Reviews

Titled 'The Art of the Possible' with Paul Grabowsky, this concert was an evening of spontaneous improvisation with guest artists Kram on percussion, William Barton on didgeridoo and James Morrison on a selection of brass and reeds, even sea-shell; and of course with Paul himself on keyboards, including a couple of electronic gizmos to add a little flavour to the evening.

One of the things I love doing at an opera, if seated in the right place, is to turn around and glance up at the frontal theatricals of the conductor broadcast on the casts’ video monitor.

What better opportunity to watch that blur of arms and baton than during the frenetic timeless overture to The Barber of Seville.

Conductor Daniel Smith, raised in Sydney but now resident in Italy, let fly with arm and body waving passion – of course in perfect time to the music.

A wind-blown new year starts at The Old Fitz, Sydney’s excellent pub theatre, with this American adaptation, by Kate Hamill, of Jane Austen’s magical 1813 novel, directed by New Yorker Emma Canalese. It’s wonderful to know that the notes struck by this terrific tale of family love and caring still ring true after 212 years.

Is it the dream/ambition/goal/ of every actor – male or female these days – to play Shakespeare’s tragic hero Hamlet? And if so, has anyone ever been completely content with how they portrayed the Danish Prince? Or are they so haunted by imperfections they saw in their performance that they need to be committed to a specialist unit where aversion therapy is used to cure their persistent preoccupation with the prevaricating Prince – a Hamlet Camp!