Memories of heady days

by Norma Allen

Dec 16, 1996

Noel Ferrier with Coralie Wood, Lorraine decker and pianist Tony Magee. Photo: Martin Jones

WE ALL tottered along Memory Lane on Wednesday, gathering at the Canberra Theatre to honour its first director, Terry Vaughan, 1965-1980. His widow, Roma, and daughter Sally, unveiled a plaque in the foyer, surround by friends and fans from 30 years ago. Terry died in April this year and had lived in Perth with his family since 1980, returning to Canberra in 1983 to conduct The Merry Widow for Canberra Opera.

And no doubt about it, Terry Vaughan was among us all last week. His memory was invoked in story and anecdote and everyone had some recollection of Terry’s days at the theatre. Raconteur, actor, conductor, composer, director, persuader, coaxer and author. His book Whistle As You Go was launched last year, telling the story of the Kiwi Concert Party.

Heady days, indeed, when the theatre was opened. All the big names came to Canberra, Dietrich, Ustinov, Laurinda Almeida, the Tintookies, Winifred Attwell, Googie Withers and John McCallum, Christian Ferris, Kenneth McKellar, the list is there for people to see, on precious, fading billboards in the endless passageways underneath the theatre.

A reunion for Roma Vaughan, widow of the theatre's first director,
with John Rohde and Terry's daughter, Sally. Photo: Martin Jones

Several people from “day one” were at the ceremony on Wednesday. Manager John Rohde, ageless, handsome as ever, came from Sydney and so did actor Noel Ferrier. Coralie Wood was the theatre’s first publicist, Lorraine Decker worked in accounts, Joyce Barker was in the ticket box and Sir Richard Kingsland was head of the then Department of the Interior, “and Terry would seduce my staff into giving him more material and concessions than he was entitled to”, he said in his speech.

Former board member, Jim Leedman had some tales to tell and messages were read from absent friends. Stuart Wagstaff could not attend, he was working and a cheer went up for an actor who was in work. Hec and Phyll McMillan, another couple who “trod the boards” at the theatre had memories to add. And in an eerie footnote to those theatrical days, the Playhouse came down the same day, across the courtyard.

First published in The Canberra Times, December 16, 1996

Review: 4th Subscription Series, BEETHOVEN AND DVORAK. Canberra Symphony Orchestra, Isaiah Jackson. At Llewellyn Hall, November 6 1996

Canberra Symphony Orchestra

Wednesday 6th November 1996

Llewellyn Hall

Isaiah Jackson - Conductor

Kathryn Selby - Piano

Reviewed by Tony Magee

Isaiah Jackson

Once again it was a delight to see and hear the results of preparation and performance by Canberra Symphony Orchestra under the direction of Isaiah Jackson. Formerly assistant to Leopold Stokowski, Jackson not surprisingly retains some of the late master's techniques in his own style - the huge sweeping, manipulative hand gestures, the infrequent use of a baton, surging, almost exaggerated dynamics and of course that famous lush (and sometimes controversial) sound.

All these qualities were used to full effect in the opening work, the overture to Rossini's opera Semiramide, played with feeling, passion and beauty by the orchestra. 

The first of the two substantial works for the evening followed - Beethoven's Piano concerto No 3 in C minor, with Kathryn Selby as the soloist. On the whole this was a wonderful performance. Kathryn Selby is an extremely fine pianist and her playing displayed an almost perfect artistic balance between tone production, technique, phrasing and style. She is also an extremely confident musician and whilst she and Isaiah Jackson worked very well together, I got the feeling that the real control in this performance came from her own hands rather than the pair on the podium behind her.

Kathryn Selby

Balance between soloist and orchestra was always excellent although at times I felt the accompaniment was just a little stilted. Overall a really great performance of one of the world's favourite piano concertos.

The final work for the evening was Dvorak's Symphony No 8 in G major. In this the orchestra displayed fine tonal balance particularly in the many sections within this symphony which place focused attention on solo and sectional counterpoint and frequent tonal changes from major to minor.

A great finish to the year's program for Canberra Symphony Orchestra and I look forward to 1997's new and further expanded program.

