Tuesday, July 7, 2015

“Strange Attractor: the space in the middle”

Facilitated by Margie Medlin
Curated by Adelina Larsson
With Alison Plevey and Jamie Winbank
Gorman House
28 June 2015
A report by Samara Purnell

What is the sound of shame? What happens when the audience has license to interact with an installation and how does this affect the performer’s work? How do I explore the connection between the micro and macro landscapes of the brain and the universe?

These are some of the questions and processes explored by the artists and presented in “Strange Attractor: the space in the middle”.

”Strange Attractor” now it its third year, was a week-long event that provided choreographers and artists with a space and collaboration to work on ideas, explore their creative processes and then present this to an audience, eliciting feedback and questions. The intention was to develop and deconstruct not only their own artistic works but to enhance the engagement and connection between artist and audience.

 “Strange Attractor” should be understood as part of a journey - short works that may or may not stand alone or have a beginning and end. This type of  experience is a privilege for members of the public interested in the creative process, offering the chance to engage with artists and aid in the shaping of future work.

Janine Proost aptly described her short piece as “movement research”, so if viewers were expecting to be presented with a piece of entertaining choreography it may have a limited appeal. On the preceding evening, we were told, an entirely different performance was presented, suggesting that the purpose of  this forum was to give dancers licence to experiment and judge audience reactions. Nonetheless it would be interesting to see Proost really pushing her body and physicality in this work.

Minimal seating was provided during a couple of the presentations, the explanation being that seating gives parameters and discourages active participation and movement throughout the installation. Moving around the venue meant going from heated to cold environments, although it broke up the works nicely and Gorman House proved to be a great venue for this.

‘Shame and inflicting humiliation’ – the soundscape presented by Amelia McQueen, built up ideas and tensions, partly through the rhythmic looping and musicality of groans and sighs and sobs, and partly through the subject matter. The content was a little scattered, possibly  to induce discomfort or a reaction in its listeners or possibly to present a statement from McQueen on cyclical abuse. I also wondered how this might work in a different setting – whether it could remain a stand-alone piece.

The reaction to Laura Boynes’ light installation was positive. It wasn't clear until she spoke about it afterwards, that her movements inside the cut-out aluminium sheeting, turning and suspended from the ceiling, was reactive to input from the audience, hence changing the work significantly each time. From an audience perspective, this could mean that to gain the most out of the installation, it would be best seen more than once. The choreography itself wasn't the main focus and it was interesting to hear from Boynes about her thought processes during the piece. Overall it had an element of “who’s watching whom?”

Olivia Fyfe’s work put the onus on the audience, as it required not only active participation but also divulging, if willing, deep and potentially personal information. The questions were interesting and may have provoked further thought in participants after the performance.  It would be interesting to see what Fyfe extrapolates from it. I was engrossed in the ‘survey’ undertaken and only vaguely aware of Fyfe moving and dancing around the space. She mentioned that this lack of attention to her suited her rather shy nature.  A fraction longer to read the answers others had written would have been good.   The abrupt change in music halfway through evoked a few, possibly unintentional, giggles.

McQueen’s second work was confusing. It was the most choreographically satisfying of all the presentations, but it was difficult to make out what we were watching in the film shown before and during the dance sequence and what the intention and connection was. The colour red seemed to be the lasting impression and the integration of traditional dance styles in modern dance. It appeared we were watching a cult gathering or ritual.

Alison Plevey’s examination of the relationship between the macro and micro worlds of the mind and universe felt like three distinct pieces. This may have been due in part to the timing of the transitions or presentation itself, and potentially required a melding of the pieces into each other. The glowing “amoeba” had an almost hypnotic effect and the footage playing behind her of the universe expanding and changing into neurons explained the subject matter and was lovely to look at.

The audience was happy to comment and give feedback and appeared interested to hear about the creative process from each presenter’s perspective.

Monday, July 6, 2015

Kelly - Queensland Theatre Company

Review by John Lombard

"I am this fucking country!" Ned Kelly is Australia’s luckiest bandit, a thief and murderer who sneaked into national mythology as a quasi-heroic knight in armour. Playwright Matthew Ryan strips the myth and armour from this icon, not shirking from either his heroic or villainous aspects.

