Master Class - theatre; review

From 1971 to 1972, opera superstar Maria Callas conducted master classes at New York's prestigious Juilliard School of Music, which were transcribed and collected into a book editted by John Ardoin. Playwright Terrence McNally was inspired by the lectures and wrote his play Master Class.

McNally's Master Class touches on many aspects of Maria Callas' life, yet is not a biographical portrait. It's a dramatisation exploring the nature of artistic creation which Maria Callas applied to operatic singing and acting.

Master Class allows Maria Callas to communicate directly with the audience, without her singing on stage and features recordings of her singing arias by Giuseppi Verdi, Giacomo Puccini and Vincenzo Bellini.

Master Class A Masterpiece by Linh

Independent Theatre's artistic director Rob Croser has brought together a team of talented South Australian performers to present a moved play-reading (with scripts in hand) of Terrence McNally's Master Class.

Master Class provided a wonderful opportunity to see Kathryn Fisher in the role of 'La Divina' Maria Callas and she succeeds in presenting an expression of the the opera diva instead of an impersonation. Speaking in a rich and dramatic tone with Greek accent throughout, Kathryn's Callas is imposing, glamourous, witty, dark humoured and refers to the students as "victims". Kathryn's side monologues of Callas' public recollections and private pain were highlights (with Callas singing arias from Verdi, Puccini and Bellini in the background), displaying the contradictory nature of her personality. A proud and egotistical woman, yet so vulnerable and self-pitying. Kathryn transpires Callas as a person who is as real, passionate, jealous and eccentric as any opera character.

Jessica Dean as the nervous and awkward student, soprano Sophie, gave an impressive insight into the passion of a young singer who wants to have something special that other artists can envy and strive for, yet her choice of song from La Sonnambula (The Sleepwalker) doesn't impress Callas. Jessica's portrayal of the naivety and eagerness of her character to learn more can be further enhanced if she were given a few more lines.

Callas' other "victim", another soprano Sharon, is played brilliantly by the effervescent Johanna Allen in a dazzling gown. Callas is delighted with Sharon's singing yet unimpressed with the overdressing. Johanna delivers an enthralling performance of Lady Macbeth's 'letter' aria Vieni,t'affretta! as Sharon, yet Callas advises her to choose flimsy roles.

Anthony Hunt played the accompanist, Manny, sitting at the piano for the entire production, and provided sterling support in music for the students and conversation with Callas.

Following his success in Independent Theatre's Cry The Beloved Country, Shedrick Yarkpai returns with a small but integral role that contrasts with everyone else's adulation and admiration for Callas as an artist. Shedrick gives a simplistic and engaging performance as the Stagehand who serves Callas water, and tends to her needs, while displaying deep respect for her.

This production of Master Class not only teaches the students how to interpret the language and emotion of the music but also gives the audience a glimpse into Callas' ability to transcend the human voice into the passionate depths of the operas' characters and the composer's intent. This is why Maris Callas' sublime artistry and magnetism on and off stage is unparalleled.

Fringe Theatrical Dance - Romeo And Juliet; review

An Immanuel College Year 11 student Anna McInerney, presents a theatrical dance production based on William Shakespeare's Romeo and Juliet, featuring beautiful dance routines, minimalistic staging and classical and contemporary music accompaniment for the dance scenes.

It's a labour of love, and Anna has succeeded in bringing a dream to reality in a wonderful dance production that depicts the tragic love story through movement, music and mime.

Romeo and Juliet at the Odeon Theatre, Norwood, runs until March 31.


Dance of Love and Tragedy by Linh

Director, choreographer, producer and costume/hair/make up designer Anna McInerney has gathered a cast of 25 students from year levels 8-12 to perform in an unspoken theatrical dance production of Shakespeare's Romeo and Juliet.

The year 11 student at Immanuel College has worked tirelessly with the hardworking cast and crew to bring a captivating and moving production to the Fringe Festival.

The first few acts started with shorter and simplistic dance routines with the chorus mostly as support for the lead characters.

Following the interval, the drama and the dance sequences intensify with longer, vigourous and complex movements integrated into the performance.

Rebecca Dickens (pictured with Damian Sturm as Romeo), a year 10 student at Immanuel College, dances the role of Juliet with gentle and graceful technique, effectively expressing the heart break and longing for Romeo in her movements. Rebecca's solo dance in Act Four is brilliant with well controlled leaps, stretches, landings and turns, to the tune of Pink's Nobody Knows. Her ballet Allegro and Pirouettes are a highlight.

Anthony Currie, year 10 at Immanuel College, is Friar Lawrence who helps bring Romeo and Juliet together but with tragic results. Anthony's experience in dance performance is evident as he provides the production's highlight in his solo dance sequence. Dancing to Anthony Callea's The Prayer, his agility, flexibility and foot work is highly impressive and his timing is superb.

The chorus of female dancers gave stirling support throughout and were an integral part of Act Four, encouraging the indecisive Juliet to drink the poison.

The music selection was appropriate with each song or music composition accentuating the mood and dance scenes. It was an eclectic mix including Tchaikovsky's Wedding March, Mozart's 7th Symphony, Prokofiev's Dance of the Knights, Sade's Kissing You and Bring Me To Life by Evanescence.