Originally published in Muse Arts Monthly (Canberra), December 1996

Review: Pro Musica Presents "ENSEMBLE I", National Gallery of Australia Fairfax Theatre, Sunday October 27 1996. Reviewed by TONY MAGEE

Brachi Tilles and husband Spiros Rantos

In 1995 I reviewed Ensemble I's concert for Pro Musica and finished with "please let's have Ensemble I back again soon" - so enthusiastic was I about their first concert. I certainly wasn't disappointed with this further offering although I do have some reservations about the group's intonation - more on that later.

Let me start by saying that the group's pianist, Brachi Tilles, is one of the most outstanding musicians I have heard. Easily one of the best small ensemble pianists in Australia, I found myself yet again entranced by her poise, style, technical accuracy, emotion, tonal beauty and general adoration for the art of making music. As you will read from my thoughts on other concerts elsewhere in this publication, quality music making in the last few months of 1996 was indeed dominated, for me anyway, by the ladies. 

The program featured Mozart's Piano Quartet in E flat major, K493, Turina's Piano Quartet in A minor, Opus 67, Theodorakis' Sonatina for Violin and Piano and finally Dvorak's Piano Quartet in E flat major, Op 87.

The Turina came off the best with good intonation, fine ensemble balance and a seemingly intuitive understanding from all players of the emotion and fire required for Spanish music. The Sonatina for violin and cello was a nice inclusion, displaying music from the homeland of violinist and leader of the ensemble, Spiros Rantos, whom I first met in 1977 when he was guest violinist with the Frankston Symphony Orchestra.

Whilst the Mozart and the Dvorak were most enjoyable, I found the intonation from the string players to be lacking in places which in a more resonant environment might have gone almost unnoticed, but in the comparatively dry (but still good) acoustics of the National Gallery Theatre, all is revealed in full nudity (like some of the paintings).

Originally published in Muse Magazine (Canberra), November 1996

Review: Bumbling ineptitude from Dudley Moore

Monday November 4 1996

Hoffmann review first published at The Canberra Times, Monday November 4, 1996

 

Review: "BURNING SEQUINS" performed by Paul Capsis, School of Arts Cafe, 14 & 16 October 1996. Reviewed by TONY MAGEE

Paul Capsis

"Hi. I'm a channeller. Ever since I was a little boy, I've had the ability to accept the minds of other people - living or dead - into my own. Unfortunately I have no control over it. People just barge in whenever...Oooh...who's this...Oooh...Ahhh...'Hello. My name's Judy Garland'".......

So begins the first of Paul Capsis' extraordinary characterisations of some of the world's great female performers. From start to finish, this highly talented artist had the audience enthralled as he moved from one character to another, each time leaving us even more astonished than before. I've never seen or heard anything quite like it.

Dressed in black for the whole performance, and with only a general purpose and unchanging makeup for all characters, Capsis convinced us with sheer vocal magic, uncanny facial expressions and perfect body language, that he was Judy Garland, Maria Callas, Bette Midler, Dianna Ross, and Billy Holiday.

Then came Iris, an ex Tivoli girl, now well into her eighties, who just sat quietly and espoused her views on the shape of Australian showbusiness today and the world in general. This frail and wispy old dame then gently tottered off, and we all had a break and marvelled.

Act II revealed Madonna, Barbara Streisand and Janis Joplin - "take it, take another little piece of my heart", she raunched, with hair flying madly everywhere and beads swaying and clicking.

Then came the encores. We wouldn't let him go and he just kept delivering more - Tina Turner, more Judy Garland and then a finale that had so many stings in it's tale, it's a wonder we weren't all poisoned in the room - I will not comment further on that!

Burning Sequins is a sensational act. Find out where it's playing and go.

Originally published in Muse Magazine (Canberra), November 1996

Review: "SONGS MY MOTHER TAUGHT ME" John Michael Swinbank, with Marie Sermon (piano), at School Of Arts Cafe, October 1996. Reviewed by TONY MAGEE

Concert and Cabaret artist John Michael Swinbank together with accompanist Marie Sermon presented a mostly enjoyable selection of the songs of Noel Coward at the School Of Arts Cafe. Such numbers as Bad Times Just Around the Corner, Uncle Harry, A Bar On the Picola Marina, Mad Dogs and Englishmen, Nina and Let's Do It to name just a few, were stylishly portrayed. 

