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: "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: 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

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

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

Review: "KISS ME KATE", Queanbeyan Players, Bicentenial Hall, May 18 1996. Reviewed by TONY MAGEE

Another good one from Queanbeyan Players. Cole Porter's clever reworking of Shakespeare's Taming Of The Shrew is a mixture of salient slabs of the original play and a new story of gangsters and intrigue. Just a little tired now but still a classic of the older style musical genre.

Added to the story are a selection of fine songs - Why Can't You Behave, So In Love, Too Darn Hot, Always True To You In My Fashion and the catchy Brush Up Your Shakespeare to name just a few.

Mary O'Brien in the dual lead roles of Lilli and Kate was excellent. A beautiful singing voice combined with capable acting abilities resulted in a fine performance indeed.

Twenty year old Trent Morris, also in dual roles - Fred and Petruchio - displayed a fine bass/baritone voice. Just a little emotionally young for the role, but still convincing, this fine young actor and singer is definitely someone to watch out for in the future.

Minor principals Judith Satrapa and Rodney Beaver gave strong support in their dual roles as Lois/Bianca and Bill/Lucentio respectively, whilst Phil Perman and Bill Dwyer delivered amusing cameo appearances as the two gangsters, receiving encores in the middle of the show!

Queanbeyan Players stalwart, Bill Douglas showed his versatility as a maturing actor in his dual role of Harry/Baptista (Kate's father) - a fine performance.

This production displayed excellent and appropriate direction by Marie Jensen whilst the orchestra, under the direction of John Agnew was very pleasingly in tune and balanced. The chorus provided great support and were enthusiastic and well disciplined. Costumes, sets and lighting were also of a good standard.

Choreography by Katie Keys was highly effective, culminating in a wonderful dance sequence in Too Darn Hot, which was one of the highlights of the show.

All in all, an effective and enjoyable production from this maturing and dedicated company.

Originally published in Muse Magazine (Canberra), June 1996

Review: 2nd subscription series, HUMMEL, SIBELIUS AND HAYDN. Canberra Symphony Orchestra, Nicholas Braithwaite. At Llewellyn Hall, May 30, 1996

Canberra Symphony Orchestra

Nicholas Braithwaite, Conductor,

Daniel Mendelow, Trumpet, May 30, 1996

Reviewed by Tony Magee

It was pleasing to hear yet another variation on the overused formula of starting an orchestral concert with an overture, with Haydn's short, although not overly exciting, Symphony No 22 in Eb major at Thursday night's second subscription season Canberra Symphony Orchestra concert. Under the capable hands of principle guest conductor Nicholas Braithwaite, the most was made of a rather dull picnic hamper.

Hummel's Trumpet Concerto in Eb Major was given fine treatment by Daniel Mendelow who plays with a brilliant and clear tone whilst also offering subtlety and smoothness when required. Hummel himself certainly came with outstanding credentials, being a piano student of Mozart, then Haydn and finally Beethoven. No doubt he also studied music theory and composition with the masters - unfortunately not too much rubbed off when it comes to orchestration! However with plenty of virtuosic writing from Hummel for his chosen solo instrument, Mendelow treated his audience to something quite stiring in parts and certainly a pleasing close to the first half of the concert.

The orchestra's performance of the final work in the program, The Symphony No 2 in D major by Sibelius, was electric. This is a hugely demanding work giving all sections of the orchestra a real workout. It is also a work which builds most satisfyingly, a feature which Braithwaite brought out superbly by tempering the orchestra's dynamics in the first movement and certainly in the first half of the Andante, which left plenty of room for the real fireworks of the scherzo and finale - great work from the brass section.

Just a note on the Andante: Scholars debate the relevance and indeed inclusion at all of Sibelius's supposed programmatic theme for this movement - the fight between Don Giovanni and Christ, the forces of death and life. Sibelius is known to have jotted down notes about this subject on the music paper which contains the first sketch of this Andante. On the other hand, music journalist Robert Kajanus, after the premiere performance on 8th March 1902, described the second symphony as a musical projection of the current political situation: "The andante acts as the most overwhelming protest against all the wrongs which threaten in our time to deny the sun its light and our flowers their scent...[The Finale] reaches a triumphant conclusion which wakes in the listener a vision of a bright and confident future."

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

Review: "PALACES OF VARIETY". Johnny Pace with Michael J Coomes at the piano, School Of Arts Cafe, May 1996. Reviewed by TONY MAGEE

This guy is good! With one of those 'I know that name' names and 'I know that face' faces, Johnny Pace brings to the Canberra region something which many of us are already very familiar with - the fine traditions of Music Hall.

This show, in three acts, is on the whole well constructed, expertly narrated and very well performed and has in fact been written especially for the School of Arts Cafe.

