Mary Poppins

Mary Poppins (4.0/5)

Her Majesty's Theatre

Disney/Cameron Mackintosh

21^st August 2010

(Adapted by Robert & Richard Sherman from PL Travers’ book & the Disney film. Mary Poppins: Verity Hunt Ballard, Bert: Matt Lee, Philip Quast: Mr Banks, Marina Prior: Mrs Banks)

Bright, enthusiastic, often magical musical version of this timeless (un)happy family story. Verity Hunt-Ballard is a perfect Poppins, stunning voice, manner never too sweet, never too stern. Quast as Mr Banks is a timely reminder in these post-GFC times that people are more important than money. The occasional over-eager moment is more than balanced by the excellent set-pieces as Mary Poppins literally flies across stage and audience. I did miss the penguins though.

The Special Relationship

The Special Relationship (3.5/5)

Dendy, Circular Quay, Sydney

14^th August 2010

Director: Richard Loncraine, Writer: Peter Morgan. Cast: Michael Sheen [Tony Blair], Dennis Quaid [Bill Clinton], Hope Davis [Hillary Clinton], Helen McCrory [Cherie Blair]

Blair’s rise and Clinton’s decent; from Tony learning at Bill’s knee, through Lewinsky and Kosovo to George W’s election. The characterizations are extraordinary, it’s not the looks but the mannerisms and delivery that impresses. Morgan’s script deftly handles Blair’s growth from political innocent to voice of morality and closes with the beginnings of his downfall as egotistical sycophant. Good, though in only 93 minutes it’s a little rushed and leaves viewers filling in the gaps.

Me and Orson Wells

Me and Orson Wells (2.5/5)

Barracks Cinema, Brisbane

11 August 2010

Director: Richard Linklater. Cast: Zac Efron (Richard Samuels), Christian McKay (Orson Welles), Claire Danes (Sonja Jones)

Young man dragged off the street to play Lucius in Well’s Julius Caesar falls for one of Orson’s girls, inevitably has his heart broken on opening-night. The final reel of genuine Shakespeare almost makes the preceding sentimental, if high-paced, love story bearable. Against the power of the Bard the film script is a barely adequate pastiche of theatrical histrionics and innocent love. How Well’s staged Julius Caesar, now that would have made a good film.

I Am Love

I Am Love (1.5/5)

Barracks Cinema, Brisbane

17^th July 2010

(Director: Luca Guadagnino. Cast: Tilda Swinton, Gabriele Ferzetti

Marisa Berenson)

A sense of grandeur but certainly not a grand film. In a wealthy Italian family the Russian wife of eldest son and boss of the family firm falls for their son’s best friend, then leaves her husband at the son’s funeral. But why? Moody music, smouldering looks and lavish photography cannot make up for a story that lacks exposition.

Bill Bailey

Bill Bailey – Life In Progress (2.0/5)

Concert Hall, QPAC, Brisbane

13^th July 2009

Bill Bailey is funny and talented in fits and starts with his observations on life back in the UK and peculiar musical skills. If Bailey’s is a life in progress then the show is a work in progress - somewhat one paced and reliant on a few themes that wear thin by the second half. If you get bored at least the programme makes more interesting reading than most of its ilk.

Of Earth and Sky

Of Earth and Sky (2.5/5)

Bangarra Dance Company

Playhouse, QPAC, Brisbane

6^th July 2010

Riley: choreographer Daniel Riley McKinley.

Artefact: choreographer Frances Rings

Drawing on past relics for their motivation Bangarra present two pieces of similar theme and different technique. The late Michael Riley’s photographs inspire his relation Daniel to a work that is easy on dancers and audience - each item well linked to the corresponding image. Artefact explores Aboriginal museum pieces; its complexity reflecting Rings’ greater experience, making the work more challenging whilst losing some of Riley’s story-telling. I preferred Riley, connoisseurs will enjoy Artefact.