In general, I think that Coward has the potential to be uproariously funny, outrageous, supremely witty, sometimes melancholy and just plain good fun. I don't feel that this  show ever really achieved these levels and I feel that the main factor here is that John Michael really can't decide whether he's actually playing Coward himself, or himself singing the songs of Coward - a big difference, and this 'middle ground' approach only served to make some of the numbers quite unconvincing, particularly Mrs Worthington, I Wonder What happened to Him and I Went To A Marvellous Party.

However, many numbers were set-up by some most eloquently delivered monologues which did help a great deal to keep the Cowardish mood flowing. A nice touch.

Pianist Marie Sermon provided stylised and appropriate accompaniment and in fact the two artists are a great musical union - something to be cherished by both performers. 

The program finished with a nice rendition of I'll See You Again. On the whole, an enjoyable but not sensational cabaret act.

Originally published in Muse Magazine, November 1996

Review: "PRINCESS IDA", directed by Janetta McRae for Queanbeyan Players. Queanbeyan Bicentennial Centre 19 - 28 September 1996. Reviewed by TONY MAGEE

This was certainly an enjoyable evening but one with many missed opportunities for a really convincing delivery of performance.

Much of this production was laboured with a static stage, poor diction from the chorus, uninteresting choreography and a general lack of enthusiasm.

In contrast to this we were treated to a fine performance from Amanda Stephenson as the Princess herself - a real breath of fresh air with her wonderful stage presence, fabulous and powerful soprano singing voice and well enunciated dialogue.

Also noteworthy was Linda Norris as the Vera Bennet styled Lady Blanche and the constantly exuberant Fiona Hale as Lady Psyche (I don't know what she's on, but I want some).

Damien Hall displayed a pleasant light tenor voice which is more enjoyable for it's lower register - the upper lacks control and reliability - something to continue working on. He also handled his characterisation as Prince Hilarion with competence.

Some clever political and locality updating in the song Gently Gently was unfortunately lost on many audience members, again due to poor diction and lacklustre singing from the chorus and some minor principles.

The orchestra, under the direction of Geoff Smith, generally provided good accompaniment, although a couple more rehearsals for the strings wouldn't have gone astray. Brass and percussion were particularly strong.

One interesting point about this show which remains unanswered for me is why the composers wrote This Helmet I Suppose in the style of Handel. Anyone know? 

Originally published in Muse Magazine (Canberra), October 1996

Review: 3rd Subscription Series, RACHMANINOV, BERLIOZ AND VINE. Canberra Symphony Orchestra, Nicholas Braithwaite. At Llewellyn Hall, September 12 1996.

Canberra Symphony Orchestra

David Nuttall - Oboe

Nicholas Braithwaite - Conductor

Llewellyn Hall

Thursday 12th September 1996

Reviewed by Tony Magee

Canberra Symphony Orchestra's performance of Rachmaninov's Symphony No 2 in E minor was simply outstanding at Thursday night's concert. This was the major work for the evening and was presented as the second half of the concert. Even with the cuts (omission of repeats) which nowadays are the norm for this symphony, it is still a long work in four movements but characteristically exciting and uplifting.

The first movement revealed a very smooth sound with lush playing from the strings and well executed melodic lines tossed from horns to woodwind. A slightly over-aggressive opening to the second movement resulted in a ragged first few bars - nothing major however. This movement also gave the Timpani a real workout - excellent playing from Murray Hickman.

Alan Vivian delivered a beautifully modulated clarinet solo for the opening of the adagio movement which also contained a small moment of glory for the violas whose smooth melodic lines continued underneath precisely executed and diminishing pizzicato from the rest of the strings to a whispered finish. Conductor Nicholas Braithwaite's control here was outstanding and indeed he displayed a masterful command throughout the whole symphony.