Kelly is set on the eve of the bushranger’s execution. Ned Kelly (Steven Rooke) has accepted that he is to die, glorying in his celebrity and passing the time with venomous jibes at his jailor (Anthony Standish). Kelly is a trapped animal, limping from bullet wounds and struggling to break his iron manacles. His one - justified - fear is that his body will be mutilated after he dies.

A boyish priest (Kevin Spink) comes to comfort Kelly and receive his confession, but is quickly revealed to be Dan Kelly - Ned’s younger brother, who in Australian folklore survived the siege at Glenrowan to live out the rest of his life in Queensland. Dan has slipped into the jail in disguise to seek Ned’s blessing to start a new life free of the Kelly name and legacy. Ned is grateful to see his younger brother alive, but their bartering over the terms of this blessing opens bitter wounds. Finally Ned presents his brother with a stark choice: help him escape, or die here with him.

Rooke’s Kelly is quasi-poetic, searching for eloquence but always tripping over his own nastiness. Kelly feels like a villain, but Ryan’s script is determined to give the devil his due. His family were abused by the police, his murders were often (but not always) out of necessity, and theft was the only way of surviving. Dan tries to argue against his brother’s self-serving interpretation of events, but is too dominated by his brother to make much of a showing. But when Kelly starts painting himself as a revolutionary, his bombast begins to implode: not even Ned can claim it was all worth the innocent blood on his hands.

Kelly is an immersive and gripping drama. Ryan’s plotting is captivating, driven by a firework chain of explosive plot twists. The acting is rough and physical, perfectly capturing the violence in the lives of the characters. The central preoccupation of the play is whether Kelly is in fact a hero or a villain - "delusional thug" would be more accurate. Well-crafted and engaging deeply with the truth behind one of Australia’s greatest icons, Kelly is a must-see.


Sunday, July 5, 2015


Written by Alana Valentine
Directed by Wesley Enoch
Producer: Queensland Theatre Company
The Street Theatre, 3 and 4 July 2015

Review by Len Power 3 July 2015

‘Head Full Of Love’ shows the life-changing experience of a white woman on the run from her life in the city who meets and befriends an Aboriginal woman who is a talented crochet beanie maker and lives in a remote location .

The best moment of the play was the display of the various beanies made by the Aboriginal woman.  This sequence was beautifully staged by the director, Wesley Enoch, with good lighting by Ben Hughes on a clever atmospheric set by Simone Romaniuk. 

Actor, Paula Delaney Nazarski, as the Aboriginal woman, gave a strong, naturalistic performance with great comic timing.  Annie Byron played the comic side of her character well but seemed less secure in the more serious aspects of her role, especially some awkward monologues.
Annie Byron and Pauline Delaney Nazarski (Photo by Jamesphoto)

Wesley Enoch’s direction was uneven especially in the pacing of the dialogue.  The final scene was played so slowly that it dissipated the energy of the rest of the play.

There were some amusing moments in the play but a lot of it seemed laboured.  The monologues played directly to the audience by the white woman broke the realism of the rest of the play.  The white woman’s description of feeling threatened while alone in a car at night seemed to go on forever after its point was made and having the character suddenly talking to her son as if he was sitting on her shoulder was disconcerting.  Even though it was later explained that she had suffered some kind of breakdown previously, it really didn’t work.  Then, when the play seemed to be reaching a satisfying and moving finish, the addition of a scene involving a new character was unnecessary.

Author, Alana Valentine, has a good play at the core of this work but it needs some cutting to really satisfy.

Saturday, July 4, 2015


Monday 29th June

Composer,pianist, entrepreneur, Sally Greenaway. 

Who would have thought that the life of a jobbing composer could be so stimulating and entertaining? But then Sally Greenaway is no ordinary composer, as members of the Canberra Critics Circle discovered when the engaged her in conversation in the second session of the 2015 series of “Conversations with the Canberra Critics Circle.

Not only is Sally a gifted composer for hire, she’s also an arranger and pianist with her own jazz ensemble, as well as a passionate and enthusiastic entrepreneur.

