When Simon met wonder

I'm listening to Reina De La Pileta a as I write this. It's the album launched the other night at the Street Theatre by Simon Milman with Wanderlust. Simon composed the music. it's strongly influenced by his latin background and interests, and it's very good. I've admired Simon's compositions and performances for some time. Whether Ornette-influenced or Latin or whatever, his work has purpose. The launch was in the Street Theatre 2, an intimate performance space, with a few wide rows of seating and a good PA and an upright piano. Fabian was unavoidably absent and ably replaced by Steve Marin. Otherwise, this was the Wanderlust we know and love. James and Miro up front, forming perfect harmonies and Miro in some of the best form I've heard with clarity and perfectly formed notes and inevitably correct phrasing and sweeping scalar responses. James seems to be playing more trumpet these days, so he was on trumpet, pocket trumpet and trom and a few beats on cajon. Again, always impeccably phrased and intoned lines. Alister withheld his playing with some immensely simple but well placed small chords that fit latin and one reggae feel, but then laid out some solos that floored me and that we mates talked about after the performance, delving into syncopations and sequences and then into a delicious free jazz of colour and magnificent in conception and performance. This was not a gig of solos, although everyone had at least one - the horns had plenty - but from the relaxed grooves, these solos just emerged with intent and energy and they all were lessons in melody and structure. Then Jeremy, who mostly played supportive parts and also laid out at times, but took a few driven Scofield monster-solos and I think one on nylon strung acoustic, but his playing that floored me was some richly dissonant chording in one of the tunes that said Bitches Brew to my ears. Very prominent and just fabulous. Simon, too, was mostly supportive (he could have been louder in the mix) rather than flashy, but his solo was a lovely melodic statement with real connection and no phony flash or flourish, more than just a bop overlay over the changes. Drummer Steve was sitting in, apparently at short notice, and he did the job admirably, laying rhythms and nicely snapping the snare, and his solo was a cracker that not just Miro and ever-supportive James were admiring. Wanderlust is a band of long standing with mature musicians and an engaging repertoire. Simon's compositions did them justice and vice-versa. The first set comprised tracks from the album and the second had more album tunes and some Wanderlust classics and Simon's take on Cold Chisel's Khe Sahn. After the intro, I guessed this would be Khe Sahn (I knew Simon had arranged this tune) but even then I only caught one phrase in a 10-minute rendition. James' comment at the end was "Where did that come from?" It wasn't at all obvious, but it was another goody. Congrats to both Simon and Wanderlust for an enticing evening of exceptional playing. Truly impressive.

Simon Milman (compositions) launched the album Reina De La Pileta / Wanderlust meets Simon Milman. The performers were Miroslav Bukovsky (trumpet, flugelhorn), James Greening (trumpet, pocket trumpet, trombone), Jeremy Sawkins (guitar), Alister Spence (piano), Simon Milman (bass) and Steve Marin (drums).

Chops assumed

I like plucked solos on nylon string guitars. They are fast, flashy, exciting, with that dull thud with edge. Classical guitars use nylon strings and they claim a range of tones with fingerpicking. But this is different, not classical. It's a thrilling sound, with its references to Spain and flamenco. This was like that. Richly embroidered with rhythms form three guitars, often fingerpicking with ring and pinkies, along with picks and strums. I also like it when several people play the same instrument together. Their approaches and concepts are easy to hear. This was Mike Price, Greg Stott and Stuart King playing as Hermoso Sonido and they were obviously different in tone and soloistic styles.