In the finale the orchestra demonstrated fine dynamic control and rhythmic certainty, one highlight being exciting and vibrant playing from the four horns leading to a final orchestral whirlpool and the four syncopated chords which bring this great symphony to a close.

The concert opened with Le Corsair Overture by Berlioz, a work inspired by the sea and undergoing various revisions and even name changes from the time of its first sketch in 1831 to well in to the 1850's. The delivery of this piece was fast and controlled - a rich and powerful sound concluding with a huge brass fanfare over full orchestration. Stirring stuff played and conducted with precision and style.

Carl Vine's Oboe Concerto, Monody,  received it's world premier at this concert with David Nuttall as the soloist. The concerto is an excellent work combining tuneful and melodic writing with interesting rhythmic interplays and contrasting passages of furious scalic work and seductive adagios.

David Nuttall chose a very bright sound in the faster passages, I guess out of necessity to cut through the orchestral support, whilst also being able to deliver a more subtle tone in the softer and slower passages. Even so, he does favour brightness in his playing and it was interesting to note the enormous difference in tone production when David's colleague from the SSO, Guy Henderson who filled the principle chair that David had vacated to perform the concerto, took a brief cameo solo in the Rachmaninov Symphony.

This concert more than any other I have heard, demonstrates that CSO is coming of age.

Originally published in Muse Arts Monthly (Canberra), October 1996 

Review - The Elocution of Benjamin Franklin

Friday August 30, 1996

Theatre

The Elocution of Benjamin Franklin by Steve J. Spears.  

Ian Croker, directed by Colin Anderson, 

at Cafe Thespia, Jamison ACT.  

Professional.

Opening night, Wednesday August 28, 1996

Reviewed by Frank McKone

"In retrospect, the performance as well as the production by Richard Wherrett probably lulled most of us into overpraising the play when it first appeared. Nonetheless it was a triumphant success on three continents."  (Leonard Radic in The State of Play, 1991).  

In Colin Anderson's production there is the same tension between, on the one hand, an immediate audience response to the one-liners, the visuals (including nudity) and the sound effects (everyone appreciates why Robert O'Brien blasts the cuckoo clock) and, on the other, a niggling concern about the artistic truth and (after 20 years) the relevance of the play.

Laughter abounds through the first two acts, but the final act is only a partial success unless the ever-present sense of danger can be built up from the opening line of the play.  In 1976 the likelihood of homosexual men being murdered was public knowledge, and Spears tried genuinely to re-cast the image of transvestites: O'Brien falls in love with the 12 year old Benjamin but does not act out his sexual fantasy.  But I think Spears missed the point.  The one-liners make the character superficially attractive, but O'Brien holds back not on moral grounds but only because he knows he will be destroyed if the relationship is made public.

Probably this play helped change attitudes even so: now we have the Gay and Lesbian Mardi Gras and gay rights are better entrenched in law.  However, gay bashing is still common.  On the other hand the World Congress on the Sexual Exploitation of Children currently in Stockholm would show that today Benjamin Franklin, though a 12 year old seducer of middle aged men, is a victim of a "global, multi-billion-dollar industry" (Carol Bellamy, executive director of UNICEF).  I think Spears was ultimately naive in his comic presentation of Robert O'Brien and the play's popularity for a few years in Australia, London, San Francisco and New York is not a measure of its worth in the long run.

Though you will have a convivial night at Cafe Thespia, and between laughing you will sympathise with Robert, and think about the issues, The Elocution of Benjamin Franklin did its bit 20 years ago.  It's hooked to the Skyhooks and the young Mick Jagger, and though it is interesting historically to see a revival, I think it is better to leave it pegged in its place and time.

©Frank McKone, Canberra

First published in The Canberra Times, Friday August 30, 1996

LETTERS TO THE EDITOR

Monday September 2, 1996

‘Franklin’ review an insult to actor

Frank McKone’s review (CT, August 30, p.13) of Steve J. Spear’s play The Elocution of Benjamin Franklin, starring Ian Croker and directed by Colin Anderson, is an insult to professional theatre and particularly Mr Croker.

