Saturday, 30 September 2023

Michael Gambon achieved an incredible amount before he put his stamp on Harry Potter


By Velvet Winter

Michael Gambon's career was incredibly varied as he left his mark on stage, TV and film. (Reuters: Hannah McKay)

Harry Potter fans around the world are putting their wands up in memory of veteran actor Michael Gambon, who died on Thursday age 82.

Those born during the Harry Potter craze of the early 2000s would better recognise Gambon as Professor Albus Dumbledore, with flowing wizard robes and long, white beard.


And while his tenure as Harry Potter's father figure opened his stardom to a whole new generation of fans, Gambon's career reaches back far further.


From Olivier mentee to Olivier winner


After becoming a fully qualified engineering technician at age 21, Ireland-born Gambon set his sights on the stage.


His early performances caught the eye of Shaksperian great and first artistic director of the UK's Royal National Theatre Laurence Olivier.


In 1963, Gambon was recruited as the first ensemble of National Theatre actors alongside soon-to-be British acting greats, including future Harry Potter co-star Maggie Smith.


Gambon worked under the guidance of Olivier for four years, performing in numerous stage shows in the 60s and 70s.


He received wide acclaim and cemented his influence on high school drama classes for years to come in 1980 by taking the leading role in Bertolt Brecht's The Life of Galileo.


It would be six years later, in 1986, that Gambon would win his first Olivier award, named after his former artistic director.


Gambon would go on to win two more Oliviers — in 1988 and 1990.


Tim Burton alongside Ali G


Gambon took the leap from stage to screen in the mid-60s, racking up a filmography as varied as it is long.


It's so wide-spanning that you could recognise Gambon as a stoic dramatic actor or a silly comedian, depending on which decade you were born in.


His pre-turn of the century highlights a breakout into TV with the lead role in 1986's The Singing Detective, in which he played a writer suffering from a debilitating skin condition whose imagination provided the only escape from his pain.


The performance won him one of his four BAFTAs.


Gambon's film work of the time encapsulates crime dramas like 1989's The Cook, The Thief, His Wife & Her Lover and the 1999 Tim Burton-led horror Sleepy Hollow.


It was post 2000 that Gambon let his comedic chops shine through his screen work.


In 2002, when Sacha Baron Cohen's satirical Ali G character was taking the UK by storm, Gambon stepped into the straight man roll as the prime minister in Ali G Indahouse.


A couple years later he struck up a working relationship with quirky auteur Wes Anderson, featuring alongside a star studded cast in 2004's The Life Aquatic with Steve Zissou.


Gambon would return to the Wes Anderson Cinematic Universe in 2009 to voice fierce farmer Frank Bean in 2009's Fantastic Mr Fox.


His stately vocals would once again be put to good use as Paddington Bear's Uncle Pastuzo in the 2014 film and 2017 sequel.


Most recently he featured in 2019's Judy, the biopic of screen legend Judy Garland.


'Dumbledore asked calmly'


Of course, if you missed him in everything else, Harry Potter fans recognise Gambon as Professor Albus Percival Wulfric Brian Dumbledore.


Gambon did not originate the character, with fellow veteran actor Richard Harris playing the wise wizard in the first two films — Harry Potter and the Philosophers' Stone and Harry Potter and the Chamber of Secrets.


When Harris passed away from cancer before filming of the third movie, Gambon stepped up to fill his shoes.


Michael Gambon as Dumbeldore in Harry Potter (Supplied: Imdb, Warner Bros)


He would stay with the franchise until its completion, portraying Dumbledore for a total of six films.

He once said he had not read any of J. K. Rowling’s books, arguing that it was better to follow the script than be influenced by the books.


And this acting approach was never more evident to fans than in 2005's Harry Potter and The Goblet of Fire.


The same line is said in both the book and the film when Dumbledore is attempting to access how Harry's name had been placed in the Goblet of Fire, granting him entry into the very dangerous Triwizard Tournament.


"Did you put your name into the Goblet of Fire, Harry?" he asked calmly — is how the question is described in the original novel.