Act one deals with the songs made famous through the tradition of Music Hall from its beginnings in 1865 to its demise sometime in the middle of this century. Boiled Beef and Carrots and I'm Henry the Eighth I Am (brought in by Harry Champion) are featured, along with The Man Who Broke The Bank At Montecarlo and Champagne Charlie (originally delivered to audiences by George Leybourne) and many other fine songs.

Also included, is a wonderful version of Burlington Bertie, rendered this time by a male performer, the clever twist being that originally the song was delivered by male impersonators.

One very endearing aspect of this show is how costume changes and makeup are all included as part of the act and indeed the set. Watching Mr Pace transform from one character to another is a fascination in itself, although the real characterizations do come from the performers own excellent acting skills and experience.

Act two deals with selected British musical comedy stars - creditable impressions of Stanley Holloway, Robb Wilton, Bud Flanagan (Underneath the Arches) and Dickie Henderson (whom Mr Pace regards as a major influence) and wonderful performances of George Formby and Max Miller.

The only glitch for me in this show was a rather cheap rendering of Sammy Davis Junior at the beginning of act three. Not that there is anything sacrosanct about impersonating Mr Davis, it's just that this one really isn't done very well and brings the whole show down to 'prawn morning' level fairly quickly. Why this had to be included I can't imagine. Mr Pace's forte is English musical comedy. It's a bit like the opera stars who suddenly decide they're going to release a jazz album. Thankfully, it passed and we returned to a more elevated performance, the show finishing with a very clever song called How To Finish A Cabaret, which Mr Pace milked for all it was worth - and then some!

Palaces of Variety really is a great act, and with some fine tuning should mature into an excellent one.

First published in Muse Magazine (Canberra), June 1996 

Review: "LOST IN THE STARS" - Kurt Weill and his Music. Karen Cummings, soprano with Marie Louise Catsalis at the piano. Directed by Bill Stephens. School of Arts Cafe, May 16 1996. Reviewed by TONY MAGEE

Lost In The Stars

Kurt Weill and his music

Karen Cummings, soprano with Marie Louise Catsalis at the piano. Directed by Bill Stephens. School of Arts Cafe, 

May 16 1996

Reviewed by Tony Magee

German born composer Kurt Weill studied composition at the Berlin Musikhochschule with Humperdink during 1918 and 1919, continuing with Busoni from 1921 to 1924. Busoni's influence is apparent in Weill's early works such as his String Quartet (1923) and further influences from Schoenburg, particularly expressionism and an approaching atonality, are features of his one act opera Der Protagonist (1926) and his Concerto for violin and wind (1924). I mention this only to highlight the solid musical background from which Weill emerged and to further highlight the enormity of the changes in his compositional style, for Weill's music took a new direction when he became Brecht's collaborator in 1927, evolving a cabaret style which he used to great effect to highlight the corruption of capitalism which Brecht was exposing in such works as Die Dreigroschenoper (The Threepenny Opera) (1928) and Aufstieg und Fall der Stadt Mahagonny (The Rise and Fall of the City Of Mahagonny) (1930).

Soprano, Karen Cummings

It is from this point that mezzo-soprano Karen Cummings and accompanist Marie Louise Catsalis delivered a really first class presentation of the music of Kurt Weill, still embracing a huge variety of styles and languages - for whilst this show featured Weill's music for the Berlin cabaret, it also covers his French Chansons and the songs he wrote for the Broadway stage.

Cummings chose to render songs from each of these periods in their native language - her French is outstanding -  luscious and romantic as evidenced by performances of chansons, J'atten a Navire and Je Ne T'aime Pas. Her German is good, although needing further work to be really convincing, but nonetheless delivering fine performances of Berlin im Licht and Nanna's Leid.

Lost In The Stars is constructed in an ingenious and intriguing way. Director Bill Stephens in conjunction with the two performers has connected the musical numbers together with informative dialogue presented through the eyes of a friend of Weill's (played by Cummings). Generally, Cummings portrayed this characterisation confidently and convincingly, although at times the heavy European accent wandered between French and German  - something to work on, but still very good going for a first night run.

Weill's German cabaret period continued in to the early thirties, his song style further developing along the lines of an expose of the real and not necessarily attractive Berlin Society.

Director, Bill Stephens

With Hitler's appointment as chancellor on 30th January 1933, the bright lights of the Berlin cabaret scene were suddenly extinguished, condemned by the Nazis as "Jewish and Bolshevist culture". Thousands of artists and intellectuals left Germany for uncertain exile - Weill went to America. 

Here he concerned himself almost exclusively with the Broadway musical theatre, and here Cummings presented us with beautifully portrayed renditions of That's Him, I'm A Stranger Myself and My Ship (from Lady In the Dark, 1941). Act II of the show continued with Weill's Broadway output, featuring Lonely House and stunning versions of  September Song and It Never Was You (both from Knickerbocker Holiday, 1938). Act II also unveiled further offerings from the French Chanson repertoire, featuring Le Roi d'Aquitaine and Le Grand Lustucru - once again performed with an outstanding feeling for delivery and sense of story within the French language.