The constructive criticisms include the overuse of the fog machine, where the scenes, action and dancers' facial expressions are masked and the performers are slightly distracted by the overwhelming amount of fog.

Also the music stopped abruptly in mid word or mid note instead of faded gently as each scene begins and ends.

Anna McInerney's presentation of Romeo and Juliet was an entertaining and engaging theatrical dance production for anyone who appreciates the beauty of interpretive dance and mime.

Fringe Theatre - Antigone; review

Greek tragic poet Sophocles' play Antigone tells the story of a young woman's defiance against the decree of a male authority. However, Antigone is not the protaganist, as King Creon is the one who experiences the Greek tragedy's element of 'a moment of truth'.

Set in the city of Thebes, the brothers Eteocles (incumbent King) and Polynices are fighting over the throne. Polynices brings an army to attack Esteocles and they kill each other in battle. Creon, the brother of the late Queen of Thebes, Jocasta, becomes king. He decrees that Eteocles receives an honourable burial yet forbids Polynices to be buried as he sees him as a traitor to Thebes. The brothers' sisters Antigone and Isemene are distraught, yet Antigone defies the decree and Ismene is horrified, urging her sister to keep her place in a male dominated society.

From this point of the play, Urban Myth Theatre of Youth presents Sophocles' play Antigone.

Antigone is staged at the Holden Street Theatres, The Studio until March 31, and post-Fringe until April 5.

Triumphant Tragedy by Linh

Director Netta Yashchin has created an excellent production of Sophocles' Greek tragedy Antigone, with a fine cast of talented young performers whose character portrayals were dynamic and convincing.

Nikki Souvertjis (pictured) played Antigone with much conviction and passion for the character's beliefs, she was mesmerising in delivery and presence.

Kym Beggs as the unwavering King Creon, was effective in conveying a powerful, intelligent yet dogmatic man whose own opinions become the rules of the land.

Tom Christophersen excelled in his two contrasting roles earning laughter and cheers from the audience. Tom's bumbling and persistent Guard was a delightful contrast to the King's relaxed, regal composure in the same scenes. In other scenes, Tom played the blind prophet Tiresias to the hilt with a wicked grin and clever ambiguous quips to puzzle the already confused King Creon.

The chorus shone in their singing, dancing and ponderings of the lead characters, creating effective links to the characters and their fates.

Urban Myth Theatre of Youth nurtures and supports many talented young performers, and this production of Antigone demonstrates the high quality of productions and immeasurable dedication from all involved.

Fringe Theatre - Marat /Sade; review

Marat/Sade (The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade) is a powerful and confronting play by Peter Weiss, depicting the murder of revolutionary Jean-Paul Marat by Charlotte Corday.

The play is set in 1808 in the Asylum of Charenton (several years after the French revolution), where the Marquis de Sade is incarcerated for his outrageous ideologies. De Sade spends his time writing and manages to gather the inmates of the asylum for a play to "show how Jean-Paul Marat died".
The asylum's director Coulmier, brings his family to watch the entertainment and is horrified as the performance's political debates strengthen and the revolutionary fervour infects the inmates.

Marat/Sade, performed by The Graduating Actors (3rd Year) of the Adelaide Centre for the Arts, at the Xspace in the ACA building, runs until March 31.

Madness, Mayhem, Music, Murder by Linh

The Graduating Actors at the Adelaide Centre for the Arts presented a modernised production of Marat/Sade yet stayed true to the script. Director Paul Peers hoped the play would raise questions, leaving the audience to come to their own conclusions about the play's moralities and political musings.

There are apparent differences where male roles of the play within the play were played by women and vice versa. This may have been intentional to highlight the insanity or ingenuity of the inmates in role playing.

Renee Gentle was engaging as the itching and tetchy Marat, spending most of the play in a bath tub due to the debilitating skin disease Marat suffered in the latter years of his life. Her speeches were well delivered with the wild frenzy of a lunatic so engrossed with the passion of the text.

Elliot Howard was gentle and graceful as Marat's wife Simonne Evrard, as he played the always doting and dutiful wife at Marat's every beck and call.

Alan Grace epitomised the arrogance and menacing character of Marquis de Sade with effective articulation and physicality.

The stand out performance was Maria Dafneros as the narcoleptic who portrays Charlotte Corday in the play within the play. Her brilliant delivery brought compassion and vile at Charlotte's hate for Marat and was believably stirring as she stood beside Marat's bloodied body.

The chorus members were hilarious as they sang, danced and frolicked throughout Marat's speeches and pleaded for the revolutionist to free the people of France.

All performers triumphed in telling their story through words, movement and emotion as the musicians accentuated the frenzy with Paul Gooding on accordion, Eddie Morrison on double bass and Tim Overton on drums/tuba.

Marat/Sade was horrifically violent, visually beguiling, loud and entertaining with a few surprises thrown in to catch the audience off guard.

Even More Menopause

The Bass Agency website has Menopause The Musical running until May 20, which could make it the longest running production in Adelaide. I know many people have seen the show three times!

Fringe Comedy Cabaret - Tim Minchin; review

Tim Minchin returns to the Adelaide Fringe Festival with So Rock, a comedy cabaret show featuring politics, environmentally friendly tips, psychoanalysis and other funny bits with piano.