Sally studied jazz piano at the ANU School of Music, and is a graduate of the Royal College of Music, London, who during her London stay played jazz piano on Steinway’s unique “Ferrari” grand piano at the London Chopin Festival and on Liberace’s rhinestone grand piano at the Dorchester Hotel in Mayfair.

A prodigious composer, her compositions cover a vast array of styles and genres, including numerous classical chamber works, several works for jazz big bands, and more that 20 film soundtracks.
Her music has been performed by the Australian Youth Orchestra, the Canberra Symphony Orchestra, the Finnish vocal sextet, Rajaton, the Mothership Orchestra, the Royal Military College Big Band, the Woden Valley Youth Choir, the Melbourne Composer’s Big Band and numerous community and school ensembles.

Sally's many awards include winning the APRA JazzGroove Mothership  Orchestra National Big Band Composition Competition in 2008, the Canberra International Music Festival Young Composer Award in 2009 and being a finalist in the Seattle Women’s Jazz Orchestra Composition Contest USA in 2013.

The ABC Classics record label has just released her latest CD, “Aubade & Nocturne” a superbly produced showcase featuring 16 of her compositions.

In response to questions from the Circle, Sally gave many candid insights into her work as a professional composer and performer. She spoke about how she finally persuaded her parents to let her learn to play piano; how she discovered her ability to compose, and about the discipline required to compose to a commission deadline.

Sally Greenaway 
She revealed how she developed the skills necessary to allow her to compose fluently for multiple instrumentation, and how she learned to negotiate fees and contracts. She talked about her enthusiasm for composing for films, symphony orchestras and special commissions, and confided that she had insisted on being involved in every aspect of the production of the ABC Classics recording “Aubade & Nocturne”, describing the process, which included stripping nude to be painted with flowers for the stunning cover photograph. 

She then surprised everyone by generously gifting each of those present with a copy of her superb CD  “Aubade & Nocturne”.
The next “In Conversations with the Canberra Critics Circle” will be held at CMAG on Monday 6th July when the special guest will be distinguished ceramicist, Janet DeBoos.

Bill Stephens

Friday, July 3, 2015

National Program for Excellence in the Arts

Australian Government Attorney-General's Department, Ministry for the Arts
To read the complete document, go to http://arts.gov.au/nationalexcellenceprogram

Commentary by Frank McKone
July 3, 2015

The Guidelines tell you what you need to do to ask for money. Like

 be an Australian organisation or entity
 have as its principal purpose the arts – this includes: the performing and visual arts, cross-artform and digital arts, arts training and collecting institutions whether at a national, regional or community level; (usually defined in the organisation’s Constitution or Articles of Association, and reflected in the Annual Report and Business Plans)
 have an active Australian Business Number (ABN)
 be registered for the Goods and Services Tax (GST), if required by the Australian Tax Office
 not have any outstanding reports, acquittals or serious breaches relating to any Australian Government funding

I think I fulfil these requirements.  So now I need to know who won’t get money:

What the Program will not fund:
 Business start-up costs
 Private tuition, training or study
 Work used for academic assessment
Projects by individuals [my emphasis]
 Competitions and eisteddfods
 Awards and prizes
 Film and television production
 Interactive games
 Built or natural heritage projects
 Projects or components of projects that are also funded by other programs administered by the Ministry for the Arts.

But I’m an individual!  I’m a Freelance Writer with an annual turnover so small that I’m not required to be registered for GST (but I can if I want) and the Australian Tax Office (ATO) classes me as a Special Professional.  That means if I’m an artist, a writer, a performer, a sportsperson or an inventor I keep simple business records, work out if I’ve made a profit or a loss.  Then I can simply add my profit – or subtract my loss – from whatever other personal income I have on my annual tax return. 

Peter Costello did this for us soon after the GST started, so small scale artists didn’t go round the bend.

But I can’t ask for money from the National Program for Excellence in the Arts.  What if I happen to be a new and as yet not well-known but “excellent” artist?  I’d be in the same sort of position as a first-time house buyer, in the negative-gearing market.  Unless you’re already big, you’re not going to get a look-in.

I guess I can still ask the Australia Council for the Arts, can’t I?  But now that they’ve lost about a third of their money, my chances are so much less.

