More Than Just A Dance Performance

Mother Nature An Arena Spectacular

Mother Nature An Arena Spectacular Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

11

The lights drop, plunging the stage and audience into darkness. The only sounds to be heard are excited, wriggling young audience members and the tap of the shoes onstage as the band makes their way to their instruments. A booming voice echoes throughout the arena …

The Australian Calisthenics Theatre Company (ACTC) bring to life a vivid story through dance, song, and light. Over the course of six scenes, the audience is introduced to the elements that make up Mother Nature: earth, fire, water, wind, light, and sun. Each element has a lesson to teach Mother Nature so she may grow into who she is meant to be. Each scene focuses on one element, and the choreography beautifully represents the emotion and inner turmoil Mother Nature experiences with her time spent with the element, as well as the element herself.

I say ā€˜the element herself’, because each of the elements are powerful women and girls, showcasing their hard-earned strength, athleticism, control, and finesse. For fans of calisthenics, you might be questioning if Mother Nature feels like a competition. It does not – you still get your typical march, free exercise, graceful, rods, and clubs, but this is a story, so each category melts together to bring a beautifully aesthetic performance carefully crafted to make you gasp, cry, sigh, and smile.

 

 

The lighting swirls on both stages, the colours reflecting the element speaking with Mother Nature, from a cooling green-blue to an almost alarming orange-red, and every colour in between. The lights roll and dance as though they are part of the ensemble, while the screen at the back of the stage rotates through images which reflect, and match, both the lighting and the dancers. Undulating lights breathe life into both of the stages, not only giving it life, but weaving into the story.

Unlike an average dance performance, Mother Nature not only boasts a double stage connected by two runways, but also a live band and singers. JD Smith (one of the Ten Tenors) was a visiting performer, pairing his vocals with female singer Chloe Castledine and ā€˜The Cast’ orchestra. The musical score is an original soundtrack for Mother Nature; inspired by the elements, each song carries the audience through the chapter, evoking emotion and a depth of emotion the likes of which was Broadway-worthy. Some of the songs were, in fact, Broadway songs, so remember to keep an ear out and you might find yourself admiring the Stars, while Defying Gravity and gazing Into the Unknown. Excerpts and covers of popular songs from Sam Smith, Lada Gaga, and Celine Dion also sneak their way into the performance, among many others, winding and melting together seamlessly.

The performance is so enrapturing that after two scenes, you couldn’t blame yourself for not realising the performers had already changed costumes multiple times. While Mother Nature has her signature look, each element has a leotard leaning closer to a work of art, and the ensemble joins with dazzling complementary pieces. The leotards boast thousands (if not hundreds of thousands) of jewels, gems, and beads, shimmering with every breath under the light.

The story of Mother Nature is one of strength, of perseverance, and hope. Inspiring not just to women, but all genders. Mother Nature celebrates storytelling, music, and life through dances designed to take your breath away and leave you full of wonder.

To book tickets to Mother Nature An Arena Spectacular, please visit https://www.auscalisthenicstheatre.company/whats-on/mother-nature.

Spread the word on your favourite platform!

The Mountain – Fjalliư (Scandinavian Film Festival)

The Mountain (Scandinavian Film Festival) Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

Director and Screenwriter Ɓsthildur Kjartansdóttir’s third full length feature is about grief, dealing with loss, guilt and growth. Filmed in the sparse beauty of an Icelandic autumn, it is a cosmic journey that handles these themes with sombre grace in this excellent film well worth the audience’s engagement.

Set in the port town of Hafnarfjƶrưur, a town outside ReykjavĆ­k, Maria (Sólveig Guưmundsdóttir) an Astronomer, has planned a family trip to the highlands of Iceland to photograph what she hopes is a comet. When the weekend arrives however her husband Atli (Bjƶrn Hlynur Haraldsson), a one-time guitarist but now an Electrician stuck on a job with a client he despises, informs her that he has to work all weekend. Their nineteen-year-old daughter Anna (ƍsadóra Bjarkardóttir Barney), an aspiring Musician, also informs her mother that she can’t go because her band will be performing on the weekend. Maria travels by herself but has an unfortunate accident and dies, which triggers a path of grief and guilt for both Atli and Anna. It also starts them on other paths as they deal with her loss.