The song Lost In the Stars itself was used both as an opener and a closer to great effect and is from the show of the same name, composed in 1949.

    

Marie Louise Catsalis' accompaniments were absolutely first rate - every phrase and breath of Cummings was felt and accommodated. The two performers really are a wonderful musical unity.

Well - what an amazing show. Some of the historical account which I have given is not included in the dialogue presented by Cummings - perhaps an area for greater reflection at some stage - but Weill's short fifty years of life contains so much that you really can't include too much detail; we'd still be there now!

Originally published in Muse Magazine (Canberra), June 1996

Social: CAPO gets in the right mood

Arriane Culnane with Tony Magee at Madame Yip's restaurant.

by Norma Allen

A girl in a brilliant red jacket, the Chinese colour of happiness and well-being, welcomed guests to Madame Yip’s restaurant in Dickson on Wednesday.

It was Shanghai Susie, better known as Jane Magnus, setting the scene for the launch of this year’s CAPO auction and ball. With the theme East meets West, the Capital Arts Patrons Organisation plans to re-create the opulent days of Shanghai and Singapore in the 1920s and ‘30s.

CAPO’s president, Susie Beaver, said that Old Parliament House has been chosen to suit the period, and members were already seeking auction items for the ball in August.

Jane Magnus, in Chinese costume for the
launch of CAPO 1996, with Wayne Williams
and Susie Beaver, CAPO's president.

CAPO will auction the items and distribute the proceeds to Canberra’s artists.

One of last year’s recipients, Katherine Harrington, was at Wednesday’s launch, telling of her new workshop equipment, purchased with her scholarship of $600. Katherine is a silver and goldsmith and is preparing for an end-of-year exhibition at Beaver Galleries. She is creating table settings in international styles for the show.

Danny Yip brought out the platters of Chinese dainties, Tony Magee showed off his Hard Rock Cafe Beijing shirt, Terry Weber and Wayne Williams mingled with Helen Morrison; and David and Romilly Madew, Robert and Fay Goddard, Lyn Cummings, Hugh Stowell, Sally McDonald, Ken Roberts and Monica Dean were there.

First published in The Canberra Times, April 15 1996

Preview: "KEEP UP YOUR STANDARDS" Robyn Archer and Paul Grabowsky in cabaret, by TONY MAGEE

Pianist, arranger and composer, Paul Grabowsky was in Canberra last week with chanteuse Robyn Archer presenting Keep Up Your Standards at the Canberra Theatre. Tony Magee caught up with Paul before the show to discuss his musical involvement with Robyn, plus a touch of the person behind the person.

  Keep Up Your Standards is a show which focuses on the notion of cabaret as an artform. It is also an overview of Robyn Archer's cabaret career to date and a summary of her personal interests within this medium. The show is not a collection of songs revolving around a story, a person, a composer - whatever. It is cabaret in the original sense as defined by German and French culture of the early part of this century - a vehicle for political and social statement - something which both Archer and Grabowsky plunge themselves into with particular relish.

  Most of the material has been chosen by Archer, though not all - there were the familiar (familiar to anyone who has ever compiled a cabaret) long sessions around a table, or perhaps spread all over a lounge-room floor, sifting through countless possible tunes/songs/ditties to include/rearrange/rewrite/throwout/never sing again/turn into a medley etc. Some of the material is from Archer's stable of proven stage winners. Other pieces are first time out - new for the show. Whatever the piece, the idea is to make it special. Sometimes this involves creating a completely new arrangement, possibly with a new musical style, or maybe just arranging for the instruments that will be available - piano, violin, percussion, accordion, guitar, double bass and trumpet in this case. Enter Grabowsky.

  Keep Up Your Standards is not the first time the two performers have worked together. In the late 1970's the phone rang at Paul's house. "The musical director for Robyn Archer's show, A Star Is Torn, is sick. Can you take over Paul?" Paul did.

   He sites one influence in his jazz piano playing as Bud Powell, although he hesitates to put too much weight on that one fact alone - fair enough too. Any musician who prides themselves as an innovator - and Grabowsky is definitely that - must have woven a complex web of influences from countless sources, resulting in one's own style and musical thought processes.

   Perhaps the culmination of Grabowsky's journey through music so far, is his most beloved pursuit - The Australian Art Orchestra. "How do you define the music that you play in this?", I asked. "Well - it's contemporary music" came the mournful reply. Definitely fed up with that question. But rightly so. There is no 'definition'. No convenient little box to put it into. The orchestra is made up of improvising musicians. Careful! This does not mean it's a jazz orchestra! What it does mean is that Paul's vision of a music of the future is one that combines composed and improvised music as equals. A wonderful and exciting vision.

Originally published in Canberra's Muse Magazine, April 1996