A Christmas Carol

Retrospect Arts. The Bakehouse Theatre. 17 Dec 2014

Philip Zachariah has been performing his one-hander ‘A Christmas Carol’ around Australia for several years now.  The work - one of Charles Dickens's most popular - was written in 1843, and it has never been out of print.  Reaching the stage the following year, Dickens himself publicly read an abbreviated version of his novella over a hundred times, and this show, I'm sure, is an enlivened re-enactment of the same.

For those who have missed this important part of Christmas all their lives, the pejorative "Scrooge," "Bah, humbug!", Tiny Tim, and the film, The Grinch Who Stole Christmas, all originate from this tender tale of redemption. The miserly and miserable Ebenezer Scrooge hates Christmas, until he is visited on Christmas Eve by ghosts that convince him otherwise.  The famous 1951 film, staring Alastair Sim, was obligatory viewing on Christmas Eve in the Grybowski household in Canada, and unfortunately saved us the trouble of reading the book.

Zachariah, resplendent and startling in period formal attire and beard, would be at home in a Chekhov play or a Dostoevsky novel.  He vividly and energetically portrayed all the characters with sharp distinction and individualised expression.  Alongside conveying many heartfelt moments and humorous situations and vignettes, Zachariah resorts to dance and often demonstrates a surprising physical capacity in his aged protagonist.  

However, I think Dickens's diction could have been delivered with more clarity.  Scrooge was rendered as a small, withered man, tight as a dried prune, and this often resulted in a choked vocalisation, culminating when Scrooge was giddy with Christmas, but expressed with a forced and annoying laughter.  Perhaps director James Adler, uncredited in the program, should have another listen.

You have only one more night to succumb to Zachariah's enchanting performance.  Scrooge's transformation to generosity and love puts the awe back into Christmas, and Zachariah leads the way.

David Grybowski

When: 17 to 18 Dec
Where: The Bakehouse Theatre
Bookings: Closed

Summer Showcase of Opera Scenes

The State Opera of South Australia. The Opera Studio. 14 Dec 2014

On Sunday afternoon there was gluttony, unrequired love, sexual indiscretion, grief, blood, mayhem and carnage at the Opera Studio, and some damn fine singing!  

Playing to a capacity audience, talented director David Lampard put together a generous program of operatic scenes from no less than six operas featuring signers from the Young and Emerging Artists programs of the State Opera, who are generously assisted by the James and Diana Ramsay Foundation.  

With only a few simple moveable set items, Lampard seamlessly wove together scenes from ‘Falstaff’ (Verdi), ‘Eugene Onegin’ (Tchaikovsky), ‘The Marriage of Figaro’ (Mozart), ‘Der Rosenkavalier’ (R Strauss), ‘Suor Angelica’ (Puccini), and ‘Lucia di Lammermoor’ (Donizetti).  

Comprising thirteen performers in the early stages of their careers, the program amply demonstrated the depth of vocal talent this state has to offer.  Of particular note were sopranos Desiree Frahn and Joanna McWaters.

Frahn gave a standout performance of Tatyana (‘Eugene Onegin’).  She sang the role beautifully and won the hearts of all with a superb portrayal of the passionate love struck aristocrat. Jeremy Tatchell’s voice didn’t quite suit the role of Onegin but the chemistry between he and Frahn resulted in an impressive performance.

Joanna McWaters sang a fine mad scene from ‘Lucia di Lammermoor’ and held the audience spellbound with her fine acting.  Lampard was careful to ensure that the witnesses to Lucia’s demise were ever watchful and horrified as the tragic events unfolded.  Yes, the focus is on Lucia but her tragedy is made even more poignant by the despairing reactions of those around her.  McWaters richly deserved the prolonged applause at the conclusion of the program, as did the rest of the company.

Special note must be made of pianist David Barnard whose accompaniment and musical direction was near faultless.

Kym Clayton

When: Closed
Where: The Opera Studio
Bookings: Closed

Amahl and the Night Visitors

Emma Knight Productions and Karen Lettice Productions. Space Theatre. 4 Dec 2014

Written by Pulitzer prize winner Gian Carlo Menotti in 1951, ‘Amahl and the Night Visitors’ is a one-act Christmas opera for children and was the first ever written specifically for television.  It has since become an annual tradition but it has been many decades since it was last performed in Australia.