I guess I don’t really mind if the Attorney-General / Arts Minister (in itself a very odd combination of portfolios, I think) wants to boost the profile of Australian arts overseas – which the Department of Foreign Affairs and Trade (DFAT) already does through its programs.  But what about the rest of his Objectives?

The Program will:
 Deliver a wide range of quality arts and cultural experiences that grow arts audiences, throughout Australia and internationally
 strengthen Australia’s reputation as a sophisticated and artistic nation with a confident, outward-focused arts sector
 encourage greater private sector support and partnership funding for the arts
 support collaborations to develop arts and culture initiatives including in specific regions or priority areas.

Sounds great.  Who wouldn’t want all this to happen?

But look at the process:

To achieve these objectives, the Program will offer funding for arts and cultural projects and initiatives through three streams:

1. Endowment Incentives
The endowment incentives stream will support organisations to realise medium to long term projects through financial partnerships and collaborations. Funding will be conditional on organisations leveraging funds from other sources to realise projects. Organisations will need to demonstrate evidence of financial, cash or in-kind support from sources other than the Australian Government. This stream will be open to a wide range of projects. Examples of the kind of activity which could be supported are:: co-investment through a Foundation or arts organisation to deliver a new initiative such as a fellowship program; a contribution to an infrastructure project that has other partners; and partnering in the development of new Australian works.

2. International and Cultural Diplomacy
The International and Cultural Diplomacy stream will support arts and cultural organisations to expand audiences for Australian artistic and creative works through international tours, exhibitions, partnerships and exchanges. It will also support Australian arts organisations to bring internationally significant art and artists to Australia, thus giving Australian audiences greater opportunities to experience the world’s finest performances and exhibitions.

3. Strategic Initiatives
The Strategic Initiatives stream will assist arts and cultural organisations to respond to new opportunities, challenges and issues. It will be flexible and responsive to enable organisations to maximise the potential outcomes of new opportunities. It will also support organisations to deliver outcomes against planned and developing priorities. It will support projects enabling regional and remote audiences, to have new opportunities for access to a wide range of art forms. It is from this stream that the Australian Government will directly fund appropriate major initiatives.

And how much money for all this?  $20 million “each financial year”!  WOW!

And what has happened to the just-developed 6-year funding program for which people already have on-going applications to the Arts Council?  Sorry, that’s all on hold.  After all you can’t expect any sympathy when the Arts Council knew nothing about losing $104 millions until the afternoon of Budget Day, even though Minister Brandis knew what programs were in train.

So, I say refund the Arts Council the untimely ripped off funds and tell it not to worry about the big established companies.  Just get on with the job of funding all the excellent individuals and small companies as judged by their peers and at arms length from political interference – as we have been doing for 40 years, but with the new 6-year funding program in place.  And add funding for start-ups, so the new artists can get a leg-up.

Then pay for the National Program for Excellence in the Arts - just call it the Great Australian Arts Support Program (GAASP) - from the Arts Ministry bucket, so that when artists and companies have proved themselves and grown through the Arts Council program, and become “established”, the Government of the day can claim all the kudos it wants by supporting them properly.

Then I would ask (because I’m a theatre reviewer) for what Julian Meyrick suggested a year or so ago: “An NTA [National Theatre of Australia] could base itself in Canberra and be federally funded, thereby avoiding the perception of Sydney/Melbourne bias and the fractious politicking that comes with variable state support.  It would unite three specialisms represented by three kinds of organisation.  It would be partly a playwright development agency, like Playwriting Australia or Playworks.  It would be partly a producing entity, like the state theatres and second-tier companies.  And it would be partly a touring intelligence, like Performing Lines and Playing Australia.  Again it would not supplant these bodies but add capacity as a partner organisation drawing on their separate spheres of operation.”

How about it, dear Minister?

Monday, June 29, 2015


Art Song Canberra
Wesley Music Centre, Forrest
Sunday 28 June 2015

Review by Len Power

Art Song Canberra provided a well-balanced program at Wesley Music Centre in Forrest in which three local singers, sopranos Rosanna Boyd and Ruth Crabb and baritone, Chris McNee, accompanied on piano by Colin Forbes, sang songs on the theme of ‘Life, Love and Longing’.

