Archive for the ‘Perth Festival’ Category

Speechless Premiere Finale

Tuesday, March 12th, 2019

Tura’s world premiere season of Cat Hope’s Speechless as part of the 2019 Perth Festival has wound up with national critical acclaim.

Perth Festival Artistic Director Wendy Martin described Speechless as “an utterly powerful, visceral experience… and experiencing it was extraordinary.”

Music Director Aaron Wyatt and the Speechless Orchestra | Image by Toni Wilkinson

Years in the making, Tura honours composer and director Cat Hope not only for the work itself, but her tenacity and rigour in seeing it through to full production. Tura also praises and thanks all of the creatives, cast, community choir members, orchestra and crew who worked with us on this large-scale production. Special thanks go to Wendy Martin and the team at Perth Festival and the ongoing partnership with Monash University. Speechless would not have been possible without the support of Development Partner Vitalstatistix for facilitating the 2017 workshop in Port Adelaide.

Assistant Director Rakini Devi, soloists Sage Pbbbt and Judith Dodsworth, Composer and Director Cat Hope, and soloists Caitlin Cassidy and Karina Utomo | Image by Rachael Barrett

Tura acknowledges the essential support of The Bux Foundation, Melissa Parke and Warwick Hemsley, as well as the At the Heart donors to the Sound Connections philanthropic campaign.

Gratitude’s go to the members of the inspiring panel discussion on Tuesday 26 February, Cat Hope, social justice lawyer Melissa Parke and Amnesty International Regional Campaign Organiser for My New Neighbour, Claire Birch, hosted by Terri Ann White.

This new wordless opera is composer and director Cat Hope’s personal response to, the issue of voicelessness in society, and being silenced by legal, political or cultural means. Speechless is a vehicle to address these issues and as a reflection of this, the premiere season of Speechless supported Amnesty International and The Centre for Asylum Seekers, Refugees and Detainees (CARAD).

The Speechless Soloists | Image by Rachael Barrett

The reviews have been overwhelmingly positive with the work providing audiences and critics with a new perspective on the world of opera as well as a renewed awareness of issues facing marginalised and voiceless members of our society.

The Speechless Cast | Image by Frances Andrijich

Here’s a sample:

“[A] distinctively unique addition to this year’s formidable Perth Festival program… a stirring wordless opera.” Gutter Culture.

“Hope’s composition, the use of unusual stylistic devices, and the strong individual performances combine in Speechless to examine the trying existence of those living in detention across the world. The show succeeds in evoking great empathy amongst its audience.” Gutter Culture.

“Speechless was overwhelming; an experience so forcefully immersive, it was impossible to ignore. And that’s exactly what Australian society needs to experience.” Laura Biemmi, SeeSaw Magazine.

“an excellent opera-theatre experience, creating a nuanced commentary on an emotive issue without the need to preach to the audience. The visceral quality of the sound and the power of the emotions expressed through voice and instruments amply made a point about children in immigration detention. Speechless allows their plight to be heard. Words were superfluous.” The Conversation.

The Speechless Community Choir | Image by Rachael Barrett

“Power in silent plight… amazingly effective and potent.” The West Australian.

“As an evocation of humanitarian crises it was brutal, fascinating and emotionally gruelling. As it should be.” The Australian.

And some audience responses:

“a seriously incredible aural experience – it was a privilege to be in the audience”

“Speechless is challenging, weird, emotional and utterly enthralling.”

Soloist Karina Utomo | Image by Rachael Barrett


PARTNERS

Tura’s Annual Program and Speechless are supported by the State Government through the Department of Local Government, Sport and Cultural Industries, in association with Lotterywest and The Australian Government through the Australia Council, its arts funding and advisory body.

The post Speechless Premiere Finale appeared first on Tura New Music.

Speechless Premiere Finale

Tuesday, March 12th, 2019

Tura’s world premiere season of Cat Hope’s Speechless as part of the 2019 Perth Festival has wound up with national critical acclaim.

Perth Festival Artistic Director Wendy Martin described Speechless as “an utterly powerful, visceral experience… and experiencing it was extraordinary.”

Music Director Aaron Wyatt and the Speechless Orchestra | Image by Toni Wilkinson

Years in the making, Tura honours composer and director Cat Hope not only for the work itself, but her tenacity and rigour in seeing it through to full production. Tura also praises and thanks all of the creatives, cast, community choir members, orchestra and crew who worked with us on this large-scale production. Special thanks go to Wendy Martin and the team at Perth Festival and the ongoing partnership with Monash University. Speechless would not have been possible without the support of Development Partner Vitalstatistix for facilitating the 2017 workshop in Port Adelaide.