I also like it when chops are assumed and the tunes take centre stage. I don't notice it too often and it's not always too obvious. I noticed it during a rich pop tune from Elvis Costello, Favourite hour. The solos were great, the interplay was wonderful with three similar instruments never stepping on each other, each taking a part, perhaps unconsciously, passing solos or supporting as a duo. This was so easy and the tune was paramount. Favourite hour was through composed, with great lyrics (but nobody offered to sing) and with unusual changes. They also played a rough transcription from Jan Lorenz, who Mike had seen in Barcelona, and a few originals from Greg and Kenny Wheeler's Kind folk, which I've heard before from Mike. I only heard the second set, having come from the Australian Haydn Ensemble, but they'd played some Chick Corea, one of which was the lively Open your eyes you can fly from the first, from the first incarnation of Return To Forever with Airto and Flora Purim and Joe Farrell and Stan Clarke. I got two things from this gig. Firstly, how well they played together. This was a lesson in three similar instruments not getting in each others' way. I realised when Mike was soloing, Stuart was strumming and Greg was filling with notes from chords. Very neat. And how three very good players on the same instruments can display such markedly different approaches.

This was a wonderfully involving concert with a settled quietness about it all. Thrilling in solos and skills and communicative in chatter and presence. Not loud, not forced, but driving and unified. Clearly three local masters at their craft. Hermoso Sonido are Mike Price, Greg Stott and Stuart King (nylon strung guitars).

Anything but heartless

The Australian Haydn Ensemble feels like living music, not electronic digital-perfect but with body and life. I imagine this is what music was like in the past. Instruments and education were not the production of machines and computer accuracy. Each gut string a product of another body. It's a revealing musical experience. Intimate and human. Women in lacey black and harpsichord with country idyl scenes. I hear elemental sounds. Waves of notes, rising and falling and wind and weather and country in the music. This is countryside and nature that none of us, probably not even our rural cousins, would experience now, in our age of vehicles and machines and communications and power in a switch rather than in the legs of a horse of the smouldering of a lump of timber. The period instruments help in this, notably the recorder-like tone of a wooden flute. Perhaps the room influences it, too; the Larry Sitsky room would have been big for musicians of this period. The music itself is located somewhere between baroque and classical. The is Abel and JC Bach and Haydn and Stanley. Some of it feels like popular music. Some of it feels pretty straightforward. Politics and society are always complex, but this music sounds young, of the early days of Western musical history. Lots of unisons, easy rhythms and simple times and attractive melodies, syncopations that are just dotted notes and consonant harmonies in major keys with scalar runs and third intervals. But it's quite beautiful with its mix of tones, the flute in parallel with the violins and the harpsichord plucking in accompaniment and the bass and cello working away below. For a few songs, also a male baritone singing of nymphs and shepherds and the like and the sounds of country and nature. The Australian Haydn Ensemble are artists in residence this year at the ANU School of Music and this was a lovely introduction to their music. Loved it.

The Australian Haydn Ensemble performed in the Larry Sitsky Room. They comprised Skye McIntosh (violin), Alice Evans (violin), Heather Lloyd (viola), Noeleen Wright (cello), Stewart Smith (harpsichord) and Jacqueline Dossor (bass). David Greco (baritone) joined them for several songs.