It's a laugh out loud hour of song, physical comedy and poetry performed with Tim's usual high energy, enthusiastic delivery.

Tim Minchin's So Rock is at The Umbrella Revolution in The Garden Of Unearthly Delights until March 31.


Muso with Magnetism by Linh

He may be small in stature, but Tim Minchin's charismatic and energetic presence fills the room with awe and excitement.

Tim's new show So Rock combines hilarious anecdotes, original music, and physical comedy ensuring plenty of laughs throughout.

With only a microphone and grand piano on stage, Tim combined the two in his routine while seamlessly moving from one to the other. Highlights include his heart felt and hilarious Peace Anthem For Palestine which Tim hopes can bring people closer, and the unaccompanied poem Angry had the audience in stitches as Tim displayed his penchant for dark, intelligent and articulate poetry. Tim further enthralled with a touch of Sondheim, a dash of Lloyd Webber and lashings of Freud in his upbeat song If You Open Your Mind Too Much Your Brain Will Fall Out.

Tim's sharp and witty lyrics slices throught the mundane depths of reality and pushes it into a dark but insightful realm of hilarity. If laughter is the best medicine then Tim has the ability to deliver in large doses.

Fringe Music - Ali McGregor's Midnight Lullabies; review

Acclaimed Australian opera superstar, soprano Ali McGregor returns to the Adelaide Fringe Festival with her new show Midnight Lullabies with special guests.

Following her sold out shows La Clique - A Sideshow Burlesque , and The Opera Burlesque last year, she's certain to be a Fringe favourite.

Ali McGregor's Midnight Lullabies with special guests is at the Bosco Theatre in The Garden Of Unearthly Delights until March 27.


Angelic and Awesome Ali by Linh

A former principal soprano with Opera Australia, Ali McGregor is a rare shining star in the music industry. Her beautiful voice effortlessly soaring above and beyond the high C's then plunging into the deep and dark depths of gravelly growls in contemporary music.

In her debut solo show, Midnight Lullabies with special guests, Ali illuminated the Bosco Theatre tent in The Garden Of Unearthly Delights with her sparkling personality and radiant voice. Accompanied by the talented drummer and multi-instrumentalist Ben Hendry, Ali performed wonderful renditions of Radiohead, The White Stripes , Tom Waits, George Gershwin and Hugo Wolf.

Ali began Gershwin's classic Summertime in it's original sweet operatic tone before smoothly seguing into the jazzy version without missing a beat.

Her token operatic song was to be performed with a pianist on an electronic keyboard, however due to unforeseen circumstances, she had to make a backing track featuring Len Vorster on piano. Nevertheless, Hugo Wolf's Das Verlassene Maglein (The Forsaken Maiden) was superbly sung in German, with her exquisite vocal expression bringing alive the sadness and sincerity of the maiden in the song.

The multi-talented Ali also sang while playing her autoharp, which she likes to call the zither, receiving thunderous applause and cheers following her gorgeous version of Tom Waits' Midnight Lullaby, her brilliant vibrato and sex appeal in The White Stripes' In The Cold Cold Night, and pushing her vocal abilities to its most outrageous and impressive boundaries in Radiohead's Creep.

In each show Ali has a special guest to share the stage, and on this occasion it was the affable comedian Adam Hills. Adam recited Banjo Patterson's Clancy Of The Overflow by memory, accompanied by Ali on zither as she sang The Church's Under The Milky Way Tonight. The result was a stirring blend of well performed prose and soothingly harmonious singing.

Ali McGregor is a consummate performer whose voice is refreshingly flexible, ravishing in operatic or contemporary mode, and her energy and enthusiasm makes her a joy to watch.

Fringe Film - Comedy Channel Short Film Festival - Howard Flu; review

The Comedy Channel Short Film Festival is a competition celebrating the art of comedy in film making, and showcases the funniest short films from Australia and overseas.

A panel of celebrities and film industry experts choose their favourite films and these finalists appear at a series of competition screenings.

It's the first time the Short Film Festival has gone on tour, so Fringe-goers can enjoy the hilarious entries at the Palace cinemas, as well as choosing a film for the Audience/People's Choice Award.

The winner receives $10,000, and will be announced at a ceremony Awards Screening grand finale in Melbourne.

All competition screenings are FREE entry.

Fun On Film by Linh

All the short films being screened are worthy as finalists, as they all possess the comedic edge and clever cinematography of future film makers.

Highlights include Howard Flu (scenes pictured above), Copy, Beyond The Fridge and Drought. South Australian director and producer Dario Russo's The Time That Time Forgot was a favourite among locals. The stand out film was Howard Flu, receiving the most laughs from the audience.

Written and directed by Lawrence Leung, Howard Flu, which is a firm favourite to win, is about a man who seeks a cure for his conservative flu. With each sneeze and sniffle, he turns into Prime Minister John Howard - a puppet version of the PM, complete with hilariously accurate voice impersonation.

Throughout the six minute film, the puppet PM is seen on the political hustings kissing and cuddling babies, chatting with everyday Australians and making mention of his unpopular policies, including Workchoices, the GST, Iraq invasion, selling off Telstra et cetera. It's well filmed and the vox pops with puppet PM are a highlight.