Bjƶrn Hlynur Haraldsson, probably best known in Australia for his role as PĆ©tur in the outstanding Lamb (2021) and as Dries in Northern Comfort (2023) shines in the role of Atli. Haraldsson’s portrayal of the grieving husband on a personal journey deftly depicts the wide range of emotion that Atli transverses in a very skilful manner.

 

 

The role of the daughter, Anna, is correspondingly exceptionally portrayed by ƍsadóra Bjarkardóttir Barney. The Mountain – Fjalliư marking her debut in a major film role, having previously played the minor role of Melkorka in The Northman (2022) (which also featured her actual mother, Musician/Actor, Bjƶrk, as Seeress, the blind sorceress). The scenes with Bjƶrn Hlynur Haraldsson outstandingly highlight the father and daughter relationship in crises.

The other roles of the mother, Maria, played by Sólveig Guưmundsdóttir, and Anna’s boyfriend KĆ”ri played by Vilberg Andri PĆ”lsson are also portrayed very well as are the other roles by all the cast. Cinematographer, Bergsteinn BjƶrgĆŗlfsson, takes full advantage of the light and shades of the Icelandic landscape. For the indoor scenes he impressively utilises outside natural light as a focus for the action of the scenes.

The Mountain – Fjalliư is the first officially vetted sustainable production in Iceland noted for ā€œmarking a significant milestone and contributing to the establishment of a standard for sustainability in the Icelandic film industryā€, and has been awarded the prestigious Green Film Sustainability certification.

Although only her third full length feature film, Ɓsthildur Kjartansdóttir is a veteran Director of Photography, Producer, Sound, Editor, Script Supervisor, Writer, and Producer, The Mountain – Fjalliư sees her at her peak power in this first-rate film. If the rest of the films in the Scandinavian Film Festival are of this standard, then it will be an outstanding Festival.

Reviewed by Rob McKinnon

Rating; 8 out of 10
Genre: Drama
YouTube trailer: https://scandinavianfilmfestival.com/films/sca25-the-mountain

To book tickets to this, or any films in the Scandinavian Film Festival, please visit https://scandinavianfilmfestival.com.

Spread the word on your favourite platform!

Querencia Calling

Querencia Calling

Querencia Calling Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

For the first time PitchWhite Productions’ latest play is not written by PitchWhite’s founder Lochie Daniel but instead the company has embarked in a new direction of performing the works of other writers as well as Daniel’s plays and Querencia Calling is the launch of this change.

Querencia Calling is Writer Sharyn Henderson’s first full-length play. Her passion for theater began in 2023 writing and performing monologues and short plays in a ā€œrehearsed readingā€ format with the Scratch Night writing program in Sale, Gippsland. During the writing Henderson collaborated with dramaturg Brooke Fairly through Melbourne Writers Theatre’s Page to Stage program and this partnership has produced this first-rate debut. With this splendid material local directorial stalwart Geoff Brittain (fresh from productions with the Therry Theatre, St Jude’s Players, The Adelaide Repertory Theatre and others) does a very good job in coordinating it with the outstanding cast in the space allowed at the Star Theatre.

 

 

The play draws forty-something long term friends Clare (Alicia Zorkovic), Belinda (Georgia Stockham), Meredith (Perrin Abbas) and Simon (L. A. Foale) back together in a bar after being separated for a period of time. Clare has just returned from nursing in England, Meredith has been promoting her latest novel, Belinda has been juggling the needs of four children and her husband and Simon is fresh from a relationship breakup. In their reunion the friends are missing Emma (Cheryl Douglas), who has been the glue of the group, helping each of them in many ways throughout the length of their friendships. They look to Emma’s closest friend in the group, Belinda, for an explanation for Emma’s absence but, with annoyance of Emma missing Belinda’s son’s eighteenth birthday party, she doesn’t know what has happened. Emma invites the friends to her family-owned cabin for the weekend which they accept to find out what has happened to their friend.