This one's for the piano

All Saints has a newish grand piano and this was a fundraiser by the singers and musicians of the church choir. They must be an impressive choir for they did decent work as soloists, but on instruments and on voice. This was a diverse outing; about 50-50 instrumental and vocal. Vivaldi, Franck, Haydn, Telemann, Mozart, Brahms. These were not unexpected, but perhaps the Ernesto de Curtis was. He wrote Torna a Sorrento, the magical and popular Neapolitan song. Gerard sang that with Kimberley accompanying, and I loved it, but then I can't help but love Neapolitan song. The two traditional songs by solo Alex were unexpected, too, as much folk as classical repertoire, and performed up close and personal. Alex told us one moved from folk to classical repertoire and the other vice versa. They were She moved through the fair and The three ravens, both Traditional. Then some instrumentals. Clara on cello accompanied by Kimberley on a Haydn's Piatigorsky Divertimento. This was perhaps my favourite. Light and entertaining but with considerable skills required. Cello is a wonderfully earthy instrument and Clara did it justice. Kimberley, too, on piano, was outstanding throughout. She's awarded as an accompanist and this was clear this day. Well listened and sweetly played with real character. The Telemann was performed by oboe and recorder with piano accompaniment. Typically early music suggesting dances in mediaeval stone halls: a lovely and dignified variation. I haven't mentioned vocal numbers and this is the choir. Perhaps outstanding for me was Pergolesi's Stabat Mater, but it's a favourite in our house. Rachel displayed a powerful lyric soprano voice on Handel's Piangeró la sorte mia, Julio Cesare. Nice to hear some English lyrics in Mendelssohn-Bartholdy Oh rest in the Lord. The Brahms was voice with viola and piano for a more orchestral and modern conception. Frank's Panic angelicus. La Gallienne's Farewell thou art too dear for my possessing featured Gerard, a male voice, and Tristan also harmonised with Lou on Franck's Panis Angelicus. And the lengthier Mozart's Exultate, Jubilate ended with Gemma's soprano in Latin. Alleluia. This was a varied program. Joyful, informative with introductions and rich in styles and varied tonalities. Thanks and congrats to what must be a very satisfying choral gathering.

The varied program was performed at All Saints Anglican Church, Ainslie, by Kimberley Steel (piano), Gemma Dashwood (soprano, piano), Lauren Davis (viola), Clara Teniswood (cello), Caroline Fargher (oboe), Ann Neville (recorder), Alex Maroya (baritone), Gerard Clifton (baritone), Louise Merrington (mezzo-soprano), Tristan Foon (baritone), Rachel McGrath-Kerr (soprano) and Catriona Bryce (contralto).

Elvis is in the house

It's the closest I'll ever get to Elvis. Jacqueline Feilich was at the Artists Shed as the King singing the Stax era, early 70s, and she was stunning. To my ears, this was Elvis. Strange, being a woman, but she had the range, the phrasing, the pitch, the tone, the right embellishments. There's an industry out there around Elvis but with lots of overweight guys in Las Vegas-era costumes. Jacqueline had a dignified black presence although her website has some pics with the colour garb. I like to think of Elvis as the young and poor white singing genuinely black rather than his sad later life. JF had appeared at the Artists Shed a few months back and for some reason I couldn't get there. This time I heard some mutterings that the songs she sang were not so well known. JF explained that Elvis had sold off his back catalogue in the early-70s and collected new material to go into Stax Studios, Memphis TN, and record. Apparently these tracks were dispersed over several albums so not particularly noted, but they were great. I loved the show from the first notes. JF sang solo against a recorded backing track, presumably from her band or CD. From the top, this was great R&B as I understand it with an authentic voice. You couldn't help but groove from the first notes. Then through country styles (doesn't he do that well!) and gospel influences and wonderful ballads. Stax was not his early, sexy days, but this was a mature artist with great support playing for himself. There was a TV downstairs playing the Las Vegas show, and this too was replete with great backing musos. It's like this with the Sinatras and Presleys. They may age along with their voices, but their reputation and money buys the best backing. I knew very few of these tunes - perhaps just Chuck Berry's Promised land and Guitar man - but it didn't matter. Great, heavily grooving music and richly worked voice and that magical black essence in a white body. One thing took me back. Apparently Elvis took over the whole of Stax with his own artists and sound men. Not sure what's left if you do that - just the room and the gear. It's strange this thing about tribute bands, but I've liked a few. Beatnix were stunning (they all sang their right lines and played their right instruments, so Beatnix/Paul played a left handed Hofner and sing Paul's parts!) and I enjoyed Bjorn Again. It's not just copying, but also a mark of respect and love when done by the best. Certainly you have to involve yourself deeply in the music, because there are plenty of fans who will know every line. Jacqueline Feilich is all that, and locally based (Sydney) and internationally respected. She's back at the Artists Shed in September and she's good. As near to authentic as I can image.