Recitals Australia - concert 3

Busier Times Ahead

My sincerest apologies for no reviews on Recitals Australia concerts for Wednesday 21 March. Due to overcommitment and a Fringe-filled schedule, I'm busier than a Mormon at a wife swapping party. No offence to Mormons intended.

Fortunately, there was a recommendation in yesterday's Arts Confidential section in The Advertiser about it.

Fringe Puppetry - Dreamer In The Deep; review

Dreamer In The Deep is the first puppet show I've seen at the Fringe and it was a magical and mesmerising production of theatre, music, props and staging.

Dreamer In The Deep is at the Puppet Palace, in the 'Garden of Unearthly Delights' until March 25.


Magical Marine Life by Linh

Dream Puppets Theatre presented a magical production where the puppets and the props all glowed in the dark, creating a visually spectacular show.

Dreamer In The Deep is a fantasy tale about a hero named Dreamer and his luminous seahorse companion, on a mission to save a golden leafy seadragon who has been captured by an evil giant scorpion fish.

The courageous duo venture above and below the ocean, where all the wonderous beauty of the Australian coast, and its ocean's sea creatures are created with puppets and props that are terrifying, humourous, delicate and bewildering.

Although the show has no dialogue, Puppeteer Julia Davis lent her voice to a couple of talented crustaceans; where an opera singing prawn is accompanied by a crab on accordion. It's a highlight filled with humour, emotion and fun.

Dreamer In The Deep is set to the evocative and alluring music by Melbourne composer John Grant. Grant's music enabled the audience to feel the sense of the underwaters' treacherous, beautiful and beguiling nature. A wonderful selection of music that cleverly complements the puppets' movements and intentions.

The show truly captures the imagination and leaves you with a gentle reminder of the majestic beauty and fragility of the ocean and its inhabitants.

Fringe comedy - Mark Watson; review

I saw comedian Mark Watson perform at the Nova and he was brilliant!

UK comedian Mark Watson is making his debut at the Adelaide Fringe this year, and is one of the most funniest and engaging performers. His very long show title I'm Worried That I'm Starting To Hate Almost Everyone In The World, doesn't even summarise the hilarity of the show.

He is crass, irritating and quick witted, yet you'll fall for his charm and biting humour.

Mark is also a published novelist, and is completing a screenplay of his book, Bullet Points.

Mark Watson:I'm Worried That I'm Starting To Hate Almost Everyone In The World is at Nova Cinemas until March 31.

Watson Hits The Mark by Linh

There is seldom a comedian who has a keen observation of everyday life and twists it to expose the absurdity of the human condition. Well... maybe Jerry Seinfeld, but others are equally adept. Especially Welshman Mark Watson.

In his show, Mark does more than the usual stand up routine. Armed with his mystery sack full of items representing one of the seven deadly sins, Mark enlists the assistance of audience members to pull an item out of the sack. His audience interaction extends further with someone timing his 'Sack of Sins' segment and another to make clapping noises if no-one laughs or claps at his jokes.

Mark is breath-taking as his jokes are delivered at a cracking pace; if you miss it, you missed a great gag, and he'll even point out that you did. His ardent use of the English language is combined with the Aussie vernacular and expletives to deliver jokes on public transport, people who wear suggestive slogans on shirts and what makes Aussies laugh that Britons find unfunny.

His thick and slick Welsh accent makes the jokes funnier, simply because as he says "accents are funny, if you're not laughing at the jokes, just laugh every time I speak."

I thoroughly enjoyed Mark Watson and his comedic style of lightning fast jokes and everyday observations, and I look forward to reading his book Bullet Points.

Sunday Spectrum - Emma Horwood; review

On one of the busiest Sundays in March, it's difficult to choose which show to attend. After two frustrating attempts to catch the Fringe puppetry performance of Rusalka based on the opera by Antonin Dvorak, where both shows were cancelled, I finally decided on a relaxing and enchanting afternoon of classical, folk, and comtemporary music. It was an excellent choice as Emma Horwood launched her debut solo voice and harp CD Vox Angelica at the Sunday Spectrum concert in the Festival Centre's Artspace.

Emma graduated with a Bachelor of Music at Adelaide University's Elder Conservatorium, and works as a freelance harpist, singer,teacher and conductor.

Her concert Landscape of the Musical Heart, complements the art exhibition in the Festival Centre's Artspace.

Heavenly Harpist and Soprano by Linh

It's a rarity to have an artist who can sing beautifully while playing harp, so it's a joy to watch Emma Horwood perform.

The gentle caressing and plucking on the harp strings accompanying Emma's angelic voice is sublime as she enthralls with her playing.

For the exhibition After Heysen - Exposing the Australian Landscape, Emma's Landscape of the Musical Heart concert, combined songs and music to explore the beauty of the Australian outback and expose the wonderful works of artists whose paintings so vividly reflect the nation's hidden geographical gems.

In a concert featuring local composers including Carl Crossin, Graeme Koehne and Helen Cartridge, Emma has captured the musical heart of the Australian flora and fauna through voice and harp.

Emma's distinctively precise intonation in Robert Johnson's Have You Seen, But A White Lily Grow? brought alluring beauty to the imagination, with splendid expression in Benjamin Britten's The Sally Gardens.