Ron Murek

Ron Murek (4.0/5)

Gallery of Modern Art, Brisbane

8^th May – 1^st August 2010

Ron Murek’s real-life sculptures of people very young, very old and in between are extraordinarily lifelike. Varying in scale from a miniature old couple to a two metre new born baby the level of detail is so absorbing it becomes almost embarrassing to linger looking closely at these remarkable pieces of work, nude strangers caught in a moment of deep thought. Realism is taken to a new level and not to be missed.

Toy Story 3D

Toy Story 3D (4.0/5)

Barrack Cinemas, Brisbane

2nd July 2010

(Director: Lee Unkrich. Cast: Tom Hanks (Woody), Tim Allen (Woody) and many other distinguished voices)

A grown-up story, a franchise that continues to grow. Andy faces a dilemma we all know – what happens to well-loved toys when you leave home? Being Disney the toys have something to say. New characters Barbie & Ken have a clever spin; the old favourites retain their charm. The 3D is clever and unobtrusive. Disney is rarely just good fun with its underlying values; with a good story here it's very much a pleasurable experience.

Slow Music

Slow Music (3.5/5)

Vivid Festival

Concert Hall, Sydney Opera House

4^th June 2010

(Curators: Laurie Anderson, Lou Reed. Artists inc: Laurie Anderson, Emily Haines, Marc Ribot, Blind Boys of Alabama, Eyvind Kang, Holly Miranda, Doveman, Colin Stetson, My Brightest Diamond, Chirgilchin, Doug Wieselman, Skuli Sverrisson)

Soothing degustation serving, in various combinations, a selection of Vivid Festival artists. Small groups and slow numbers let the artists show off their skills. The curators purveyed intriguing combinations, none more so than Chirgilchin (Mongolian throat singing) plus Eyvind Kang on violin and Colin Stetson’s bass sax to create a sound of great depth and colour. Worthy if a little one-paced and a frustrating lack of information, I wanted to know why these combinations.

Where the heart is

Where the heart is (2.5/5)

Expressions Dance Company

Playhouse, QPAC

3^rd June 2010

(Choreographer: Natalie Weir)

Somewhat lesser than its parts. Nice theme – young man returning to deserted family home recalls events from his past. Interesting mournful music for piano and violin played on stage and accompanied by the excellent and haunting contralto of Pearly Black. The contemporary choreography was well executed by the six dancers but lacked a resonance with the subject. Occasionally everything jelled and the heart was here, more often it was somewhere else.

Bodytorque

Bodytorque. À La Mode (3.5/5)
The Australian Ballet
Sydney Theatre
29 May 2010

Birthday Suit: choreography Damien Welch; Fold: Robert Curran; Nocturnal Phantasm: Timothy Brown; South of Eden: Daniel Gaudiello; Trace: Alice Topp

Curran and Welch’s experience and style as principal dancers stood out amongst five new works on display. Opening with the gentle sophistication and classic style of “Fold” set a high standard nicely juxtaposed by Welch’s humorous take on dressing up (Tzu-Chao Chou outstanding in the lead). The other pieces showed potential if incomplete ideas. In its seventh year Bodytorque remains an innovative and exciting Australian Ballet initiative fusing new choreographers with contemporary designers and composers.

Coppelia

Coppelia (3.5/5)

The Australian Ballet
Opera Theatre, Sydney Opera House
22nd May 2010


(Coppelia: Eloise Fryer, Swanilda: Gina Brescianini, Franz: Ty King-Wall, Dr Coppelius: Matthew Donnelly)


A traditional ballet delivered with light dexterity by TAB. The tale of a mysterious doctor and his mechanical "daughter" is undemanding - the characters and story are sufficient without being demanding of cast or audience; the doctor's toy workshop a nicely set scary house with touches of humour. By the end of Act 2 the story is told, leaving the dances free to show off their classical skills in the village square throughout Act 3, which is the real delight of this ballet.