The actor is not mentioned once during the review, nor is there any criticism offered of his performance which, considering the play has a cast of one, leaves me almost speechless.

I don’t know what the arts department is up to at The Canberra Times, but offering an irrelevant piece of journalism like that in a national newspaper is an embarrassment to us all.

TONY MAGEE

Torrens

Review: Sparkling evening with an old friend

Are You Sitting Comfortably?

Elaine Harris, accompanied by Tony Magee

Directed by Bill Stephens

School of Arts Cafe, Queanbeyan

August 1-3 & 7-10 1996 at 8pm

by Peter Wilkins

Elaine Harris and guide dog Dori at ABC Bernie studios

WHAT better way to spend a cold and wintry night than sitting comfortably and well fed at the warm and congenial School of Arts Cafe in the company of that delightful doyenne of the airwaves, Elaine Harris?

The lavender Victoriana lampshade; the lovingly carved wooden bookends; the indoor aspidistra and an old rocking chair entice us into a vanishing world of drawing-room recital. Close your eyes and listen and you will discover in Harris’ chameleon-like mellifluousness a gallery of characters paraded with charm and whimsical flair.

From the poetry of Roger McGough to the haunting melody of Lloyd Webber’s Another Suitcase in Another Hall to the quicksilver wit of Flanders and Swan, Harris’ characters find a voice that ripples with mirth, responds with nostalgia and occasionally weeps a tear for all women who “long to be kept warm”.

From music hall to musical; from recitation to rendition, Harris, sensitively accompanied at the baby grand by the adroit Tony Magee, has her audience laughing with glee at the antics of Hilda and Janet ungluing the post office mail, or at Mrs Tetherton, that stately galleon, dancing bust to bust with “a wallflower who feels like a lemon”.

Meanwhile we sit comfortably with smiles that spread to laughter or dwindle to a tear for the lonely, loyal woman torn between her male friend and her ailing dad. Harris’ treasure trove of satire bears no malice.

This fireside soiree of story and song sparks with glowing embers, especially in the third act when Harris and Magee fuse their special talents in such Old Time classics as Have Some Madeira and a political bulletin that recalls the incisive satire of The Mavis Bramston Show.

Director Stephens, sure in his deft creation of elegance and style, could have included more duets earlier in the program to enrich the evening’s feast. This entertaining evening of mischievous wit sparkles with fulfilled promise.

First published in The Canberra Times, August 3, 1996

About town: Treasure chest of entertainment

 

Are You Sitting Comfortably?

Elaine Harris, accompanied by Tony Magee

Directed by Bill Stephens

School of Arts Cafe, Queanbeyan

August 1-3 & 7-10 1996 at 8pm

by Norma Allen

First published at The Canberra Times, August 2, 1996

Review: "LAUGHTER IN THE DARK", A Comedy by Victor Lucas. Presented by Southern Cross Players, Canberra Southern Cross Club, July 1996. Reviewed by TONY MAGEE

This was an enjoyable although somewhat long performance. Overall I found the pace fairly slow and a little stilted, but the story came through none-the-less, portrayed by an enthusiastic and dedicated cast.

The action takes place in a tired old mansion, "Creeching Cheney", in Hampshire, England - the deceased estate of a Mr Cheney, whose surviving relatives have gathered for the reading of the will, which as it turns out contains some fairly extreme conditions - all of which have a clever ulterior motive which is revealed in the surprise ending. Toss in a few supporting characters and a couple of ghosts and that's the plot.

Most performers projected their voices extremely well, if fact this aspect of stage craft more than anything else seems to have been drilled into the cast quite considerably - although sometimes with a resultant laboured manner of speech and forced tone.

Gary Robertson gave a convincing and consistent performance as Herbert Budget, the deceased's nephew by marriage and he was ably supported by Christine Ireland as his wife, Alathea.

By far the best piece of casting was Tony Harris as Gripe the butler - a curious Albert Steptoe sort of character. This was a demanding role played with a good deal of thought for the character needed, and well costumed.

The pace of the play received a refreshing lift near the end with the entrance of Mary Hall as Emily Budget, the maiden aunt, who provided the forum in which the surprise ending could be revealed - no I won't tell you - this play may be presented again sometime!