Emma's voice and harp playing exuded powerful emotion throughout Bill Whelan's Cloudsong and The Heart's Cry. Her expressive singing brought radiance to a somewhat stultified Apache Blessing by Carl Crossin.

Emma is versatile and talented as a singer and harpist, whose ethereal vocal performances and masterful harp presentations are truly awe-inspiring.

Fringe Music - Musica da Camera; review

Beautiful Baroque by Linh

Adelaide Baroque presented a wonderful musical treat performed by the talented ensemble, Musica da Camera. In the show titled Summer featuring Adelaide soprano Tessa Miller (pictured), and local actor Paul Blackwell as narrator, the audience was entertained with the superb accompaniment by Lesley Lewis on harpsichord, Zoe Barry on cello and Lynton Rivers on recorder. The concert also featured original compositions by Natalie Williams which were interspersed throughout.

Summer is exquisitely fused with musical and literal gems from Australian writers, including Natalie Williams, Michael Leunig and John Tranter.

Actor Paul Blackwell gives a sterling performance as narrator with poems read enthusiastically to reflect the Australian summer and you can visualise the action through his relaxed narrative style.

Tessa's ethereal soprano voice floats delicately over the lively resonant sounds of the harpsichord in Francois Couperin's Summer Amusement, and brings heightened excitement in Natalie Williams' Summer-Transparent Liquors.

Although Summer is over, the Autumn can revel in the similar joys of cool, gentle breezes and delight in the earth's yielding of fresh fruits.

Sadly, this was a one off concert for the Fringe at the Pilgrim Church, but the Adelaide Baroque series Four Seasons continues throughout the year with more brilliant music and prose featuring Musica da Camera.

Fringe Comedy - Andrew McClelland review

Mixing More Than Laughs by Linh

Andrew McClelland is a Fringe veteran with previous sold out shows which received rave reviews. His shows on the history of pirates and a somewhat secret society have made him a familiar and favourite performer for Fringe-goers.

His latest offering Andrew McClelland's Mix Tape , combines dance, singing and hilarious anecdotes in creating an appropriate mix tape for your beloved.

His charming and affable personality keeps the show afloat, although at times the gags wear thin and some sink faster than a lead balloon.

Andrew's song selections cover most genres, except classical, folk and country, with audience participation in singing and song suggestions.

It's not one of his best shows, yet his physical gags and friendly disposition are enough to keep the audience engaged and entertained.

Andrew McClelland's Mix Tape is staged at The Garden Shed in the Garden Of Unearthly Delights until March 20.

Fringe Comedy -Bodaceia Brilliant and Ivanna Vavavoom; review

Super sexy Superspies by Linh

The world is soon to be a safer place from mass consumerism and crazy commercialism if Bodaceia Brilliant and Ivanna Vavavoom get their way.

In a funny, original and innovative production fusing music, comedy and sight gags, Samantha Culshaw (Bodaceia) and Judyth Satyn (Ivanna) portray the Russian Superspies in disguise who create useless anti-products in an attempt to wipe consumerism off the planet. They have orders from the 'Boss' to rid the world of greed and start the revolution to fight consumerism.

Bodaceia Brilliant and Ivanna Vavavoom On A Mission is full of high energy physical expression, weird accents and colourful costumes which the girls quickly change into on stage as part of their performance.

Highlights are the extraordinary products the pair create, including the Bubble Bum Gum (that literally gets blown out your nates) and the cleaning suit with the scourers strategically placed where the female erogenous zones are ("It makes cleaning so sensuous and sexy!").

The show is well staged as a secret hideout office and makeshift product testing lab.The lighting and music selection are appropriate with some ripping rapping from rap artist Cyril Hot, played with great gusto and radical appeal by Samantha Culshaw.

It's one of the most hilarious and fabulously Fringey shows; unconventional, cleverly devised and all in the true spirit of the Fringe Festival.

Bodaceia Brilliant and Ivanna Vavavoom On A Mission is at Higher Ground (Projection room) until March 24.

The Host - film review

The Host (Gwaemul in Korean meaning 'monster') was one of the most enjoyable, suspenseful, political horror films I have seen in ages. It's more than special effects and monstrous attacks on humans; there's a strong element of family drama and uniting to fight government bureacracy to hunt down the creature.

Monster Hit by Linh

The Host opens with a somewhat prophetic prologue on the impending fear about to hit the Koreans. At the morgue of a US Miliary base in Korea, highly toxic formaldehyde is poured down the drain, then flows into the Han River.

Fast forward a few years later, Park Kang Du (Song Kang-Ho), works at his father's snack stand beside the Han River. A creature is spotted swimming in the waters of the Han River, then it is seen again hanging underneath the bridge. Its amazing acrobatic skills bewilder the locals as it does back flips with the agile ease of a trapeze artist. Moments later, the creature whick looks like a huge mutant tadpole with a pink vagina dentata mouth on solid taloned feet, emerges from the water and goes on a chaotic rampage causing destruction and trampling anyone in its path. Kang Du's daughter Hyon-Seo (Ko Ah-Sung),is captured by the mutant and everyone believes she's dead. The plot involves Kang Du, his father Hee Bong (Byon Hee-Bong), and his brother Nam Il (Park Hae-Il), and his Olympic archer sister Nam-Joo (Bae Doo-Na) embarking on a frantic and dangerous search for the 15 year old Hyon-Seo.