It is set at the time of the birth of Christ and concerns a young lame shepherd boy Amahl and his destitute mother.  One night they are visited by the three Magi who, with their gifts of gold, frankincense and myrrh, are on their way to Bethlehem to worship the Christ child. The mother provides them with shelter for the night but has no refreshment to offer.  In her desperation she is later caught stealing a piece of gold but she is forgiven and Amahl offers his wooden crutch as a gift.  He is immediately shown God’s grace and is healed.  Able to walk again he asks if he can accompany the three kings so that he too can worship Christ.

This production has been a labour of love for co-producer Karen Lettice, who also sings the role of the Mother.  The production team and cast is derived exclusively from Adelaide talent and there is plenty of it.

Damon Hill’s representational set is simple and assists the action to flow well, but it is perhaps lit too uniformly and doesn’t reek poverty.

Olivia Freear’s costumes contrast the peasant folk with the richness of the kings, but there is a medieval feel about it – not 1st century Israel.

Vanessa Redmond’s spirited choreography was a highlight of the production, and would have worked even better if the dance routines came across as being performed for the entertainment of the three Kings rather than for the audience. Apart from this oversight, Andrew McKenzie’s direction was tight and he allowed his principals the freedom to use the acting space.

Ian Boath’s small orchestra was at the top of its game, and Josh Oates on oboe and Sachiko Hidaka on piano were particularly fine.

The Magi were played enthusiastically by Branko Lovrinov, Andrew Turner and Keith Hempton.  Karen Lettice’s tight vibrato suited the anxiety of the role she played but the lightness of her voice got lost in the cavern that is the Space, as did Aidan Hutson-Hill’s light treble voice, which was a shame as his characterisation was quite touching.  The large chorus was well disciplined and their careful articulation made them sound as one, which is precisely the way it should be.

A lot of care and passion went into this production but it needed a friendlier and more intimate venue.

Kym Clayton

When: Closed
Where: The Space Theatre
Bookings: Closed

Hay Fever

Kay McLean Productions and Theatre Royal Bath Productions. Her Majesty's Theatre. 3 December 2014

Hay Fever was written by Sir Noel Coward earlier rather than later in his career in 1925.  The great plays like Private Lives and Blithe Spirit were yet to come, and I don't feel that Hay Fever measures up.  A comedy of manners concerning horror hosts and hapless house guests at the country estate of the ironically named Bliss family, it is linear in plot and often over hysterical or forced in presentation.  The dialogue is not dated, but unfortunately, what were ground-breaking characters satirising the eccentricity of the upper crust in 1925 are now stereotype, and director Lindsay Posner provides an entertaining rendition but nothing new.

There is a Catch 22 with touring shows.  You need a star to attract sales but the price goes up to pay for the star and the first class set, which hurts sales.  Productions of Hay Fever in the old dart since 2006 have starred the likes of Judi Dench and Diana Rigg in the pivotal role of eccentric family mom Judith Bliss.  The Australian leg of the tour has the petite Felicity Kendal famous for her role in the 1970s British sitcom The Good Life, with which she has been subsequently closely identified with.

And the star does a star turn.  Kendal's nuances and characterisations as the exasperated mother of two, and wife of a man less than one, are a delight.  You can feel the experience of a life in the craft, which, interestingly, includes touring Shakespeare with her parents in India as part of the family business.  The rest of the cast are of a very high standard and perform admirably, each having an opportunity to show their character at their worst through amusing expressions.  Certainly a highlight of the production is the sheer physicality of the action.  Professional touring shows arriving here after a significant run are always well-oiled machines, and this one is exemplary.  Set and costumes by Peter McKintosh are rich and detailed.

Seats go for at least $125 on Saturday and it's not good value unless you crave a viewing of Felicity Kendal.  Otherwise, save your dough for the Festival.   

David Grybowski

When: 3 to 7 Dec
Where: Her Majesty's Theatre
Bookings: bass.net.au

Photography by Nobby Clark