The limited space of the Star Theatre doesn’t hinder the flow of Querencia Calling, instead it brings the audience closer to the actors in a more intimate fashion. Sometimes productions of this nature can clank around the empty spaces of larger halls. Similarly, due to the confines of the space, the set is kept to a minimum however limits of the staging are overcome by the skills of the actors. Georgia Stockman is outstanding in her loud and bold portrayal of Belinda. L. A. Foale is also very good as Simon and the rest of the cast handles all of their roles well.

The songs used in addition adds to the reunion feel of the production incorporating REM’s Losing My Religion, Spice Girls, Shania Twain, Chumbawamba, Los del Rio’s Macarena and others.

Sharyn Henderson says her ā€œplay is about human connection. It urges us to listen – both with curiosity and kindness – to what is said and left unsaid.ā€ Geoff Brittain says the play reminds ā€œus of the power of connection to lighten even the heaviest of loads.ā€ Querencia Calling is excellent and is definitely worth seeing before the end of its limited season.

Reviewed by Rob McKinnon

Rating; 8 out of 10

Querencia Calling runs to 28 June 2025; remaining session dates and times are as follows:-

– Thursday 26 June 2025 7:00 PM – 9:00 PM
– Friday 27 June 2025 7:00 PM – 9:00 PM
– Saturday 28 June 2025 1:00 PM – 3:00 PM
– Saturday 28 June 2025 7:00 PM – 9:00 PM

To book tickets to Querencia Calling, please visit https://www.trybooking.com/events/landing/1385333.

Spread the word on your favourite platform!

Small Sparkles and Little Pearls

Spanish Film Festival - Mugaritz. No Bread, No Dessert

Spanish Film Festival – Mugaritz. No Bread, No Dessert Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

Paco Plaza’s ā€œMugaritz: No Bread, No Dessertā€ is a poetic documentary that explores the inner workings of one of the world’s most inventive restaurants – Mugaritz. Led by chef Andoni Luis Aduriz, a self-proclaimed non-leader steering his energetic staff with generosity and ā€œstepping backā€, the restaurant closes from November to April each year to recreate its thematic menu. For 2025, the culinary concept is ā€œWhat Cannot Be Seenā€.

Plaza’s wobbly, handheld camera is distracting as it allows us to observe the detailed process of creation, trial and perfection through the eyes of what appears to be an overly caffeinated voyeur. There are many scenarios which could have been left out, minimised or replaced with more moments of tension (more than the one shown) to alleviate the feeling of being in an hour-and-a-half board meeting.

The music, composed by Mikel Salas, is bizarre. Salas uses cutlery and frying pans in an effort to match the poeticism of the cuisine, yet ends up making one feel as if they are listening to an Apple iPhone alarm instead of a sumptuous musical score. However, visually, the documentary delights.

The pastoral Basque countryside, the streamlined, cosy restaurant and the new ways in which the fragile dishes are put together all combine to give the audience a real feast for the eyes. There is an entrĆ©e tea ceremony where the cups are made from frozen, green tea leaves; then comes a broth only reachable by breaking into an edible bone with a rock and notably a soup-like-substance whereby the diner has to lean down and lick it out of a mould made to look like…well, it’s naughty.

Although ā€œNo Bread, No Dessertā€ has been applauded for its appeal to the masses, this reviewer feels this will appeal especially to the restauranteur and food lovers. It is fascinating for the risk-taker-chefs and those who are interested in combining cooking with storytelling. As Aduriz himself says, it is ā€œā€¦small sparkles and little pearlsā€.

To book tickets to this or any other film at the Spanish Film Festival, please visitĀ https://spanishfilmfestival.com/.

Spread the word on your favourite platform!