Thursday, December 01, 2022

Amadeus Review


Star Theatres, Sat 26 Nov, 2022

Presented by Independent Theatre

Amadeus is a remarkable play. Written by Peter Shaffer and first performed in 1979, it is based on a fictional feud between Mozart and the court composer in Vienna at the time, Antonio Salieri. It’s quite Shakespearean in its level of gravitas and epic drama.

As an old man in his final hours Salieri feels the need to come clean and tell the audience (his ghosts of the future) what he’s done so we might set the record straight when we are born in our own future time. It’s a fascinating theatrical device and it works brilliantly.

Shaffer’s Mozart is a rude shock. He’s a bumbling, crass buffoon in the style of Monty Python’s depiction of upper class twits. No manners, no sense of decency, but a prodigious musical talent nevertheless. It drives Salieri crazy and he can do no better than refer to him as ‘that creature’.

The challenging task of portraying this brat of a Mozart falls to Ben Francis and he does a wonderful job. Manic, excitable, passionate, even vaguely endearing – he’s like an uncontrolled schoolboy buzzing about in his own world. Until he plays music – when he transforms into an angel.

Even Salieri has to admit Mozart’s music is magnificent. There are some wonderful moments when Salieri (played by David Roach) waxes lyrical in trance-like admiration of Mozart’s genius as we hear his music playing in the background.

The vast majority of the play has Salieri on stage and usually talking – it’s an incredibly demanding role that would challenge the best of actors. Roach has not quite got all of Salieri under his skin yet but it is an inspirational performance all the same. But ‘that creature’ certainly gets under his skin as he struggles with an intense jealousy towards his musical peer.

I loved the two Venticelli who function as Salieri’s spies around town and their scenes of eagerly reporting gossip back to Salieri in tandem comedy are really enjoyable.

There is so much to like about this production. The cast made ample use of the whole performance space of the Star Theatre to take us to the salons and concert halls of Vienna.

The set and costumes were a visual treat and though Shaffer’s Amadeus might be a little liberal with the facts, in this instance it’s a case of never let the truth get in the way of a good story!

(This review also published on The Clothesline.)

Hand to God Review


Little Theatre, Fri 18 Nov, 2022.

Presented by the Adelaide University Theatre Guild

Since its first production in 2011 Hand to God has been variously described as edgy, risky, filthy, provocative, and obscene – all of these descriptions are apt. It has nevertheless won multiple awards and based on this offering by the Adelaide University Theatre Guild  – deservedly so.

The action takes place in small town Texas in the space where fundamentalist Christian beliefs clash with the darker smouldering desires that many a good Christian blames on the devil. Margery has recently lost her husband and has taken to running puppetry classes for the local church youth group as she tries to build a new life for herself. Her son Jason joins in these classes, as does a very horny and outspoken youth called Timothy.  Out of the blue Timothy inappropriately declares his love for the much older Margery.  With this shocking revelation the genie of desire is released from the bottle and the struggle between good and evil begins.

Leading the way for the forces of evil is Tyrone, Jason’s puppet, as it becomes a mouthpiece for every carnal and impure thought Jason has ever had. Leading the forces for good is the local pastor – terrifically played with equal parts bluster and dignity by Brendan Cooney.

The star of the show is undoubtedly Tyrone, as played by his puppeteer, Jason. Matt Houston’s double act as himself and his wicked puppet is simply masterful.  Jason and Tyrone often communicate with each other in quick back and forth repartee. A little like ventriloquism – where two different voices argue with each other. Houston’s mastery steps up a notch when his puppet begins to torment others – tempting them to come clean and say what they really believe. He taunts and growls, hisses and heckles in an extraordinary performance.

Emily Branford shines as Margery. Her rock-solid belief in all things Jesus sure takes a battering, but she is in turn compassionate, understanding, despairing, deceitful and desperate and despite everything ultimately retains some sense of dignity.

Well-known rock and country music tunes make scene changes really entertaining and subtly remind the audience of location and underlying themes.