Assistant Director Rakini Devi, soloists Sage Pbbbt and Judith Dodsworth, Composer and Director Cat Hope, and soloists Caitlin Cassidy and Karina Utomo | Image by Rachael Barrett

Tura acknowledges the essential support of The Bux Foundation, Melissa Parke and Warwick Hemsley, as well as the At the Heart donors to the Sound Connections philanthropic campaign.

Gratitude’s go to the members of the inspiring panel discussion on Tuesday 26 February, Cat Hope, social justice lawyer Melissa Parke and Amnesty International Regional Campaign Organiser for My New Neighbour, Claire Birch, hosted by Terri Ann White.

This new wordless opera is composer and director Cat Hope’s personal response to, the issue of voicelessness in society, and being silenced by legal, political or cultural means. Speechless is a vehicle to address these issues and as a reflection of this, the premiere season of Speechless supported Amnesty International and The Centre for Asylum Seekers, Refugees and Detainees (CARAD).

The Speechless Soloists | Image by Rachael Barrett

The reviews have been overwhelmingly positive with the work providing audiences and critics with a new perspective on the world of opera as well as a renewed awareness of issues facing marginalised and voiceless members of our society.

The Speechless Cast | Image by Frances Andrijich

Here’s a sample:

“[A] distinctively unique addition to this year’s formidable Perth Festival program… a stirring wordless opera.” Gutter Culture.

“Hope’s composition, the use of unusual stylistic devices, and the strong individual performances combine in Speechless to examine the trying existence of those living in detention across the world. The show succeeds in evoking great empathy amongst its audience.” Gutter Culture.

“Speechless was overwhelming; an experience so forcefully immersive, it was impossible to ignore. And that’s exactly what Australian society needs to experience.” Laura Biemmi, SeeSaw Magazine.

“an excellent opera-theatre experience, creating a nuanced commentary on an emotive issue without the need to preach to the audience. The visceral quality of the sound and the power of the emotions expressed through voice and instruments amply made a point about children in immigration detention. Speechless allows their plight to be heard. Words were superfluous.” The Conversation.

The Speechless Community Choir | Image by Rachael Barrett

“Power in silent plight… amazingly effective and potent.” The West Australian.

“As an evocation of humanitarian crises it was brutal, fascinating and emotionally gruelling. As it should be.” The Australian.

And some audience responses:

“a seriously incredible aural experience – it was a privilege to be in the audience”

“Speechless is challenging, weird, emotional and utterly enthralling.”

Soloist Karina Utomo | Image by Rachael Barrett


PARTNERS

Tura’s Annual Program and Speechless are supported by the State Government through the Department of Local Government, Sport and Cultural Industries, in association with Lotterywest and The Australian Government through the Australia Council, its arts funding and advisory body.

The post Speechless Premiere Finale appeared first on Tura New Music.

Belle and Sebastian @ The Astor Theatre

Wednesday, February 11th, 2015

Mount Lawley
3rd February, 2015

By Nicola Heyes

WHEN you leave a gig with a beaming smile and feel all ‘jingly jangly’ inside, that’s got to be good! I think a warm ‘jingly jangly’ happy feeling certainly sums up Belle and Sebastian’s performance at Mount Lawley’s Astor Theatre on a stormy and rather humid evening.

The Scottish band was bursting with indie pop energy, catchy well-known tunes and just a magnificent ensemble – they seemed so incredibly content to be on stage.

Melbourne indie foursome, Twerps, were the admirable support band, who were similarly jangle-meisters. The Twerps provided an Australian pop timelessness that harked back to the Go-Betweens, Paul Kelly and the Sunnyboys. They were the perfect prelude to the gig.

Belle and Sebastian’s charismatic front man Stuart Murdoch never stopped moving or bopping about on the stage all night.

The show was packed with fabulous nostalgic tunes from the band’s extensive catalogue such as Funny Little Frog, A Century of Fakers and The Boy with the Arab Strap, mixed with a few new songs from their highly anticipated ninth studio album, Girls in Peacetime Want to Dance – also crammed with their signature sentimental harmonies.