But that's not all. Jacqueline's daughter, Ruby Feilich, did a warmup on Tina Turner. Hey, what's love gotta do with it. Not quite as polished or professional as her Mum, but not at all bad and great fun. And from a schoolkid. This time we knew the tunes: Nutbush, What's love gotta do with it, Proud Mary, Private dancer and the footy anthem, Simply the best. Great fun and busily energetic. Now to learn the footsteps for Nutbush - not that it's so hard.

Jacqueline Feilich sang Elvis' Stax sessions and Ruby Feilich sang Tine Turner hits at the Artist Shed in association with the Elvis 21 exhibition at the National Portrait Gallery.

Manuka again

It's our local and we'd walked down for pizza to start the long weekend and there was jazz in the distance as we left. Victor Rufus was out with Barney Briggs and Sean Connaughton playing standards for the diners. We just caught a few including Beatrice and Alone together. Some tasteful melody from Victor and some fleet bass solos and a very latin take on Alone together. On the lawns at Manuka, under the pollarded plane trees. Just ships passing in the night but nice. Victor Rufus (guitar) played with Barney Briggs (bass) and Sean Connaughton (drums).

The presence of the past

It's nothing like the great museums overseas, of course, and smaller than the Nicholson Museum in the Quad at University of Sydney, but the ANU's Classical Museum in the foyer of the AD Hope building is a little gem. We visited after attending a lecture on the first and second sacks of Troy at the strangely named Haydon Allen Tank. And even more strangely, after attending the AGM of the Friends of the Classical Museum. That was a merciful 7 minutes or so, with the most interesting thing being their two recent purchases. All this has a ring of strangeness about it, but the classics are intriguing and they are in our Western cultural DNA, even if they are rather distant these days. But some Friends maintain the age. The lecture was by Chris Mackie, professor of Greek studies at La Trobe University, and he was a lively and entertaining speaker. He recounted the story of the first sack of Troy and the roles of the hero Heracles and proceeded to make comparisons with the second sack. The first is alluded to in the Iliad and the second is the subject of the Iliad. He compared heroes, enemies, weapons, the source of glory. Heracles (first sack) used bow & arrow to fight monsters and left Troy intact despite broken promises of King Laomedon. By the time of the later sack, the spear is noble and the bow ignoble, the enemies are cities and glory is in destruction and genocide. About more recent times, Prof Mackie made a parallel with WW1/WW2, where battlefield confrontations became total war with civilian targets. Thus both the Iliad and our times speak of increasing bleakness and hardening of politics. Then off to the Classic Museum for an after-event social gathering. Just a quick visit for us as I was off for the second set of Grey Wing Trio at Smiths, but a delight. I wouldn't want to live there, but the remains of the ancient world are rare and vivid and strange: some Greek vases and statues and Roman oil lamps and fresco fragments, the central model of ancient Rome (which displays a remarkable degree of survival in modern Rome). Then off to Grey Wing. I wrote them up a few weeks ago, so little here. Suffice to say I heard one set comprising just two compositions by Luke. This was stellar playing all round, although this time I was particularly taken by Finn's open, detailed, delicate drumming. Not enough time at the Museum or Grey Wing, but them's the options.

Prof Chris Mackie spoke on Troy for the Friends of the ANU Classics Museum. Grey Wing Trio comprise Luke Sweeting (piano), Ken Allars (trumpet) and Finn Ryan (drums) ad they played at Smiths Alternative.