The director Bong Joon-Ho takes the audience into territory which most sci-fi films don't venture. Scenes of a mass public funeral where the families of the mutant's victims are televised in mourning, the process of de-contamination and fumigation of anyone who came into contact with the beast and the medical testing.

The Host is less about the monster, but focuses more on the inadequacies and failures of the Park family members; Kang -Du is clumsy and lazy, his father is irresponsible and procrastinates, his sister loses athletic competitions,and his brother gets drunk and violent. These folk seem so dysfunctional as a family and losers as individuals that the manner in which they unite to save Hyon-Seo is heroic and admirable.
All the performances were excellent, in particular Ko Ah-Sung as the bratty school girl Hyon-Seo.

The political subplot involves America's intervention with the East featuring scenes with US military parading around like they own the place. American influence on the East where the US government insists the mutant is spreading a virus, when there is no virus at all, and the US also introduces the chemical 'Agent Yellow' in Korea.

The ending was unsatisfactory and it seems as if all the family's efforts were wasted in the end. However, The Host is an exhilarating ride of slapstick comedy, horror, special effects and solid performances from the lead actors.

Fringe Comedy - Rod Quantock review

Having seen Rod Quantock on television shows such as Good News Week and the Melbourne Comedy Festival telecasts, it's an interesting experience to see him live on stage.

A cerebral, politically-minded comedian and social activist, Rod Quantock has plenty of layers that makes it difficult to see what makes him tick. After seeing his Fringe show Hand In Bloody Hand-The John and Janette Howard Story, there's much more to appreciate about his comedy and respect for his interest in social and political injustices.

Rod is performing his sit down-stand up-walk around comedy show at the Nova Cinema until March 18.

Raging Rod Rocks by Linh

The first thing you notice about Rod Quantock is his unkempt appearance, then his casual laid back demeanour with a friendly but cheeky persona.

He has sincerity that he exploits with a comedic charm to bring you to his comfort zone. One thing he doesn't like is latecomers to his show, so he 'punishes' them by intergrating them into his act. Anyone who appears in the venue after the advertised starting time are dragged to the front to form a choir. That's when the show and the fun really begins.

Rod's easy going nature and relaxed comedy style makes him approachable and believable, yet his ambiguity confuses and sustains the audience's interest. Beneath his cool and calm demeanour is a raging bull ready to attack any form of injustice or inequality he can joke about. He shares his accounts with the long arm of the law (police), also the longer and frustrating arm of the other law (lawyers) with clever quips and comedic swipes.

Some may not 'get' his sophisticated and intelligent comedy enough to laugh, yet Rod encourages them to maintain the rage at all costs. Why not laugh at authorities as you rebel against them?

There is plenty of audience interaction as Rod slides between the aisles seeking out 'victims', as well as picking people from the front rows to engage in conversation.

If you like to join in the fun and laugh at politicians, journalists, lawyers and police officers, then Rod Quantock can be of assistance.

Recitals Australia concert 2 - Robert MacFarlane; reviewed in poetry

Bellissimo Lirico Tenor by Linh

Ah, what a joy to attend a wonderful concert by a young lyrical tenor
who can sing of love, romance and passion with great fervour.
Rob MacFarlane is warm and sincere in persona
while in voice, he exudes magnificence and splendour.

In a concert comprising of Beethoven, Bellini, and Lehar
as well as Faure and Handel, he really raises the operatic bar.
From a lilting lightness to dramatic spinto empowerment,
he's superbly supported by Anthony Hunt's accompaniment.

In Handel's Where Shall I Seek The Charming Fair?,
Rob brings sensitivity and sensuous beauty to the song with care.
For Beethoven's An Die Ferne Geliebte, a cycle of songs so beguiling,
His enrichment of the melodies is lyrically enthralling.

Rob gives Bellini's three beautiful songs a vocally polished performance
with his luscious expressive voice encompassing visual brilliance.
For Faure's harmonious Poeme D'un Jour ,
Rob's vocal expression is alluringly seductive to the core.

Lehar's Red As The Rose In Maytime, was a treat for fans of the high C's
as Rob sang that anticipated note with exquisite expertise.
It was a concert incorporating good pitch, range, emotional sensitivity,
highlighting Rob's vocal magnificence and musicality.

Recitals Australia concert 2 - Robert MacFarlane; review

It's always a joy to spend lunchtime listening to talented artists perform for Recitals Australia at the Pilgrim Church each Wednesday afternoon.

Although, still kicking myself after missing out on seeing 15 year old pianist Marianne Grynchuk perform, I was lucky to catch tenor Robert MacFarlane's concert.

A young and handsome lyric tenor with the ability to pack a spinto punch in his dramatic delivery, Rob MacFarlane has vocal versatility to sing various operatic roles.

Also a winner of many awards, he's currently studying for his Honours Degree at the University of Adelaide under the tutelage of Keith Hempton.

In this wonderful recital, Rob presents songs from George Frideric Handel, Ludwig van Beethoven, Vincenzo Bellini, Gabriel Faure and Franz Lehar accompanied by Anthony Hunt.