There are a couple of unforgettable scenes in this play – I kid you not! And as the posters around town suggest, some things cannot be unseen!

Those with strongly held religious beliefs will no doubt find this play offensive. But if, like the playwright, Robert Askins (who grew up in the Texan Bible-bashing belt), you believe that the hypocritical nature of fundamentalist Christianity needs to be called out, then you’ll love this.

This production of Hand To God is funny, insightful, and entertaining.  Strong, near faultless performances from the whole cast. And hats off to Director Nick Fagan for pulling this one out of the hat.

Go and see it!

(This review also published on The Clothesline.)

Friday, October 14, 2022

Ireland 2022

“How long will you be with us Michael?” Not the kind of phrasing you typically hear from a customs officer. I told him 4 or 5 days I think. In a broad Irish accent he quipped “With a name like that you should have no trouble fitting right in!” I wandered off toward the exit with smile and a tear in my eye. The first of many smiles and many tears over the next few days. I was home.

I set my GPS to Kildare – just far away enough to be out of Dublin, and off the motorway – and discovered some things were true of all small Irish towns: they have a traffic problem. Built long before the car era, streets are narrow with houses close together. Village main roads have bends around tight intersections, and there’s nowhere to park in the centre of towns. So I parked on the edge somewhere, checked my route west and decided that the motorway was the best option for the next couple of hours.

ENNISTYMON/KILFENORA


I had read other travellers’ comments who were disappointed in Ennistymon because there was nothing happening there, but it was a wonderful first stop for me: a colourful main street, windy roads, and a stone bridge over spectacular rapids called The Cascades. Impressive as they were I was more interested in something in nearby Kilfenora – a town I’d not heard of until my brother suggested I visit a cemetery there to photograph a grave of Mum’s ancestors – the Byrts.

I pulled in at what seemed to be the middle of town, saw a church nearby and walked immediately in that direction as if following a pre-ordained path. And there it was right in front of me. As I read the words and the enormity of where I was sank in I dissolved into tears. Not tears of sadness; not tears of happiness. It was something much deeper: tears of connection. It felt like a profound crossroads in my life. For so long I had wanted to visit rural Ireland and I was finally here. In the land of my forebears. This is where half of Mum’s family had come from. I was among my own people. Again, I felt at home.

Overwhelmed by the magnitude of what I was feeling I called my brother. Thankfully he answered. Initially I could barely speak but he took up the conversation on his end and began to explain the significance of what I was looking at. It brought me back to reality and stopped the tide of primal emotion that came bubbling to the surface – all because he had suggested some weeks before that I visit this town to take a photograph of a family grave. It may take me months or more to plumb the depths of what I felt there, but it has to do with a deep-seated connection to that place, those people, and the past. I needed to know where I came from.

TOREEN

Our cousin Dennis had gone to some trouble to mark off an area of land on a local map that the Byrts had once farmed. This plot of land was in a place called Toreen where there was no village, and no signposts to indicate where it was exactly. Dennis’ map did have something called ‘Toreen Bridge’ marked on it so I set off to find it via narrow and windy country roads – L roads as they are known in Ireland. Toreen bridge was no more than about 6 or 7 kilometres from Kilfenora.

I was on the verge of turning back when I drove over a small creek on what was hard to see but was effectively a bridge. I got out of the car to feel the land round about and was enjoying some contemplative solitude when this cute, energetic Cocker Spaniel puppy bounded up to me out of nowhere and jumped up all over my jeans with its muddy paws. Obviously its owner was close by and soon this woman appeared quite unfazed that I was standing there in the County Clare equivalent of the middle of nowhere. I asked her if this was Toreen Bridge. She said, “This is Toreen. And that’s a bridge,  so …. It’s a nice spot.” And with that she and her puppy wandered off leaving me alone to further contemplate that I’d accidentally stumbled across another ‘ancestral site’. Home again. Connection again. I did what I had seen my friend Marek do on a tragically sad day many decades earlier. As people began to throw flowers on to the lowered coffin of 7 year old Slawek, Marek bent down and picked up a handful of dirt. I bent down and ran some Irish dirt through my fingers …. It helped me understand something Marek said that day. “Now my son is buried in Australian soil this will always be my home. “