However, Gambon decided to put his own dramatic flare on the line in the film, yelling the question while barrelling towards and shaking Harry Potter actor Daniel Radcliffe.


The performance was quickly seized upon by Harry Potter fanatics and since become a popular meme within the community, lovingly known as "Dumbledore Asked Calmly".


ABC/AP/Reuters


First published at ABC News, September 29, 2023





Wednesday, 27 September 2023

How to find your choir crowd



Have you got a secret ambition to join a choir?()

By Ria Andriani

In a world where individuality often takes centre stage, singing together has proven to be a powerful balm and community-builder. Choirs come in many shapes and sizes, and finding the right one can be life-changing. Whether you're an aspiring singer, a busy parent, a social introvert or just want to sing from time to time, there's a place for you in a choir.

As a life-long chorister, I've sung with the school choir, youth choir, vocal consort, symphonic chorus and a chamber choir. Each has different expectations. Sometimes I'd just turn up and sing, other times, I'd spend hours learning my part. Here are some tips on how to find a choir that resonates with your musical aspirations which also fits your lifestyle.

How to find a choir?

There are a few factors you might like to consider before joining a choir. Some groups require you to travel to rehearse and perform, while others are based in your local area. Some choirs expect you to audition before joining, as well as learning the music in advance, others focus on singing together and having a good time. While a lot of choirs are free to join, others might charge a fee to cover their costs.

There are lots of ways you can find a choir: by searching on the internet or social media, through community organisations or neighbourhood groups, local papers or by asking families or friends.

Adding these keywords might help you find choirs: choral, chorale, chorus, voices, consort and singers.

Virtual choirs offer ways for singers to rehearse online and participate by submitting a video which gets compiled in a final performance. The format gained traction during the COVID-19 pandemic, but there are groups which has ongoing projects you can sign up to. ABC Classic's own Classic Choir began as a virtual place for us to come and sing together during the pandemic. This year we encourage you to sing with a choir in person (but stay tuned for other ways to get involved from home.)

The hard question here is: with the many types of choirs out there, how do you find one which resonates with your sense of community or share your interest?

How do you find choirs in your local or social community?

If you like to keep things local, there might be a community choir based in your area, like one from Sydney’s inner wet for people of all ages and backgrounds, or one from Geelong which aims to reduce loneliness for residents. Many churches also have long-standing tradition of choral singing as part of their worship.

Sometimes people will start a choir in their community or workplace, like the House Howlers which is a choral group for journalists working in Canberra's Press Gallery. Starting as a place for mothers to sing together with their young kids, Mother Song in Perth has evolved to become a group of old friends and their memberships now include their grown up children.

Founded by the desire to make safe places for members as well as activism, the LGBTQIA+ communities have a proud history of singing choirs. In Australia, there is at least one queer choir in most capital cities, including Sydney Gay and Lesbian Choir, Perth Pride Choir, Brisbane Pride Choir and more.

Recently, choirs have also been used in conjunction with allied health practices. The therapeutic choirs for people with dementia are set up for members to support each other through singing together and the community that form around it. Music therapist Zara Thompson coordinates and leads Rewire Musical Memories Choirs for people with dementia and their support network. Thompson has recently compiled a database of other therapeutic choirs in clinical settings as well as dementia inclusive choirs.

Will I have to audition to join a choir?

Some choirs require you to audition for the conductor before you can join, but if that sounds daunting, there are plenty of non-auditioned community and pub choirs where you can just come for a sing-a-long. But if you'd like to widen your choral repertoire, auditioning might be a worthwhile goal to work towards.

Auditioning is a process where you and the conductor get to meet and sing. London-based Australian conductor James Dixon helps to demystify the process. Dixon, who has worked with amateur and professional choirs, describes what he's listening for in auditions.

"I want to get to know the sound of the singer's voice, what is their vocal range, can they sing in tune or, if they're new to singing, whether they're able to respond to coaching."

Dixon says most auditioning for amateur singers involves singing exercises, singing a well-known song such as the national anthem or a folk tune in a few different keys, plus a song of their choice where they can show off a little.