King Lear

King Lear (4.0/5)

Bell Shakespeare

Playhouse, QPAC

20th May 2010

(Director: Marion Pottts. King Lear: John Bell, Goneril: Jane Montgomery Griffiths, Regan: Leah Purcell, Cordelia: Susan Prior, Edgar: Josh McConville, Musician Bree van Reyk)

Bell's Lear is sad and human, his madness more impulsive then psychotic, his revelation drawn from the sad wisdom of age rather sudden conversion. A well-balanced cast ensures no hand is over-played, a simple set gives the actors room to work. Clever use of live percussion adds depth to the dark atmosphere with improvisation from stage right. A rewarding production that treads lightly on barbarism and allows room for contemplation of family discord.

Mortal Engine

Mortal Engine (3.5/5)
Chunky Move
Sydney Theatre
8th May 2010
(Choreography: Gideon Obarzanek)

Disturbing in its portrayal of passion and violence in an Outer Limits dangerously different way. A substantial development on the solo work "Glow"; Mortal Engine takes the real-time interaction of movement, light & sound to a new artistic level. More engrossing than fun, an audacious leap for contemporary choreography that should not be missed.

The Silver Rose

The Silver Rose (1.5/5)

The Australian Ballet

Opera Theatre, Sydney Opera House

24^th April 2010

(Choreography: Graeme Murphy. Marschallin: Rachel Rawlins, Octavian: Daniel Gaudiello, Baron Ochs: Robert Curran Sophie: Leanne Stojmenov)

Uninspiring choreography, limited characterisation, a score without a theme - a low point for TAB and Graeme Murphy. A flirtatious story offers plenty of scope for passionate dance, a variety of characters and delicious music. Instead the choreograph lacks flair and challenge, the dancers scratch the surface of their roles with only cheap laughs to play for and the music is just dull. One to miss.

Beneath Hill 60

Beneath Hill 60 (4.0/5)

(Director: Jeremy Sims. Cast: Brendan Cowell, Gyton Grantley, Aden Young, Jacqueline Mackenzie, Anthony Hayes, Steve Le Marquand)

Regent Cinema, Brisbane

19^th April 2010

Slow and intense, this 1916 war movie follows a group of Australian miners tunnelling beneath enemy lines to plant a huge bomb. With no pace and no heroics the focus is very much on the story, the actors and the situation – and it’s almost magnificent. Not quite achieving the strength of Das Boat or the characterisations of Letters from Iwo Jima as a claustrophobic war movie Hill 60 is nonetheless an absorbing story well told.

Hats – an anthology by Stephen Jones

Hats – an anthology by Stephen Jones (3.0/5)

Queensland Art Gallery, Brisbane

27^th March- 27^th June 2010

A beautiful collection of unique millinery old and new displayed with a hint of mystery in a cloister like environment – yet so unoriginally labelled one cries out for knowledge. What was the inspiration for such splendid craftsmanship? Tell us more than name, designer and materials. Worth seeing if in Brisbane, but may be read the catalogue first.

Archibald, Sulman & Wynne Prizes

Archibald, Sulman & Wynne Prizes (3.5/5)

Art Gallery of NSW, Sydney

27^th March – 30^th May 2010

A strong collection this year and no dispute about the winners, though the Sulman suffers from a lack of imagination. Cleverly hung so that the one moves from traditional to contemporary approaches. Linger over the portraits, enjoy the landscapes and move smartly past the Sulman variety show.

Private Lives

Private Lives (4.0/5)
(by Noel Coward. Staring Kim Cattrall, Matthew MacFayden)
Vaudeville Theatre, London
6th March 2010

Kim Cattrall is superb as the honeymooning wife who discovers her ex. and his new wife in the next room. A comedy of manners unfolds as the ex’s renew their passion with observations on life as topical today as in 1930. Cattrall totally inhabits both the character and period, as do the supporting actors playing the two ex’s new partners. MacFayden is too much today’s man, but this does not detract from an enjoyable production.