GALWAY TO WESTPORT

I had always assumed rural Ireland would be beautiful. I had never imagined it to be rugged. On my drive from Galway to Westport I wanted to avoid roads more likely to be travelled by tourists so I took a route less travelled. I was unprepared for the grandeur, the isolation, and the feeling of being somewhere so remote, so elemental. I knew, and have seen, parts of Scotland like that – spectacular, remote, and unforgiving, and this part of Ireland was the same. Tall, dark mountains, empty valleys, wind-washed loughs. And then there’s the coast – the Irish west coast. The Wild Atlantic Way. I had intentionally spurned the famous Cliffs of Moher further south – preferring to find my own little bit of west coast, and found it in a tiny hamlet called South Devlin. Not your classic and dramatic windswept cliffs view, but windswept certainly with a thundering surf that flung gobs of foam upon the rocky shore, and small jagged cliffs leaving you in no doubt where one misstep might find you. The sensation of finally experiencing the powerful natural forces of this remote and wild coastline answered a strange promise I made to myself as a young man: that I would one day seek out the world of Christy Mahon from JM Synge’s Playboy of the Western World. And standing there in that wind and spray it felt right; like a crazy dream realised. Maybe my longing to be in such a place answered some ancient DNA insistence that I needed to feel it for myself. Whatever it was, I’d answered that call and as I stood there in the unrelenting wind I jokingly thought, I can die now!

BOOTS


At breakfast in the hotel at Westport the waiter casually asked me what my plans were for the day. I told him I was heading out to Achill – Ireland’s westernmost island. He wanted to know if I had suitable footwear for the marshy swamps on the island and when I pointed to the shoes I was wearing said they wouldn’t do. Some 10 minutes later another waiter appears with a pair of boots in a plastic bag. “A little big for you probably but they’ll do you for the day!” When I said I wasn’t coming back to Westport he said no problem, just drop them off with Beatrice at the hotel near the bridge to the island!

Achill was breathtakingly majestic. Nature at its most powerful – blasting cold winds off the Atlantic on a road that caressed its way around the dramatic coast. It was difficult to drive for more than 10 minutes at a time – to resist the temptation to stop and get out and feel the elements in their raw state seemed foolish. “This is a place where it was impossible to feel anything but joy” I suggested to a fellow traveller as she got out of her car. She just smiled at me.

CLONMACNOISE


Hidden away in the hinterland of the unfortunately named County Offaly is Clonmacnoise, the site of a ruined monastery and graveyard dating from 544 AD. I arrived before it was open and had the joy of watching its ghostly outlines emerge out of a morning mist in solitude. Perched high on a hillside overlooking a lake it is dotted with carved stone crosses and old stone walls of the long-gone monastery.  I enjoyed a joyous and contemplative hour with this extraordinary site to myself. I was about to leave and begin my journey back to Dublin as I glanced down at one of the gravestones inside the main monastery building and saw something that stopped me in my tracks. ‘RIP – The Coughlin Family’ it read. On another in-ground gravestone beside it was a list of all the Coughlins buried there. Now these Coughlins may or may not be connected to my tribe. No one has ever mentioned a family connection to County Offaly but it just served as one final powerful reminder that this is where Coghlans come from. Coghlans come from Ireland. Ireland in some deeply profound and elemental way that is very hard to articulate - is where I come from. And It seems Ireland was determined to not let me forget that fact.  One final time I was full of tears and joy.

And with the enormity of this revelation resounding in my soul I drove towards Dublin airport. I finally understood something that has been a whisper in my heart all my adult life.

 

 

Thursday, September 08, 2022

Vale Vance

Vance the Diver (photo courtesy of Claire Bradin)

Some time in the last few days Vance Stevens left this earth. The man who coined the word ‘webheads’. Our main cat herder. The man who kept us all together - for decades. The man who showed us all how enjoyable it was to learn and grow together. The man who never tired of creating opportunities to connect us.

