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Recent reviews

Film  |  Theatre  |  Art  |  Opera  |  Music  |  Television  |  Festivals

Welcome to ABR Arts, home to some of Australia's best arts journalism. We review film, theatre, opera, music, television, art exhibitions – and more. To read ABR Arts articles in full, subscribe to ABR or take out an ABR Arts subscription. Both packages give full access to our arts reviews the moment they are published online and to our extensive arts archive.

Meanwhile, the ABR Arts e-newsletter, published every second Tuesday, will keep you up-to-date as to our recent arts reviews.

 

Recent reviews

Rhinoceros 

fortyfivedownstairs
by •
04 November 2024
‘Rhinoceros: Ionesco’s world of heady instability’ by Ellie Nielsen

Zinnie Harris’s adaptation of Eugène Ionesco’s Rhinoceros, in this Spinning Plates production at fortyfivedownstairs, opens on a sombre wasteland setting, bathed in eerie yellow light. In a sudden blaze of colour, a raucous rabble of ordinary characters, rendered extraordinary by Dann Barber’s bold and anarchic costumes, invades the stage. The energy is starkly at odds with Jacob Battista and Dann Barber’s superbly contained and claustrophobic staging. From this heightened theatrical world – part pantomime, part circus – we brace for a wild ride.

... (read more)

Conclave 

British Film Festival
by •
01 November 2024
Ralph Fiennes in Conclave (British Film Festival)
My favourite Ralph Fiennes performance is in Fernando Meirelles’s The Constant Gardener (2005). Fiennes plays a British diplomat stationed in Africa, forced to unravel the conspiracy that led to his wife’s murder. Investigating her death, he comes to know her better than he did when she was alive; it is a backwards love story about honouring legacies we might not fully comprehend. Fiennes’s role as Cardinal-Dean Thomas Lawrence in Edward Berger’s new Vatican thriller Conclave plays out in a similar key. ... (read more)

Kaddish: A Holocaust Memorial Concert 

Melbourne Symphony Orchestra
by •
01 November 2024
Benjamin Northey conducts Kaddish (photograph by Laura Manariti)
This concert was the fourth, and perhaps most immediately relevant, in a series of concerts conceived over the past six years by artist-in-residence Christopher Latham for the Australian War Memorial. As with the Diggers’ Requiem (2018), Vietnam Requiem (2021), and the Prisoners of War Requiem (2022), Latham has created a narrative to accompany a series of musical works intended to make the history it explored ‘more conscious, identified and understood’. ... (read more)

Melbourne International Jazz Festival 

Melbourne International Jazz Festival
by •
29 October 2024
Herbie Hancock (photograph by @Duncographic and courtesy of MIJF)
This year’s Melbourne International Jazz Festival (MIJF) was heavy on Grammy winners and nominees – including Esperanza Spalding, Makoto Ozone, Antonio Sánchez, Brandee Younger, Marcus Miller – a sure sign of the festival’s growing international status and capacity to attract some of the biggest names in jazz. None come bigger than Herbie Hancock, fourteen-time Grammy winner, who returned to MIJF for the first time since 2019, to headline Jazz at the Bowl, alongside bassist Marcus Miller. ... (read more)

Lee 

StudioCanal
by •
22 October 2024
Kate Winslet as Lee Miller (courtesy of StudioCanal)
The first act set-up of a biopic is almost always laborious. Grandiose voiceover and lines of dialogue are laden with the knowing weight of history; various conflicting images of the subject and their ‘truth’ are forced, often boringly, into narrative harmony. Lee, the feature début from respected cinematographer Ellen Kuras (Eternal Sunshine of the Spotless Mind, [2004]) and long-time passion project of its star, Kate Winslet, is quick to fall prey to these generic obligations. Characters portentously refer to one another by their full names (‘What are you going to do now, Lee Miller?’) and historical turning points are neatly condensed into one-liners (‘We’re getting ready, aren’t we, for the invasion of Europe?’). ... (read more)

A Different Man 

Kismet
by •
21 October 2024
Sebastian Stan, Renate Reinsve, and Adam Pearson in A Different Man (courtesy of Kismet)
Where David Cronenberg’s body horrors of the 1980s and 1990s, such as Videodrome, The Fly, and Crash, were fascinating because of the fusion of technology and the human form, a new wave of genre films is anxiously asking: how much can we tweak and tinker before our bodies start to bite back? Like Theseus’s ship, how much can we swap out before nothing of our true self remains? Cosmetic surgery is booming in the 2020s, promoted via social media and normalised across every age group, so it is no wonder that a new generation of filmmakers have bodily modification on the brain. ... (read more)

Eucalyptus 

Victorian Opera and Opera Australia
by •
18 October 2024
Desiree Frahn as Ellen (photograph by Charlie Kinross)
Two new and important Australian operas within a month: Gilgamesh (Symons/Garrick) in Sydney in late September, and now Eucalyptus (Mills/Oakes) in Melbourne in mid-October. This certainly hasn’t occurred for quite some time, if ever. Composer Jonathan Mills, mentored at Sydney University by Peter Sculthorpe, is probably best known for two acclaimed operas. ... (read more)

A Wilde Ballet

by •
14 October 2024
Adam Elmes as Bosie and Jarryd Madden as Oscar (photograph by Christopher Rodgers-Wilson)
As a former dancer who has grappled with questions about sexuality, I was often struck by ballet’s contradictory relationship with queer inclusion and representation. On one hand, the art form – especially in Western countries – has long been seen as a safe space for the LGBTQ+ community. Ballet legends like Rudolf Nureyev, John Neumeier, and Jack Soto lived openly as gay men, and in 1997 an American study estimated that more than half of professional male dancers identified as gay or bisexual. Yet despite the sector’s inclusivity, the art form has also played a role in suppressing queer representation onstage. ... (read more)

Angela Hewitt in Recital 

by •
11 October 2024
‘Angela Hewitt in Recital: The British pianist begins her Australian tour’ by Michael Morley

In a deftly pitched introduction to the evening’s program of Mozart, Bach, Handel, and Brahms, Angela Hewitt mentioned in passing that her first visit to Adelaide had been back in 1991. A packed and responsive Elder Hall audience was quick throughout the evening to show their support and enthusiasm for the artist, her choice of works, and her individual performances. 

... (read more)

The Apprentice 

Madman Entertainment
by •
08 October 2024
Jeremy Strong as Roy Cohn and Sebastian Stan as Donald Trump (courtesy of Madman Entertainment)

The Apprentice begins with footage of Richard Nixon addressing a television audience. It is 1973 and the Senate Watergate hearings are underway. ‘People have got to know whether or not their president is a crook … Well, I’m not a crook,’ Nixon intones.

... (read more)
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