Not all choirs expect people to be able to read music, but for those which do, sight-singing is where you get asked to sing from a score. On testing people's skill to read music, Dixon's preference is to do it as a group exercise. "Very rarely in amateur choirs do I require people to sing by themselves, let alone sight sing by themselves so I don't think it's something I should subject them to," Dixon reveals.

There are also other methods of bringing people into the group. For more established choirs, Dixon would ask new singers to join in a few rehearsals and place them next to an experienced member in their section. He says "after a few weeks, I usually ask the experienced singer how the auditionee is going. I find this to be more helpful as it simulates more closely how this person would cope in the context of singing in the choir and if they'll fit in."

What to expect when you're in the choir?

Once you're in the choir, you'd be expected to attend regular rehearsals and sing. This is where your choice might matter. You might be someone who likes singing for fun, or you get a thrill from conquering challenging music like Beethoven's Ode to Joy. Or, as in the case of Classic Choir, you can join in from time to time.

Speaking from experience, you might not find your crowd on your first go, or you might feel differently after the novelty wears off. Being clear about the expectations and knowing what support is available might help you decide whether to stay or to leave.

As a group formed by the LGBTQIA+ community, Brisbane Pride Choir is a safe haven for their members. "If you're a bit more of an introvert like me, you can just come to rehearsal and just sit amongst all these like-minded people and sing," says self-professed choir nerd Elliot Rentoul, who has led the choir since 2018.

Because of their unique membership, the choir might be able to offer particular support, for instance, for singers going through the process of transitioning. "At those early stages, their voice is just changing so quickly, so their conductor needs to check in with them every few weeks and sometimes modify the part they're singing," Rentoul explains.

Thompson says people who join the Rewire Musical Memories Choirs tend to come, in many cases, for the rest of their lives. "Often we see someone who goes from coming independently to moving into aged care, right up until they're passing away. Often the person caring for them will continue to come," she reveals.

People can suggest what songs they'd like to sing in Thompson's choirs. "Danny boy is a popular song in our choir as many people have a really strong personal connection to it," Thompson says. "We also often sing things which are quite thematic, like One Day At A Time and 2022 Classic Choir song O Christmas Tree." Thompson also says she always tries to be available if any chorister needs a chat over coffee after rehearsal.

How much time, money and effort do you want to spend?

If you're considering joining a choir, you should check out how often they meet, whether there is any registration fee and other commitments such as how much music you need to learn. There might also be incidental costs such as transport and meals.

Dixon says most choirs meet once a week or more in the lead up to a performance, with length of rehearsals ranging between 45 minutes to three hours.

In the therapeutic choir settings, Thompson is much more flexible on attendance. "They can, they will, they're able to come if they choose," Thompson says. This is because the choir is set up for people with dementia, a dynamic disability. "People can feel fine one day, then the next day everything is completely different," Thompson explains.

Because singing is an emotional experience, Thompson does check in with members of the choir who are going through tough times. "Danny Boy is often used for people's funerals," Thomson says. "When it was used at someone's funeral and their carer was still coming along to choir after that, I might have a quick phone call or chat to them before the rehearsal to see if they're happy for us to sing it or if they prefer we avoid it for a couple of weeks."

Most registration fees range between a few dollars per rehearsal to a few hundreds, though sometimes, you can join choirs for free. Classic Drive presenter Vanessa Hughes says "most choirs are not for profit organisations, and the cost covers the venue hire, accompanist and conductor." Generally it's only singers in professional choirs who get paid to sing.

What are the benefits of singing in a choir?

Singing together can spark joy and connection. As a life-long chorister, I can attest to the rich musical experience and friendships I've formed along the way.

Science tells us singing fills our brain with the feel-good neurotransmitter dopamine and fosters an immediate connection and empathy with the people around us. Thompson says this transient benefit of singing leaves lasting positive emotions even when people can't remember.

There's an enduring reason which brings Thompson's choirs together, week after week:

"When you're singing, you don't have to explain things, and you're with people who understand what it is that you're going through.”


First published at ABC News, September 26, 2023





Saturday, 23 September 2023

“There seems to be a distinct lack of swans” - Oops! Wrong ballet!


by Tony Magee

This was the exclamation a man sitting next to me made, when I asked him, at interval, if he was enjoying the show.


