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