Bellissimo Lirico Tenor by Linh

In a concert comprising of works from diverse composers, it seems the theme is that of love, romance and pursuing your deepest passions to fulfil your wildest dreams.

Rob MacFarlane has warmth, sincerity and professionalism in his stage presence with an abundance of talent to boot.

In Handel's light-hearted 'Acis and Galatea', Rob brings sensuous beauty to Where Shall I See The Charming Fair? . His ability to bring some dramatic depth to portray Acis in search of his lovely nymph Galatea is impressive.

From Handel's baroque to the classically romantic Beethoven, Rob once again showed his mesmerising vocal expertise in a dreamy and beguiling cycle of six songs from An Die Ferne Geliebte. Rob's rich and lyrical tone enriches Beethoven's simple melodies enhanced by Anthony Hunt on piano.

Rob captivates in three beautiful songs from Bellini, with his luscious expressive voice colouring each note to give Maliconia,Ninfa Gentile (Melancholy,Gentle Nymph), Per Pieta, Bell'idol Mio (For Pity's Sake, My Beautiful Idol) , and Ma Rendi Pur Contento (Please Make Her Happy) their full visual impact.

For Faure's gloriously harmonious Poeme d'un Jour, Rob's magnificent tenor voice is alluringly seductive throughout.

A brilliant performance from Rob in Lehar's Red As The Rose In Maytime from 'The Merry Widow', as he hit the high C effortlessly.

A most enjoyable concert from a tenor whose magnificent voice with timbral warmth epitomises the sheer beauty of the human voice. Bravo!

The Host - Korean film

Having missed out on seeing The Host at this year's Adelaide Film Festival, I am excited to see it's currently screening at the Palace and Nova cinemas. It's become HUGE in Korea, breaking all box office records and has received rave reviews.
It's a horror/political film and I'm looking forward to it.

Recitals Australia: concert 1 - Jessica Dean; reviewed in poetry

Scintillating Soprano by Linh

The talented couple has returned from an overseas tour
and continues to be the operatic team du jour.
They are pianist Anthony Hunt and soprano Jessica Dean,
South Australia's own opera King and Queen.

The duo presented a delightful concert of beautiful singing and accompaniment
with a few new additions to their repertoire for the audience's enjoyment.
Selected songs from Ottorino Respighi, Oliver Messiaen and Verdi
all sang exquisitely by Jessica accompanied with Anthony's piano virtuosity.

Jessica introduced the songs with eloquence and flair
describing songs ranging from fervent passion to deep despair.
The audience was enraptured and enthusiatic
as they were assured of an afternoon filled with operatic magic.

Respighi's 'weather exploits' from his 'Song Cycle' was a magical treat
as Jessica sang Notte (Night) so gently and sweet.
Her powerfully dramatic delivery of Nebbie(Fog) was arresting,
while Anthony evoked rainfall for Piogga (Rain) in his intricate playing.

Le Collier (The Necklace) by Olivier Messiaen was a joy to behold
as Jessica embraced each poetic note with a voice so tender yet bold.
Jessica captivated with arias from Verdi, Poulenc and Mozart,
with arias that lightens the mood or pierces the heart.

Verdi's Sul Fil D'un Soffio Etesio was skilfully sung
with Jessica's voice climbing up each musical rung
then dipping into her dark tones with agile ease
to complete a challenging song with exceptional expertise.

It was an impressive presentation of vocal repertory with stirling accompaniment
from a couple who truly have passion, talent and commitment,
and have musical ability to excite, entertain and engage.
They are a pair with a successful future on the world's classical stage.

Recitals Australia: concert 1 - Jessica Dean

The second Recitals Australia performance for concert 1 featured soprano Jessica Dean accompanied by Anthony Hunt on piano.

The young and funky husband and wife team, perhaps the new Sutherland/Bonynge, recently returned from a tour throughout Europe with the St Peter's Cathedral Choir.

They presented some of their new repertoire of Verdi, Respighi and Messiaen to a delighted and admiring audience.

Scintillating Soprano by Linh

Possessing one of the loveliest voices, including the artistry of animation and expression, Jessica Dean presented a concert showcasing the best of her vocal talents.
Accompanist Anthony Hunt delivered precision and virtuosity throughout, providing stirling support to create an afternoon of operatic brilliance.

Jessica introduced each piece with a brief description with humour and assurance, adding to the audience's interest to a much anticipated concert performance.

Ottorino Respighi's 'Song Cycle' was splendidly executed as Jessica sang through nature's elements, powerfully dramatic and arresting in Nebbie (Fog). Throughout Piogga (Rain) Jessica sang of a woman seeking relief from the anguish of lost love against relentless rain rhythms, and Anthony cleverly evoked pouring rain and patterns of streaming water over the window sills in the piano parts.

Jessica brings sensual ecstacy to Olivier Messiaen's Le Collier (The Necklace), caressing each poetic note with her mesmerising vocal qualities.

Following a short break, Jessica immersed herself in arias from some of opera's greatest composers.

Her rendition of Ach! Ich Fuhls from Mozart's 'The Magic Flute', was dramatically alluring in voice with good interpretation of the character Pamina.

A very fine effort in singing a Verdi aria, Sul Fil D'un Soffio Etesio from 'Falstaff', with her rich, dark soprano voice hitting its mark. Although still young, Jessica can easily dip into her lower register, then send her voice soaring to the heavens in a delicate lightness.