Well, at least he got the composer right.


The Royal Czech Ballet’s final Canberra performance of Tchaikovsky’s “Sleeping Beauty” on September 18 at The Canberra Theatre was enjoyable, although not peppered with any really outstanding moments or sequences of thrilling ballet dancing, save for male principle soloist Nikolay Nazarkevich as Prince Desire performing a stimulating and impressive short solo sequence around the stage towards the end of Act II - something he received very enthusiastic and appreciative applause for.


Nikolay Nazarkevich as Prince Desire and Natalia Kusheh as Princess Aurora in Sleeping Beauty.
Photo courtesy Royal Czech Ballet

Having said that, there were still some very nice choreographic moments, and some strong dancing.


Approached in 1888 by director of the Imperial Theatres in St. Petersburg, Ivan Vsevolozhsky, Tchaikovsky conceived the score that same year, the final orchestrations being completed in 1889. Choreographer Marius Petipa wrote a very detailed list of instructions as to the musical requirements for Sleeping Beauty. Originally a prologue followed by three acts, this version by The Royal Czech Ballet was condensed into two acts with one interval.


Throughout the evening, many moments had been choreographed into the performance, where soloists would grace the front of the stage in carefully prepared bow sequences, with the expectation of receiving sustained applause for accomplishing what were really routine dance sequences.


It happened time and again.


The Canberra audience would start to fade in applause and then the dancer would return and complete yet another choreographed sequence of bows to invite yet more appreciation.


It started to become embarrassing.


The greatest impact from this performance was the costuming, designed by Maria Poliudova.


The female company - bright costumes. Photo, courtesy Royal Czech Ballet


It was all superb, with the mix of colours and variety of costumes and their exquisite design and manufacture contributing enormously to keeping the interest and flow alive.


But if costumes are the star of the show, where does that leave the dancing?


It reminds me very much of audiences who spill out of theatres after a performance of Miss Saigon, and remark en-mass, “wasn’t the helicopter scene fantastic!”


One stand-out performance was that of the wicked fairy, Carabosse, sometimes also known as Maleficent.


Not dancing at all, but gliding across the stage in her impressive costume, the performer was actually male - Sergej Iliin - the most senior member of the company. Wonderful to have a role where a dancer’s career which might otherwise be long finished, can be reignited in a different way.


Sergej Iliin as Carabosse. Photo courtesy Royal Czech Ballet

Iliin graduated from the Chisinau Choreographic School in 1986. He has danced a massive amount of repertoire internationally since that time, working for companies including the National Opera and Ballet Theatre of the Republic of Moldova, the Opera and Ballet Theatre of Romania, the International Ballet Theatre of Philadelphia, the Moravian Theatre and now the Royal Czech Ballet.


The idea of having a male performer play this role was set from the beginning, where in 1890, at the St Petersburg world premiere of Sleeping Beauty, Carabosse was played by Enrico Cecchetti.


Another highlight during the performance was the entrance and dancing of White Cat (Elizaveta Savina) and Puss-in-Boots (Andrei Saharnean). Their coupling provided dancing of interest and agility, complimented by Puss-in-Boots’ colourful attire in pink and gold with white trimming.


White Cat (Elizaveta Savina) and Puss-in-Boots (Andrei Saharnean).

Photo courtesy Royal Czech Ballet


Four different sets, all beautifully crafted and well lit, created engaging backdrops for the company to dance in front of. In addition, a see-through scrim was lowered at certain times with those behind set in a frozen scene, contrasted by dancers in front. Many dancers, including Carabosse and her accomplices, made excellent use of this piece of stage direction.


Tchaikovsky’s stunning score was beautifully recorded. The audio system at the Canberra Theatre reproduced the powerful orchestral motives and passages, as well as every musical nuance, with extreme clarity and wonderful fidelity.


Returning to my man mentioned at the beginning: I wish I’d had the presence of mind at the time, to tell him that his mistake in thinking he was at Swan Lake clearly showed that he understood and could hear the musical stylistic hallmarks of Tchaikovsky, something that many people would not necessarily hear at all.