One aspect of this production that could have received some closer attention was the style of delivery. I feel that it is intended to be a melodrama and if so, this really didn't come through too well. The script seems to be written in such a way as to require real madcap antics and totally over-the-top characterisations. Some of the cast did tend towards this, particularly Rob Bartlett, but not enough so.

   

On the whole however, a good effort from an enthusiastic amateur company. I hope that further productions are forthcoming.

Originally published in Muse Magazine, August 1996

Hector Harrison (1902–1978) - Minister of the Church of Andrew, Forrest ACT from 1940 to 1978

by Godfrey Laurie

Hector Harrison (1902-1978), Presbyterian clergyman, was born on 5 April 1902 at Northam, Western Australia, third son of Thomas Allan Harrison, a hospital orderly from England, and his South Australian-born wife Hester Ann, née Bray. Educated at Northam State School (dux 1915), at the age of 14 Hector became a Salvation Army bandsman before serving (1918-20) with the Australian Military Forces' Reserve Band in Perth.

Hector Harrison in 1951. Photographer unknown. Courtesy National Library of Australia Catalogue

In 1922 Harrison entered the Salvation Army Training College, Melbourne. After being commissioned, he worked for two and a half years in the inner suburbs of Richmond, Fitzroy and North Melbourne. Because of his beliefs in regard to the sacraments of holy communion and baptism, he decided to prepare for the ministry of the Presbyterian Church. He studied part time for the Intermediate and Leaving certificates while acting as a home missionary for the Church. Entering Ormond College, University of Melbourne (B.A., 1930; M.A., 1932), he preached at North Essendon on weekends and obtained his B.D. (1933) from the Melbourne College of Divinity. At St John's Presbyterian Church, Essendon, on 30 May 1931 he married Doris May Sarah Ann Tear.

Appointed to the parish of New Town in Hobart, Harrison was ordained in 1933. Next year he was commissioned as a chaplain in the Militia. In 1936 he transferred to Claremont, Western Australia, whence he accepted a call to be minister of the Church of St Andrew, Canberra; arriving in May 1940, he was to serve this parish until his death in 1978. He encouraged corporate worship, visited his parishioners regularly and comforted the sick in hospital; his drive and enthusiasm led to the establishment of new Presbyterian parishes in the Australian Capital Territory. A counsellor and friend to the highly placed and the humble, he spoke nobly when he conducted Prime Minister John Curtin’s funeral in 1945. Harrison was a part-time chaplain at the Royal Military College, Duntroon, and at the naval depot, H.M.A.S. Harman. In 1953 he was appointed O.B.E.

Harrison was moderator of the Presbyterian Church of New South Wales in 1950-51 and moderator-general of the Presbyterian Church of Australia in 1962-64. He was appointed a vice-president of the World Presbyterian Alliance in 1964. While he was on friendly terms with his fellow clergymen in Canberra and believed in spiritual unity among the Christian denominations, he thought that only 'the religious romantic' could envisage 'one great world church'. He criticized the Federal government's efforts in the 1960s to increase state aid to private schools, and he continued to be totally opposed to alcohol and gambling.

Tall, sparely built, soldierly in bearing and with piercing brown eyes, Harrison had a dynamic personality, abundant energy and a keen sense of humour. From an early age he suffered from a hearing disability. He died on 19 November 1978 in Canberra Hospital and was cremated; his wife, son and three daughters survived him. Alan McIntosh's portrait of Harrison hangs in St Andrew's Church.

First published in The Australian Dictionary of Biography, Volume 14, 1996. Online from 2006

Related article: The light on the hill that's shone brightly for 90 years by Nichole Overall - (Canberra City News, September 18, 2024)

And on this site, link here.

Obituary: David Parker

Parker, David (1927–1996)

by W.L. Hoffmann

June 18 1996

The sudden death in Cairns last month of singer and teacher David Parker will shock and sadden his many associates in Canberra, and in particular the considerable number of students with whom he worked over more than 15 years at the ANU's Canberra School of Music (CSM).