ANU Classics Museum

Not Dixie

Someone joked that it looked like Dixieland but it was anything but. It sounded more like Ornette and the clarinet gave it a classical ambiance especially when playing with James' inventive harmonising. They all chose notes so well. I could hear bass ostinatos and even once or twice a walk, so there was tonal centre and chord changes, but the considerable freedom in harmonies and choice of intervals and counterpoint and the lack of a chordal instrument made for a freer sound. The charts appeared and times and the tunes joined in medleys, settling for a while for someone's solo then dissolving into more interplay in te front line and unresolved freedom until another tuned appeared. They seemed to have long written charts but with open space and room to escape the dots. for their individual statements. I'm writing this while I listen, and it's dissolving right now as I write, from a swing and walking bass and capable clarinet solo into an interlude of free then into trumpet and a marching drum and sparse bass on 1 with embellishments and already I'm feeling urgency as something grows into glissando bass and that solid march and Reuben steadily stating a melody increasingly clearly. Now counterpoint form 2 horns and soon delicious contrary motion from James. Nothing here is fast but it delights in melody and tunefullness despite none-too overt structure. Delicious is a great word. Two sets of 45 mins, mostly without a stop or chatter. Then just a final cover of Tomasz Stanko as an encore. Reuben Lewis (trumpet) led a quintet at the Gods with James Greening (trombone, trumpet), Jon Hunt (clarinet, bass clarinet), Mark Shepherd (bass) and Ronny Ferella (drums).

Wet enlightenment

The Enlighten Festival was wet and so quieter than previous years. We'd gone in to hear Charles Bradley and his Extraordinaires. He's a mature soul singer from Brooklyn and one-time James Brown cover. Sounds good. The rain was very light as we arrived to find lighted candles fronting the High Court as the Fire Garden. Lovely and also warm. Then on to the outside stage beside the Portrait Gallery. It was closed and then an announcement that the band was moving to Uncle Ben's Electric Garden, a space behind Questacon and the social centre of Enlighten. It was a sensible move to concentrate the limited audience. Shame about the weather. But the rain held off well enough and there was a string of bands to entertain. Lolo Lovita were a Romani quartet playing music of the Balkans. Crystal Barreca and her band are well known locals, many out of the Jazz School. Sunshine Brothers are a reggae flavoured band out of Perth. Their line on the night was "We give you the lust, Charles Bradley gives you the love". Then a walk to the National Library to get some respite from the rain. Dirk and co were playing there, presumably as As Famous as the Moon, so some standards for a change. A quick visit to Questacon for some cutesy science. Interesting to see audio frequencies visible over a tube exuding small fires along its length. And a plasma ball that was both intriguing an beautiful. Then return to the stage and Cam and mates, Brass Knuckle Blues Band, were playing. They are well established and playing really well these days. Then Charles the man. The was a real stage show, nicely structured into two parts, a gee-up from the pianist at the mic, a V-shaped stage presentation with bass-guitar-guitar to the right and trumpet-tenor-keys to the lift, drums riser at center back and Charles himself front and centre. All soulful love for Australia and everyone with instrumental show-opener, songs neatly merging and a show-ending instrumental segment. This was an hour of richly toned music from the two guitars and keys in rhythm section and the two horns for hits and really neat drums and bass. Very sharp and well played, even if the music itself is just a few chords with fairly obvious themes. My ears twitched to a song towards the end that suggested politics, about it being so hard to get on in America, but I'm not sure his answer escaped American dream mythology. And another theme on tolerance that was also presented from an American God-aware worldview. But, then, we are all the products of our upbringing. I'm sure many Americans find us strangely secular. So, despite the light flittering of rain, this was a night of considerable pleasure and plenty of music. Nice.

What goes with acid-wash

I've said before that Shortis & Simpson are local gems and I stand by it. Capable musicians with wide knowledge of popular song and political wit in a cabaret package. S&S are a Canberra institution and how perfect are they for this town with its seat of government, as disappointing as it may sometimes be! We got to another of their Out of the Cabinet annual series. It's held at the National Archives of Australia, it looks at recently released Cabinet documents in music and in more prosaic historical form, with a summary from the NAA's resident historian. What a lark.