A wonderful presentation of diverse vocal repertory and skilful mastery of technique and expression, with exceptional accompaniment.

Recitals Australia: concert 1 - Jane MacKenzie; reviewed in poetry

Flawless Flautist by Linh

In a showcase of Scandanavian flair and merriment
we await a flautist and pianist with great excitement.
Jane MacKenzie plays her flute with confidence and majestic poise,
with Berenice Harrison a perfect accompanist of choice.

Together with experience and musical splendour, they form a dynamic duo indeed.
Bringing to life Sibelius, Nielsen, Kaski, de Frumerie and Grieg.
From the Swedish composer de Frumerie, we are invited to the Suite
of brightness, colour, sweet tonality, sensuality; a rhapsodic and dramatic feat.

We are then led to Denmark, with The Fog Is Lifting Opus 41 from Nielsen,
in an everchanging gamut of moods from joy to pain then depression.
Jane victoriously captures each change with eloquence and grace,
along with Berenice whose accompaniment sets the darker and slower pace.

The pair are a complimentary consummation of skill and passion for their craft
providing an afternoon of wonderment; an exquisite display of aural art.
The sounds of Scandanavian musical influences continue to be cherished
long after the 'Recitals Australia' concert has finished.

Recitals Australia: concert 1 - Jane MacKenzie

Every year, the Pilgrim Church opens its doors to the public for a relaxing, entertaining and inexpensive afternoon of concerts showcasing the talents of local performers.

Two performances are staged each Wednesday throughout the year, with tea and biscuits provided during the break.

The first concert of the year featured talented flautist Jane MacKenzie who holds degrees in Science and Medicine and she plays flute with the Burnside Symphony Orchestra.

Recitals Australia secretary Berenice Harrison accompanied Jane on piano.

Flawless Flautist by Linh

In a Scandanavian showcase, Jane MacKenzie may be the featured artist at the concert, yet with the accompaniment of Berenice Harrison, it soon became apparent it would be a dynamic double act.

Jane's ability to pour her musical expression into her performance and capture the essence of the composer's musical intent is highly impressive. Her flute becomes an extention of her entirety as she breathes freshness and vibrancy into the works of Gunnar de Frumerie, Edvard Grieg, Jean Sibelius, Carl Nielsen and Heino Kaski.

The concert began with de Frumier's Suite for Flute and Piano, engaging the audience in an array of bright, colourful, melodic, sensual, well-crafted, rhapsodic and dramatic music for several minutes.

Nielsen's The Fog is Lifting Opus 41 was a highlight, bringing moments of tenderness and pain. Jane tackles the everchanging moods with aplomb, from a bright melodious start, through to melancholy and despair. Berenice's accompaniment wonderfully echoes the dark temperament, and flows back to the melody before the two move together to a slow tempo ending of sadness and reflection.

Berenice's rare and stunning performance alongside Jane's masterful presentation made for a thoroughly satisfying and enjoyable afternoon.

Adelaide Film Festival - 'Forbidden Lie$' review

The Adelaide Film Festival is almost over and I've been so busy, I nearly missed seeing some of the world premieres and locally-made films.

Luckily, I've booked tickets in advance for the last few days of the Film Fest and get to experience an exciting visual feast.


The Truth About The Lies by Linh

Forbidden Lie$ is a documentary which gives an intriguing insight into the intricate web of lies spun by a woman whose book was exposed as a literary hoax.

Director Anna Broinowski gains access to the disgraced author of Forbidden Love, and creates a documentary of a woman's notorious journey from literary star to literary hoax.

Norma Khouri (pictured)is the author of the 2003 bestseller Forbidden Love billed as a true story of an honour killing in Jordan.

The book tells of Norma's Muslim friend, Dalia, who was killed by her father and brothers after she fell in love with a Christian client she met at her unisex hairdressing salon.

The documentary is fascinating as it begins with Norma on a quest to write about her friend's murder, her undertakings to get her book published and then the media rounds to promote the book. The audience was led to believe the story was genuine and Norma was on a mission to end honour killings in Muslim countries.

The hoax was exposed in 2004 when Rana Husseini, a journalist from the Jordan Times, found numerous errors throughout Forbidden Love.

Rana Husseini sought to prove Norma's story was fabricated, containing nothing but lies and misinformation from a money-hungry, masterful con-artist.

Dalia and the unisex hairdressing salon never existed, the honour killing never happened and the geographical descriptions in the book were incorrect.

As the film progressed, we see a different side to not only the issue of honour killings, but also the author.

The plot thickens as Rana discovers Norma's details in the novel such as time, people and places were all inaccurate and incorrect.

Norma claimed she was single with no children, yet she had a husband living in Greece and she abandoned her two children, who are living in Queensland with her neighbour.

Norma also says her father sexually assaulted her when she was four, and her husband beat her then held a gun to her head.

As the compelling documentary continued, director Anna Broinowski gave Norma many opportunities to come clean and prove her story was not a lie. More deception followed until Norma confessed to lying. Although she still claims she "lied for a reason".

An engaging, balanced and well researched documentary revealing a diabolical liar, deceptive con-artist that is Norma Khouri.