Mark Morris Dance Group

Mark Morris Dance Group (3.0/5)
Behemoth, Looky, Socrates
Howard Gilman Opera House, Brooklyn Academy of Music,
New York
26th February 2010

Morris’ choreography is more movement than dance; formal and fluid but missing the grand elements of ballet it lacks some spice. Behemoth is without music, making the Dance Group’s precisely synchronized movements all the more impressive. Looky, a short fun item verging on mime with musical theatre overtones and a gentle poke at critics. Socrates sentencing and death to music and lyrics by Erik Satie is so reverential as to lack any sense of drama.

Blue Dragon (5.0/5)
Robert Lepage
Fei and Milton Wong Experimental Theatre,
Simon Fraser University, Vancouver, Canada
23rd February 2010

An absorbing allegorical tale of Western middle-aged despair and Asian youthful ambition set in and against the growing influence of China. A beautiful slow pace allows every subtle element Lepage’s ingenious storytelling and stagecraft to be appreciated. The newly opened black-box Experimental Theatre is the fitting location for this. SFU is to be applauded for its investment in Vancouver’s contemporary theatre scene.

Talking Sticks Festival (3.0/5)
Yaletown Roundhouse Community Centre
Vancouver, Canada
22nd February 2010

A pleasant evening of contrasting aboriginal culture, part of the Cultural Olympiad. First up: spirited First Nation drumming, dancing and throat singing from an Inuvialuit community group c/w audience participation. Second act: Anne-Marie Sewell, poet with loop pedal; an engaging, skilled, voice artist with amusing and thoughtful stories. Top-of-the-bill: Pacific Curl, a three women fusion of Kiwi, Pacific Islander and Celtic music - lively and passionate.

Delusion

Delusion (4.5/5)
Laurie Anderson
Vancouver Playhouse, Vancouver, Canada
17th February 2010

Laurie Anderson’s storytelling demands full attention and rewards with great depth. Initially continuing her previous work’s satirical observations on the USA (Homeland), Anderson rapidly moves onto deeply moving personal accounts of aging, death and parent/child relationships. Tales of hopes dashed, hence delusions. Anderson’s storytelling is so sad that you could cry, her music so full of energy you want to shout with joy – an artistic Olympian without doubt.

Tono

Tono (4.0/5)
Red Sky Productions
Vancouver Playhouse, Vancouver, Canada
11th February 2010

Red Sky’s six dancers fire the imagination with their interpretation of the horse’s place in Mongolian and Canadian First People’s plains culture. Beautiful movement, subtle lighting, an accompaniment of Mongolian horse-head fiddle, drums, long song and throat singing is totally absorbing, melodic and expressive of equine grace. Dance is a wonderful medium for expressing movement, Red Sky’s bringing together of cultures and contemporary dance is indeed special.

MacHommer

MacHommer (2.0/5)

Created and performed by Rick Miller

Playhouse, QPAC, Brisbane

28^th January 2010

Nice idea to do Macbeth with Simpson’s characters, but the execution is dull. With the critical exception of Homer’s Macbeth the impersonations largely hold-up, as does the casting. Though too often Shakespeare’s language is sacrificed for impersonation. There are moments when Miller’s talent shines - the Act 1 reprise, Mr Burns/Duncan’s all-singing final number and the unconnected Bohemian Rhapsody by 25 world famous rock stars, but it’s a long wait for a good laugh.

Invisible by Night, Evolution of Fearlessness & Duality of Light

Invisible by Night, Evolution of Fearlessness & Duality of Light (3.0/5)

Lynette Wallworth

CarriageWorks, Sydney.

January 2010, Sydney Festival

Three video installations respectively contemplating the ebb and flow of life, the inner strength of woman and self. The dimly lit three room gallery cleverly causes the viewer to pause, adjust and separate from the outside world. It requires time to absorb each piece so see this work out-of-hours. At other times there is pressure to move-on and too many distractions - the impact is significantly diminished: 3.0/5 is somewhere between the two.