On the way home in the car, I began to wonder: in our international mix of dancers, do we have the modern equivalents of Rudolf Nureyev, Dame Margot Fonteyn, Mikhail Baryshnikov, Dame Darcey Bussell or Li Cunxin? Names that take your breath away when mentioned or whose performances you see. Household names.


I should like to conclude by quoting Royal Czech Ballet artistic director Andrey Scharaev: “Sleeping Beauty is an enjoyable fairy tale where good triumphs over evil, which is very relevant today. At this difficult time, it is very important to focus on positive moments and to remember that only kindness can make our world more beautiful.”




Thursday, 21 September 2023

Paint the Town Red with CAPO this November

 

Thursday September 21, 2023



CAPO Life Members L-R: Bob Nattey, Rob Little, Suzie Beaver, Lyn Cummings,
Neil Doody, Robert Boynes, Marilyn Gray, Deborah Clark, Ren Pryor, Tony Magee
Photo: Hilary Wardhaugh Photography




Saturday, 16 September 2023

Meet the makers on the October arts trail



A glass-blown cup being shaped.

The Queanbeyan-Palerang Arts Trail returns to Braidwood, Bungendore and Queanbeyan, opening the doors to more than 20 artist studios and galleries over three weekends from September 30.

SHOWCASING an impressive range of artwork from ceramics, glassworks and jewellery to paintings, prints and textiles, the annual Queanbeyan-Palerang Arts Trail is a unique opportunity to meet the makers of the region.

“The Arts Trail is one of the highlights of our annual events calendar. It celebrates our local artists and makers, brings the community together and draws visitors from outside of the region,” said Mayor Kenrick Winchester.

“The first weekend of the event – September 30-October 1 – will be dedicated to our Braidwood artists, with two brand new creative sites on offer.

“Bungendore takes the focus the following weekend with seven galleries in the mix, and finally Queanbeyan on October 14-15, making it easier to explore all there is to offer.”

The trail provides an opportunity to meet the makers in their creative spaces, buy directly from the studio, and tour local galleries.

“We believe we have many of the best galleries and artist studios in the south-east region, and we are proud to showcase the wealth of talent and creativity residing in Queanbeyan-Palerang,” said Janita Byrne, the council’s team leader for Culture, Arts and Museums.

“The annual Arts Trail offers our local artists, creative practitioners and galleries an opportunity to open their doors to visitors, or to activate public or disused spaces with art. For many of our participating artists, it’s a chance to not only showcase their incredible art, but also their creative spaces, inspiration and creative process.

“For visitors to the trail, not only is it a fantastic, intimate opportunity to delve deeper into the world of art, it also offers the perfect opportunity to explore our towns further with visits to local cafes, restaurants, parks and boutiques, with many of the participating galleries and studios situated in the hearts of our towns.”

There’s more at treasuretrail.com.au/arts

Braidwood Arts Trail (September 30-October 1)

Braidwood Clayworks

Braidwood Library Quilt Exhibition

Braidwood Regional Arts Group

Carousel Printmakers

Fyre Gallery – Sibling Rivalry Exhibition

Gallery 103

Mary-Lou Nugent Handprinted and Bursaria Workshop

Studio Altenburg

V&M – Vetro e Metallo


Bungendore Arts Trail (October 7-8)

Bungendore Fine Art Gallery

Bungendore Woodworks Gallery

Deniston Cottage Antiques + Art

Rushe Photography Gallery

Suki & Hugh

Water Through Reeds

X Gallery


Queanbeyan Arts Trail (October 14-15)

Art by Anders

Berendina de Ruiter

Bunker Arts Studio

Cheryl Hodges Studio

Matthew Curtis & Harriet Schwarzrock Glassmakers

Nullarbor Nights Knitwear

Queanbeyan Art Society

Queanbeyan Camera Group at 4th Seed Cafe

Queanbeyan Hive Gallery

Queanbeyan Market

Queanbeyan Museum

Rusten House Arts Centre


First published at Canberra City News, September 14, 2023