Rosanna Boyd’s set of songs ranged across the centuries from Mozart to Faure to Sondheim.  The songs were good choices to display her fine young soprano voice and in the Sondheim theatre piece, ‘Green Finch and Linnet Bird’, she displayed her acting skills with a nice depth of character for the girl trapped in her life like a bird in a cage.  The highlight of her set was the traditional Irish song, ‘She Moved Through The Fair’, to which she gave a sensitive, dreamlike quality.

Ruth Crabb sang her set confidently and with great technical skill.  Her pleasing soprano was heard to excellent effect in ‘A Green Cornfield’ from Christina Rossetti’s poem with music by Michael Head.  She also sang two pieces set to music by Calvin Bowman based on works by cartoonist, Michael Leunig, and delightfully brought out the sly humour in both of them.  Two poems by Walter de la Mare, ‘Silver’ and ‘The Ride-by-Nights’, again with music by Calvin Bowman, rounded out her performance and her singing of ‘Silver’ was particularly pleasing.

Young baritone, Chris McNee, started his program with three pieces from Schubert’s, ‘Swan Song’.  His choices displayed the full colour of his fine voice.  It can be a trap to overdo the drama in ‘The Doppelganger’ but it was sung simply here and was very effective as a result.  He also gave a pleasing performance of Beethoven’s song about the king and the flea from Goethe’s ‘Faust’.  As well as displaying a fine voice, Chris McNee also showed great onstage confidence and humour when explaining his songs to the audience.

Piano accompanist, Colin Forbes, gave great support to all of the singers and it was, as always, a pleasure to hear him play.

Art Song Canberra included after show drinks and a remarkably fine selection of home-made sandwiches and cakes for their audience.  Helen Raymond’s fruit cake was so delicious it deserves an excellent review on its own!

This was a fine concert and a really nice way to spend a wintry afternoon listening to three of Canberra’s fine singers with an excellent program of music.

Len Power’s reviews are also broadcast in the ‘Artcetera’ program on Artsound FM 92.7 on Saturdays from 9am.


Written by Matthew Ryan
Directed by Todd McDonald
Queensland Theatre Company
The Playhouse, Canberra Theatre Centre to 27 June

Review by Len Power 24 June 2015

‘I AM this country’, declares Ned Kelly at a key moment in the play.  Was he aware of his legendary status to come or was he just a deluded individual dangerously believing his own publicity?

In Matthew Ryan’s strong play, all sides of the Kelly legend are presented in a fictitious meeting between him and his brother, Dan Kelly, in his gaol cell the night before his execution.  Sibling rivalry spills over into violence, accusations of cowardice and even homosexuality while the brothers’ widely differing points of view of key incidents in the Kelly saga are discussed and re-enacted.

Dan Kelly, of course, was officially listed as perishing in the fire at Glenrowan which resulted in the capture of Ned Kelly.  However, over the following years four Queensland men declared they were Dan Kelly and, while none of the claims were backed up by evidence, it all added to the legend surrounding Ned.

Director, Todd MacDonald, has provided an atmospheric, tightly paced and very physical production.  His cast of three give excellent performances.  As Ned Kelly, Steven Rooke has the advantage of looking like Ned Kelly but backs this up with a highly controlled performance of great depth.  As his brother, Dan Kelly, Kevin Spink provides the emotional heart of the play.  At times angry and just as violent as Ned, he also displays an unexpectedly disarming, tender side.  Anthony Standish is also impressive as the brutal prison guard and other characters in the Kelly story.  You don’t realize how much you’ve been drawn into the emotional interaction of the characters until the guard tells Ned Kelly, ‘It’s time’, and he walks fearlessly off to his execution.  At that point, there wouldn’t have been a dry eye in the house.

The prison set, designed by Simone Romaniuk, is stark but atmospheric and is enhanced by the excellent lighting by Ben Hughes and the sound design by Guy Webster.  The attention to detail in the costumes was especially notable, down to Ned Kelly’s appropriately worn and scuffed boots.

The story of Ned Kelly has been told often and the lines between fact and fiction have become blurred.  Matthew Ryan’s clever play, coming at the legend from an unexpected angle, breathes new life into the whole saga.

Originally broadcast on Bill Stephens’ ‘Dress Circle’ program on Artsound FM from Sunday 5pm 28 June 2015.