Welsh born, his vocal potential took him to the Royal Academy of Music in London, and he made his professional debut with the great Kirsten Flagstad, in a production of Purcell's Dido and Aeneas at London's Mermaid Theatre. Over the next few years he sang regularly throughout Britain in opera and oratorio, and made a successful recital tour of South Africa.

He had already achieved a notable reputation as an opera tenor before joining The Australian Opera, singing Pinkerton in the 1969 production of Madame Butterfly. At that time the AO opened its season each year in Canberra, so his first performance in Australia was in the Canberra Theatre on 11 February 1969. During that season he also sang Grigori in Boris Godounov and Gustavus in The Masked Ball.

In 1976 he came to Canberra as head of CSM's voice department, bringing his wide experience as operatic artist and recitalist to his work of training young voices. He was an exceptionally fine teacher, as shown by the number of outstanding young singers who have come through his studio.

After the demise of Canberra Opera in 1984 he and his wife, Australian pianist and conductor Marie van Hove, established the ANU Opera Workshop to provide opera experience for local singers, mounting small-scale but professionally executed productions of baroque operas in the ANU Arts Centre.

Later, as the School of Music Opera Workshop, there were productions with full orchestra of La Boheme, Die Fledermaus and The Bartered Bride in Llewellyn Hall, leading to the foundation of Canberra City Opera. With no consistent funding this was a struggle, but with a loyal group of students and former students, and with community support, he continued to provide an operatic platform for young singers.

And his Canberra City Opera still continues the work he started.

Knowing him first as an AO principal, and then more personally when for 10 years we were both at CSM, I can attest to David's professional expertise, his great enthusiasm, and his unique ability to draw the best from his students. He was a man of bounding energy, not always the easiest to get along with, but always with a bubbling sense of humour and complete dedication to his profession.

He made notable contributions to music in Canberra, and there will be so many in the community in addition to his many former students who will mourn his passing.

Originally published in The Canberra Times, June 18, 1996

Review: "OLIVER!" By Lionel Bart, adapted from Dickens. Directed by Sue Belsham, Musical Direction by Paul Belsham for Phoenix Players, May 1996. Reviewed by TONY MAGEE

What a delightful production of Oliver this was. From the moment the workhouse boys swarmed onto the stage singing Food Glorious Food, this performance had a confident feel about it.

Oliver is an adaptation by Lionel Bart of the book Oliver Twist by Charles Dickens. To this already wonderful story has been added a really first class score - nearly every song is a gem in it's own right. 

This production, directed by Sue Belsham, with musical direction by Paul Belsham is simple and very effectively presented. The set is imaginative and convincing, the costumes, designed by Margaret Prideaux, are outstanding, the lighting appropriate.

The other major strong point of this show is the boundless enthusiasm of the cast. Every single performer puts everything into their performance and is simply having a great time! 

Oliver himself was effectively played by Kristian Risti, who with his gentle soprano voice and Christopher Robin looks delivered a consistent and enjoyable performance. The delicious role of Fagan is convincingly portrayed by theatre new comer, Michael Burgess. With a conveniently illusive European accent, Burgess delivered us a hard-line but somewhat compassionate Fagen - an endearing combination.

Sue Lake-Harris was excellent as Nancy, presenting a very creditable performance of As Long As he Needs Me, and Peter Brady made a very convincing and evil Bill Sykes.

The role of The Artful Dodger was outstandingly portrayed by Taimus Werner-Gibbings. His stage presentation is huge and combined with an excellent singing voice (his rendition of Consider Yourself was excellent) made for a wonderfully presented character. He does have a tendency to rush dialogue which is something that needs to be addressed but overall, a very fine performance.

Sara Carvalho displayed a beautiful singing voice in her small cameo role as the milk-maid in Who Will Buy whilst the smallest member of the cast, Jayden Cooke, captured the hearts of all the audience with his wonderful energy and huge smile.

The Three Cripples band led by pianist Leisa Keen provided excellent accompaniment and support throughout the performance.

A fun show presented by a very fun-loving cast. Great stuff.

Originally published in Muse Magazine (Canberra), June 1996