The year was 1986/87. Hawke and Keating were in power. Unleaded petrol cost 51cpl; a house in Duffy sold for $79K; DINKs, acid-wash jeans and scrunchies were just discovered; the first computer virus arrived and Email was still the name of a fridge. Halley's comet arrived with the grim reaper and Badgery's Creek was on the agenda (some things never change). An early mobile phone conversation between Peacock and Kennett was hacked and caused ructions in the Opposition. Keating was the Boy from Ipanema with the Banana republic and other brilliant putdowns. Jo blew the Coalition's election by going for PM and The Moonlight State led to the Fitzgerald Commission and the exposure of corruption up north. It was the International Year of Peace if we ignore Libya, Nicaragua, Arms to Iran and Starwars. Marcos fell and we were more interested in Imelda's shoes. Chernobyl led to Sting's haunting song, Russians ("We share the same biology / Regardless of ideology / What might save us, me, and you / Is if the Russians love their children too"). Hawkey promised no child would be living in poverty by 1990. And MFP, Fiji coups, Defence White paper (anothery),Collins Class subs, Land Rights legislation, Maralinga Royal Commission (there's a RC with a real purpose), Qld & Tassie forests, blonde jokes (how did that get in there?), Neighbours and Kylie, final Countdown, Lady Gaga b. 1986, Andie married Fergie and Malcolm Fraser was caught with his pants down (we ignore that he was doing worthy international work at the time). As for songs, think, Crowded House Don't dream it's over, Paul Simon Gracelands, Cyndi Lauper True colours, U2 Joshua Tree and Hunters & Collectors' enduring Australian anthem Throw your arms around me. John gathers all this after extensive time in the National Library combining with his love of popular music. On stage, he's piano and harmony and chatter. Moya is chatter and song with malleable voice ("Donald Malcolm Where's Your Troosers") and tongue-in-cheek wit. Dr Jim Stokes is their straight-man and occasional whipping boy. This was Jim's last Cabinet show after his recent retirement.

We were there that year as were the many grey hairs in the audience. No surprise there: it's great as a relived memory while perfectly good as history for others. Great mirth and pleasure and intelligence and even a bit of wisdom amongst the laughs from S&S, another discrete Canberra gem. Shortis & Simpson are John Shortis (piano, chatter, vocals and extensive research) and Moya Simpson (chatter, vocals). They were accompanied by Dr Jim Stokes (NAA historian, retired).

Difference that blends

Luke keeps returning with great bands. The Antipodes Quintet was the latest, at Smiths, this last week. It seems to have its genesis in Berlin, amongst the Australian jazz community there. The compositions are by Luke with perhaps a few from Jake. Aidan and Jake spent some time in Berlin and Luke visited while playing there and around in Europe and Scandinavia. Thus Antipodes was presumably on their common minds. It's a great blowing band with dense heads, occasional free and floating segments, room for solos and some great grooves. Luke's solos were always satisfying. I was fascinated how well the two horns worked together, although from very different influences. Ken was stunning with restrained legato and lyricism, blowing impressive bop-like lines, then turning all breathy and mystical. He'd mentioned before the gig how he clears his mind and just plays. It takes talent and practice to be able to do that successfully and he's obviously done his part. This was stunningly effective trumpet. Jake was more the iconoclast with truncated, detached notes, obtuse octaves contrasting with dense lines in response, more quizzical and ironic and intellectual than heart-on -shoulder emotional. These are very different players but they merged surprisingly well with harmonies both consonant and not and almost contrapuntal movements at times. Aidan was rich and full and driving, but also deep when he took a feature solo later in the night. James was sweetly toned, occasionally bowed, open and welcoming in presence and support for his colleagues.He blew a great fast bop earily on in warmup, but this was more fast unison heads and open playing against a few chords for the blows. Inventive and sympathetic and supportive. And Luke, of course, always great solos and smiling repartee, welcome support and a growing set of compositions with space to solo and various times and contorted, lightly dissonant heads. Great stuff, again.