Several times today I’ve found myself in tears. It's really hit home just how much Vance meant to me. Absorbing the fact that he won’t be around to gather us all together anymore is unthinkable at the moment. It’s like the internet has died. For me Vance was kind of synonymous with the internet. It, he, opened so many doors for me. Because of Vance I have visited countries I would never have seen; I have met so many wonderful people that have become close friends. And what I learnt from him on a professional level would take a book to document it all.


And he was a dear friend. Vance’s legacy will be huge, but the fact that he showed how our social and professional lives could enrich each other was a stroke of genius. I loved him and learned from him. As an equal; as a peer, as a fellow traveller out there on the world’s highways. I won’t ever forget what he did for me, and I’m sure many of us here will feel the same.


Of course it was us, the Webheads, that collectively made all this magic happen. But it was Vance’s idea. He started it. And he continued weaving that magic as long as he was able.


Tears continue to fall and I’m sure they will for a few days yet. Thank you dear man. I loved you Vance. We all did. 


THE WEBHEAD THEME SONG


Some links to Vance's legacy:

Thursday, July 21, 2022

Wisdom of AI Light - Illuminate Adelaide - Review


The first 10 minutes of Wisdom of AI Light is totally bewitching. You are suddenly in the womb of a space that is shifting and swirling all around you. An exquisite soundtrack helps you centre as you drift aimlessly around trying to find where to be. You can wander, stand, sit, or turn but most people found their space quickly and remained still – mesmerised. Pictures and patterns and shapes fold and bend and soar in an ever-changing visual landscape that evokes childlike wonder. The Da Vinci segment teased with glimpses of the known – the Mona Lisa, Christ, and Vitruvian Man – before dissolving back into an abstract world of a different kind of beauty. The kind of beauty that results from artificial intelligence going to work on 20,000 of Da Vinci’s artworks. (One can’t watch this without wondering what Da Vinci may have thought of this if he were alive today!)

Occasionally in this short 30 minute show we are reminded of the raw data that is the basis of these projections and surrounded by thousands of thumbnail sketches scrolling rapidly past in multiple directions.

The Poetic AI segment churns out electronic wizardry from the text and images of great thinkers of the past. Letters, numbers, shapes form new creations that might be called a new kind of literacy – a literacy based on sensation rather than thought, on feeling rather than meaning.

The Data Monolith segment explodes the past literally as archaeological stonework bursts into fragments and spin out across the room to later reform as solid walls.

Everything is changing all of the time whichever way you look and in a strange way you start to go a bit numb and wonder about yourself in all of this. Where do I belong in this new form of expression? It’s all extraordinary; blindingly dazzling. Because we know the raw material for this production stems from history’s greatest minds and some of humanity’s greatest achievements it is hard not to dwell on what it all might mean. Or is it better to turn off your cognitive self and just immerse yourself in the wonder of it all?

Musically the show divides quite radically into two parts. The flowing, soothing score from Ludovici Einaudi is utterly compatible with Da Vinci’s time. The music for the other segments was much more abrasive, modern, mechanical – robotic even. Returning to something more ethereal for the segments connected to space and dark matter might have served to better separate them thematically and maintain the level of interest towards the end of the show.

Shakespeare’s words were probably incorporated in the Poetic segment somewhere. It was he who wrote ‘full of sound and fury, signifying nothing.” The Wisdom of AI Light felt a bit like that. Like a metaphor for contemporary times, it is fast moving, seductive, random, visually astounding, and shows off incredibly impressive use of emerging technologies – it all looks and sounds so impressive. It looks and sounds as if it should all be deeply meaningful. It is immensely entertaining, but I suspect life’s mysteries are more likely to be solved sitting under a tree on a sunny day, or by the sea at sunset.

(This article also published on The Clothesline.)

Monday, July 11, 2022

Catherine Alcorn & Phil Scott – 30 Something

Catherine Alcorn in 2012

 

[CABARET ~ ADELAIDE PREMIERE ~ AUS]

Space Theatre, Fri 10 Jun.