Murdoch happily joked along with the packed audience, and said: “I’m trying to ignore the Scottish accents” – commenting on the fact that although Perth is one of the world’s most isolated countries, there are so many people from Scotland living here.

The crowd certainly got well into the spirit of the show after being invited on-stage to dance during ‘Simple Things’ – everyone, including the band, danced with fantastic, energetic enthusiasm.

A great, happy, feel-good show!

Sunglasses at Night – The 80s Apocalypse Sing Along Cabaret

Wednesday, February 11th, 2015

Noodle Palace@ Central, Perth Fringe Festival

By Nicola Heyes.

If you ever wanted to re-live the 80s, then this would have been the gig for you! For myself, the 80s is a prominent feature in my music collection – and yes, I still have the vinyl records to prove it, so I was quite in my element at Sunglasses at Night. By the looks of the audience, so was everyone else.
There was a 98% show of hands when host / singer Geraldine Quinn (Rockwiz, Spicks and Specks and Upper Middle Class Bogan) asked the question about how many people were born in the 80s or before, so she was happily singing synth pop to many aficionados. Complete with 80s glamour in a sequinned dress sporting shoulder pads, Quinn certainly knew how to strike a pose with her flawless 80s style dance moves.
The 80s wasn’t about fun, it was Cold War, Chernobyl and fear – as described on the promotional flyers for the event. But there was certainly a lot of engrossing fun at the Perth Fringe cabaret – with plenty of audience participation – singing along to Kate Bush, Spandau Ballet, The Human League and Pat Benatar. Lyrics were on a big screen for all to see, with hilarious word play on some songs. Co-host de Grussa was the great synth- player side kick.
The highlight of the evening was Quinn handing out red balloons for the audience to blow up, for – you may have guessed it – 99 Red Balloons by Nena.
Belting out the anti war protest song in its original German version, Quinn was brilliant and the atmosphere was superb.
Another highlight of the cabaret performance was Bonnie Tyler’s Total Eclipse of the Heart, another cracking tune from the 80s. This power ballard was delivered with pretentious passion and moody dancing – and the Welsh singer Bonnie did take a bit of rap from Quinn with her repetitive chorus and drawn out mourningful lyrics.
A great crash course in a great era, a fantastic performance and good Friday night fun.
Oh Vienna.
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Live Review: Wire at PIAF

Friday, February 28th, 2014

24)-Wire,-at-Perth-FestivalChevron Festival Gardens on Monday February 24, 2014 – Review by Matthew Tomich. Photos by Jasmine Eales. The Festival Gardens were quarter-full when Usurper of Modern Medicine took the stage in support of Wire last Monday. The trio – featuring […]

Live Review: Pond at PIAF

Wednesday, February 26th, 2014

4. Pond (12)Chevron Festival Gardens, Perth on Saturday February 22, 2014. Review By Chris Gardner. Photos by Karen Lowe. Journalists are already mired with the same distasteful brush as insurance salesmen, so it’s the prerogative of the defenders of the Fourth Estate […]

Live Review: Owl Eyes & Abbe May at PIAF

Monday, February 24th, 2014

Owl EyesChevron Festival Gardens, Perth on Friday February 21, 2014 Review by Cassie Rees Photos by Michael Spencer Friday night was the night for chicks to rock out, with local babes Owl Eyes and Abbe May singing their hearts out at […]

Live Review: PIAF – Husky

Wednesday, February 19th, 2014

23)-Husky,-at-Perth-FestivalPIAF, Chevron Festival Gardens on Friday February 14, 2014 – Review by Cassie Rees Photos by Jasmine Eales Melbourne lads Husky graced the stage this Valentines Day at the beautiful Chevron Festival Gardens, delivering a romantic night for  lovers and […]

Live Review: The Tallest Man On Earth at Perth Festival

Monday, March 4th, 2013

Tallest Man On Earth LIVE2Friday 1st March, 2013 @ Chevron Festival Gardens. Review by Amy Mowle It was a temperate and balmy evening.  Strings of make-shift fairy lights shed their warm glow onto the crowd gathering below. It was the perfect combination for those […]

Live Review: Cat Power at Perth Festival

Friday, March 1st, 2013

Cat Power LIVE2Tuesday 26th February, 2013 – Review by Kelly Wong. Photos by Jasmine Eales. Chan Marshall, otherwise known as CAT POWER, has the kind of depth in her music that can only come from many years of writing and with 18 […]