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November 06
Edition

Pages in PDF

Regular
Features

› The Fat Lady
  Sings
  with JoAnn Pacholli

› In Tents Thawt
  with Mick Pacholli

› Sid's Comments
  with Sidney
  Somerville-Smith

› The Lie Detector
  with Mitchell
   Faircloth

› Fab's Ravings

› Technology
  with Chris Jacobs

› Your Views

› The Artful Stock Picker
  with
  Peter Hegarty

› Marketing Advice
  with Andrew Hickinbotham

› Family Issues
  with
  Marilyn Brideson

› The Culture of Appearance
  with
  Suzanne Walker

› Gallery Gazing

› Planet Clare

› Lovatts
  Crossword

› Social Scene
  with Ken James

› Live Theatre
  with Blair Edgar

› Movie Scene
  with
  Marcus Sinclair

› Entertainment
  with Gary Turner

› Grazing in the
  Suburbs
  with Mick Pacholli

› Fab's Travel

› Talking Manure
  with Mick Pacholli

› Furry Friends
  with
  Dr Graeme Smith

› Racing
  with Ted Ryan

› Rant & Rave
  with
  Paddles Hackett

› Bowls
  with Mick Pacholli

› Motoring
  with Garry Fabian

› Short Cuts
  Writers
  Competition

› Competitions

Live Theatre

[by Blair Edgar]

National Opera Returns

November 5 sees The Australian Opera return to the State Theatre with three productions, all of which we have seen before.

Graeme Murphy’s wonderful rendition of Puccini’s Turandot contains all the spectacle that this work allows.

The Murphy touch is most apparent in the seething waves of the chorus, as the crowds of Chinese await the slaughter or success of the suitors for the Ice Princess’ hand.

But as with everything Murphy touches, there are depths and subtexts and layers- or there were. Let us hope that Murphy’s production, and his intentions have been preserved.

Opera companies are usually very good at preserving the work of a good director. Time, costs, and focus simply on the music can suck the life out of repertoire pieces.
Out of the three Figaro plays, The Marriage of Figaro appealed to Mozart most.  

This play said everything that Mozart wanted to say about decadence in the aristocracy, and the need for servants to have cunning and wit to survive.

Like Shakespeare, Mozart could take a text and infuse it with immortality, extending and raising it above itself. He put his individual stamp firmly on it.

Ever since he wrote Figaro, it has been as he himself noted: “Figaro, Figaro, all is Figaro”.

Teddy Tahu Rhodes will undertake the Count. Next year Rhodes will be seen as that sexiest of all opera anti-heroes in Don Giovanni. Well if you’ve got it, put it out there, I say! The theatre is about sex, and he’s sexy.

The third work is Handel’s Julius Caesar. Certainly not my cup of tea, but it has to be said that there has been a worldwide revival in the Baroque. There are audiences and they deserve to get what they enjoy, even if I don’t.

Phantom Coming Back

For its first Melbourne season, Phantom Of The Opera received one of the most brilliant marketing campaigns ever staged in this city.

It looks as if the whole thing could happen all over again. How long is it since a daily tabloid has announced the prospect of something in a theatre on its front page?

Anthony Warlow let it be known some time ago that he wanted to reprise the role he created in Australia. The announcement of his engagement and the scheduled production are the two worst kept secrets we have had since government leaks.

Mr Warlow is a fine performer and his public know that, so do the management.
His battle with the ravages of cancer has only added to the depth of his performing.

But more importantly he is a star- a star who fills theatres on his name alone. That is a star, not someone who does nothing badly on television.

Phantom has been touring through Asia with a mix of Aussies, Americans and South Africans. I am sure that the casting here will be awaited with curiosity and anticipation.

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