New Year’s Eve. 1939. Deep in the bosom of a Sydney speakeasy. Expectations for the future are high and our hosts Phil Scott and Catherine Alcorn are there to help us bring in the New Year with good-natured repartee, predictable puns, double entendres and a great selection of show tunes of the time.

It’s a great format that works really well. After a time apart, Phil and Catherine are very happy to be playing with each other again. Phil Scott’s hands dance deftly up and down the piano while serving up punchlines and interjections to complement Catherine’s stories. Alcorn is as vivacious as ever. She’s enjoying being back in Australia again after a tour of the US, and she serves up the expected diet of big ballads, heartfelt confessions, and tawdry humour. She belts out the big numbers with ease, and teases with quieter endings to some songs that show a more subtle side of her vocal ability.

As it always seems to be, these were also difficult times for musicians trying to make a living and we’re treated to a couple of humorous live advertisements on stage that bring back fond memories. We’re also advised about what to do if there is a police raid – the law was always hot on the trail of establishments selling illegal alcohol!

If we didn’t have retrospective knowledge about the horror that was about to be unleashed on the world in 1939 30 Something might have convinced me that 1939 was a good time to be alive – great songs, musicians who entertained, a sense of fun, eager audience interaction, and lots of dumb jokes. Just for an hour I was back there in another era that despite the bawdy nature of much the banter, felt ironically innocent.

(This review also published on The Clothesline.)

Wednesday, June 15, 2022

Simply Brill - Adelaide Cabaret Festival Review

Photo credit: Claudio Raschella 

 Amelia Ryan, Michaela Burger and Michael Griffiths


[CABARET ~ WORLD PREMIERE & ADELAIDE EXCLUSIVE ~ AUS]

Banquet Room, Adelaide Festival Centre, Sat 11 Jun.

Cabaret can be many things, but what cabaret does really well is tell stories. And if the stories are important and largely unknown, then all the better. Such is the story of New York’s Brill Building. Between 1958 and 1964 it churned out an astonishing number of smash hits that revolutionised popular music at the time. There were several reasons for this, but Simply Brill stresses one reason in particular: the fact that an extraordinary number of these hits were written by women. This show could be suitably sub-titled ‘Three Broads From Brooklyn’. Those broads being Carole King (the very same Carole King who became a megastar as a singer songwriter in the ‘70s), Cynthia Weil (The LocomotionBlame It On The Bossa Nova etc.) and Ellie Greenwich (Be My BabyLeader Of The Pack etc).

In a wonderfully slick show Michael Griffiths, Amelia Ryan, and Michaela Burger don’t miss a beat in this storytelling and nostalgic musical bonanza. Backed up with slides and a great local band, the narration is fast paced, funny, and with just enough information to set up an appreciation of the next song. Ryan and Burger take turns as the Brooklyn broads but share much of the vocal work. Griffith spends most of the show on piano adding to the storyline and occasional doo wops, and bom boms as required, but shows his front man skills in solo renditions of songs like We Gotta Get Out of This Place. Ryan and Burger groove and jive throughout in seductive harmony with the music to stunning visual effect.

All three shared the storytelling and singing duties in an intricate, seamless show of organic joy. They were clearly enjoying what they were doing, loving the songs they were singing, and revelling in each other’s company. It was indeed brill.

Kudos to the bass player who wore a smile throughout and contributed to the good vibes! And there were good vibes a plenty. You got a very real sense of the excitement of the times and thrill that those young songwriters must have felt when they landed another hit.

And just in case you had any lingering doubts about the value of the song writing teams that worked in the Brill Building, a stirring final medley of You’ve Lost That Loving FeelingRiver Deep Mountain High, and Aretha Franklin’s Natural Woman sealed the deal.

Just wonderful!

(This review also posted on The Clothesline.)

Classical Beatles ~ Candlelight Concert ~ Review

Capri Cinema Thu 30 Oct, 2025  Candlelight Concerts began in Madrid in 2019 with the aim of making classical music more accessible to younge...