The Antipodes Quintet comprised Luke Sweeting (piano), Jake Baxendale (alto sax), Ken Allars (trumpet), James Heazlewood-Dale (bass) and Aidan Lowe (drums).

Then there were only three

I didn't write up another gig for a drummer-less trio a few weeks ago, but here's another. It's a strange conjunction but pleasant enough. Play without drums and the sound is more open, but also there's a more demanding role to lay down a beat and hold it. Interesting for a bassist, but also for piano. The rhythm section is missing its heart and the response is both a challenge and a pleasure. Last time was the Old Parliament House cafe with Richard and Mike and me. This time was ANU Arts Centre, for a cocktail party-styled, pre-event get-together. I enjoyed both gigs. The OPH gig conflicted with something or other, so was not too well attended. This night at ANU was a buzz of activity and free drinks and chatter so we could play to ourselves and enjoy the outing and entertain a crowd. This was James and Richard and me. Standards, suits, even a few friends appearing from the crowd while we played. That's not always so easy ... at least for the altered or diminished chords. And an audience that was more interested in chatting, so leaving us to extensive solos and such indulgences. The only problem was that it stopped too soon. But then, as I tell myself, this is work, after all. It can't all be a bed of roses. James Woodman (piano), Richard Manderson (saxes) and Eric Pozza (bass) played at the ANU Arts Centre.

A salon of their own

Six women meet in a beauty salon in a town in Louisiana. Truvy has had her garage converted to the salon. Her slogan is "There is no such thing as natural beauty " (it's good for business). She's in a little town. Annelle is doing Truvy's hair as the show begins, and she gets the job as Truvy's offsider. Annelle's quiet and needs a job. Daughter Shelby is getting married that day. Mother M'Lynn also comes to prepare for the wedding. There are a few stories - one of Annelle, which is oddly undeveloped, and mostly the story of Shelby - which wend through four scenes spread over a few years. There's sadness, intimacy, female friendship and support. There's also good humour, occasional short tempers, some fear and hope and discovery and most of all, quipping. These are friends but not too conspicuously. It's a small town. The wealthy Clairee eventually owns a radio station and expands her horizons with travel to NYC then Paris. Shelby and M'Lynn go through tragedy. Annelle is born again and she eventually finds accord with her more mainstream friends. I'd heard of the work from the movie with that mega cast - Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and Julia Roberts - but I hadn't seen it. The script was written by a man, living in NYC, following the death of his sister with diabetes, in just 10 days. The play was a buzz off Broadway and within a few years was filmed on location in the original town, Natchitoches. Here, Canberra Rep did it, and the Canberra Times gave it a great review, so we went. What thoughts? It's a pleasant drama with some depth and emotional resonances, so it's satisfying and presentable. I felt this was very, very well acted. The program gave a long list of acronyms and achievements, NIDA, WAAPA, STC, Q, Belvoir, All Saints, TV and more. Strangely, we are the salon's mirror and the cast often gazes at the audience. The accents were a test at first, and occasionally relaxed into Aussie nasal, but we got used to it soon enough. There are quips throughout, but not too many belly laughs from an Aussie audience. I'm not sure it's our style. This is wisecracking southern USA, somewhat parochial but nonetheless wise. I imagine our rural or smallish town life may be the similar. This is not Chicago or NYC or even Canberra but neither is it hick. This is women's wisdom, earthy, and wise and supportive. Author Robert Best was interviewed and spoke of steel magnolias as beauty made in very strong stuff. And of southern women as "while gorgeous, they are fragile and bruise easily" but with "a tensile strength stronger than anything [he] could muster". I understand. These are wise but wisecracking women and impressive. As was the Rep performance.

Steel Magnolias was performed for Canberra Rep by Karen Vickery (M'Lynn), Nell Shipley (Shelby), Amy Dunham (Annelle), Judi Crane (Ouiser), Liz Bradley (Clairee) and Rose Braybrook (Truvy) under Jordan Best (director).