lovers, his whitened face and hands make him appear alarmingly spectral.

The all-male chorus give a capable and well-sung performance, providing excellent backing to the work of other principals, Jose Carbo as Sonora, Andrew Collis as Ashby and Bradley Daley as Nick, all of whom sing to their strengths.

Other soloists add to rich variety of voices and characterisations, including Richard Anderson, Samuel Sakker, Shaun Brown, Jason Barry-Smith, Virgilio Marino, David Kidd, Guy Booth, David Hibbard, Sam Hartley and Bernard Wheaton. Special mention must be made of the only other woman in the production, mezzo Anne Fulton, whose portrayal and singing of the role of native American Wowkle is very pleasing.

Given the nature of the music, the role of the orchestra is vital, and the Queensland Symphony Orchestra under Peter Robinson produces a rich tapestry of music, including magnificent brass and percussion work.

So in all it is a vivid visual and auditory experience. Any perceived faults are the responsibility of Puccini himself. Personally, I'd have preferred a few more show-stopping arias.

— John Henningham

(Performance seen: 14th May 2011)
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As You Like It  
Nash Theatre

Cross dressing, an "out of the closet" homosexual, a few bogans and you have the recipe for Nash Theatre's new production of As You Like It. "It will have you rekindling your love for the Bard" is the theatre's promise, which is largely kept.

June Balfour and Nigel Munro-Wallis join forces to contemporise the traditional script, transporting the audience from the delicate Forest of Arden to the fly-infested Australian outback.

Set and costumes are minimal but used effectively. The set primarily consists of a simple stage with one lighting state and three free-standing boards as backdrops. Australian foliage could have been used more generously throughout the set to further the romantic atmosphere being established. Scene changes at times detract from the pacing of the play.

It was delightful to hear the Australian accent handling the complexities of the Shakesperean language. There is a delightful rhythm to the words and a good balance to the poetic language. The accents add a unique charm to the production and unlock a variety of comedic potential which Balfour and Munro-Wallis explore well.

The actors give new life to these characters. Gabrielle Burke's interpretation of the play's main character, Rosalind, is joyful and playful. Burke has some natural comic timing but could have explored this further.

Andrew Whitmore plays Orlando well, engaging in some lovely banter with Gillian Graham as Jackie. He has mastered the language to present a charming character. But perhaps lacking is a lack of chemistry between Orlando and Rosalind. The pair are less like lovers and more like twice removed cousins, with interactions at times awkward and unbelievable. There were more genuine fireworks between Celia (Khema De Silva) and Oliver (Eamonn Clohesy).

The supporting cast are a delight. A standout is Phoebe, played by Cassie Kaoustos, who despite at times over performing and "hamming it up" has the audience captivated with giggles.

There is something attractive about Shakespeare in flannel with Australian accents reciting the beautiful words. Nash Theatre has provided a fresh take on the play with some delightful performances that will leave you smiling.

— Ryanna Clayton

(Performance seen: 14th May 2011)
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Vis-a-Vis: Studio Series  
Queensland Ballet (Thomas Dixon Centre)


Imagine the delight of being part of a ballet rehearsal and performance — face to face with the dancers! That is the magic of Queensland Ballet's Vis-a-Vis Studio series based at the QB's home, the Thomas Dixon Centre at West End. Never has an old shoe factory been put to such good use!

You enter the studio right next to the dancers stretching and warming up at the bar. No, you have not walked in the wrong way. This is part of welcoming you into the dancers' space as they prepare for performance and explication. Soon artistic director Francois Klaus emerges to guide you through the craft and art of dance.

The audience is seated on tiered chairs quite close to the dancers. The theme is "timing is everything" and dancers illustrate the graceful difficulty of slow movement and the intensity of pace.

An excerpt from "The Little Mermaid" brings the exquisite dance of Rachael Walsh into a scene involving a pas de deux between a fisherman and his wife to the haunting music of Edvard Grieg's Piano Concerto in A Minor. Without the usual assistance of props and lighting the power of dance takes the audience into the transit world between sea and land — a place where the beautiful mermaid can walk only with great pain.

By contrast Irving Berlin's "Putting on the Ritz" gives all the dancers a chance to boogie with flair. This passage from "Fonteyn Remembered" is a lively reminder of the youth and vigour of the company.

As a study in timing, comedy can be a hard gig; yet Teri Crilly shows her comic genius with Nathan Scicluna in a tango scene from "Cloudland". This tribute to the dance heritage of Brisbane is a reminder that choreography and creativity is about now and here not just yesterday and far away.

The evening sizzles to an end as Clare Morehen dances Bizet's "Carmen" with a strong performance from Yu Hui as the toreador Escamillo. Love and death provide a tragic and dramatic climax to the evening.

This opportunity is not to be missed. It is an enthralling experience for all ages but would be especially rich for a young person training in ballet.

Choreography and Direction by Francois Klaus
Music by Josef Haydn, Edvard Grieg, Robert Davidson, David Raskin and Johnny Mercer, Jean Sibelius, Erich, and Georges Bizet
Piano accompanists: Brian Adamson, Shirley Coe and Gary Dionysius
Costume Design by Noelene Hill
Running time: 2 hours with a 20 minute interval
Performances 29,30 April, 5,6,7,10,13,14 May, 7.30pm; 7 May 2.00pm

— Matt Foley

(Performance seen: 6th May 2011)
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Earlier reviews