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The Choral

12/11/2025 Steve Willems🥉

The Choral Rating

★★★★★

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Art is about being creative and defiant, while music brings people together. Ralph Fiennes leads a strong ensemble cast in The Choral, a moving film about the devastation of war and the uniting power of music. Set in a fictional Yorkshire town during the first world war, the local choral society is struggling to maintain it’s male singers as the men head off to fight. All they have left are the young boys and old men. Trying to maintain a sense of normality despite grief and loss, the community hopes to find a uniting joy by putting on their annual choral performance.

When the choirmaster volunteers to fight in France, the only replacement they can find is Dr Guthrie (Fiennes), who causes immediate scandal because he lived in Germany for many years and admires their art and culture. With most of the great composers being German or Austrian, the Choral society chooses Elgar and his forgotten production The Dream of Gerontius.

But it’s not really about that.

The choral performance acts as the framework to hold a variety of rich stories about love, hope, loss, grief, and fear played by a strong ensemble cast including Alun Armstrong, Mark Addy, Ron Cook, Emily Fairn, and Lyndsey Marshal. The next generation of youth explore love and sex as they face conscription as soon as they turn 18, knowing they may not return. A wounded soldier returns from the war to find his old life is over, and looks for solace and comfort in the choral. There is the pianist, a pacifist and gay man who faces jail and shame for refusing to fight. Dr Guthrie himself struggles with the relevance of Elgar’s story about the death of an old man, when so many of the young are dying. Without permission, he adapts Elgar’s production to better reflect the pain and struggles of the community.

The film is calmly directed by Nicholas Hynter, never overplaying the sentimentality or message. There is plenty of well-placed humour to keep the mood from getting too grim. Hynter handles his characters with a great deal of care, never demonising anyone despite their flaws. Even the powerful and wealthy mill owner who funds the Choral is handled with empathy. Because of his position he expects to play the lead, but only because he loves to sing. It brings him much needed joy as he grieves a fallen son, but soon he realises that he must step aside.

The Choral is playing as part of the British Film Festival at Palace Cinemas Moore Park until December 7, with a program full of the best of British Cinema.

To book tickets to The Choral, please visit https://britishfilmfestival.com.au/films/bff25-the-choral.

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Serpent’s Path: Japanese Cult Movie to Taut French Thriller

19/10/2025 Mark Hobgood🆕

Serpent’s Path Rating

★★★★★

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Director Kiyoshi Kurosawa takes a second shot at ‘Hebi no michi,’ his 1998 Japanese V-Cinema movie. Here, Kurosawa steps away from Japan’s criminal underbelly, remaking his film in Paris, as a predominately French-language thriller.

Back in 1998, Kiyoshi Kurosawa (no relation to the legendary Japanese filmmaker Akira Kurosawa) made V-Cinema movies as quickly as Roger Corman used to make horror films. Most were straight-to-video, some had a limited theatrical release. V-Cinema usually meant low-budget action: bullets, explosions, crime stories and thrill rides.

‘Hebi no michi’ was dark and contemplative. Two men, Miyashita and Nijima, were hellbent on revenge. Carving a bloody swathe through everyone Miyashita held responsible for the brutal murder of his daughter.

The original 1998 Japanese movie, starring Teruyuki Kagawa as Miyashita and V-Cinema legend Show Aikawa as Nijima, rapidly gained cult status.

French cinemagoers have developed a taste for director Kiyoshi Kurosawa’s movies. He has twice won the Cannes Film Festival’s Un Certain Regard prize, for ‘Tokyo Sonata’ in 2008, and for ‘Journey to the Shore’ in 2015.

His international reputation was cemented in 2020 when his film, ‘Wife of a Spy,’ won the Silver Lion for Best Director at the Venice International Film Festival.

Given the opportunity to remake one of his earlier movies in France, Kurosawa jumped at the chance, immediately choosing ‘Hebi no michi,’ ‘Serpent’s Path.’

‘Serpent’s Path,’ ‘La Voie du serpent,’ 2024, updates and makes a number of subtle but effective changes.

Kô Shibasaki (Battle Royale; 47 Ronin; The Boy and the Heron) and Damien Bonnard (Les Misérables; Poor Things; The French Dispatch) star in this taut and brilliant thriller.

Damien Bonnard takes the role of Albert Bacheret. The original’s Miyashita was ex-Yakuza. Part of Japan’s criminal underworld. Here, Bacheret is a bumbling, grieving father. He shambles, broken and hurting but unstoppable.

Kô Shibasaki as Sayoko Mijima holds every frame she appears in. Mijima’s stillness is in marked contrast to the stumbling Bacheret. Mijima is a psychiatrist rather than the original’s schoolteacher. As the movie’s mysteries are revealed one by one, Mijima keeps her secrets.

Shibasaki and Bonnard are ably supported by a cast of French character actors including Mathieu Amalric (The Diving Bell and the Butterfly; The Grand Budapest Hotel; Quantum of Solace) and Grégoire Colin (The Dreamlife of Angels; The Vourdalak).

Kurosawa shifts the story from Japan’s criminal underworld to the dark side of European charitable organisations. Anonymous foundations, with secretive inner circles. Wider conspiracies that hide unspeakable crimes.

‘Before you embark on a journey of revenge, dig two graves’ was originally a Japanese proverb.

In Serpent’s Path, you need to dig half a graveyard to bury the dead. The first act of abduction, dehumanisation and revenge rapidly spirals as deeper secrets are uncovered and the body count rises.

Is anyone telling the truth? Are they lying and pointing fingers to shift blame and save their own skin?

Serpent’s Path winds left and right, zigzagging as you follow the clues, the confessions and the trail of the dead.

Avoid spoilers, buy tickets and immerse yourself in this razor-sharp thriller.

To book tickets to Serpent’s Path, please visit https://japanesefilmfestival.net/film/serpents-path/.

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A Bold and Breathtaking Culmination of Art Forms

27/09/2025 Chantal Harrison Writer🥉

BiPolar Express Rating

★★★★★

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As a community theatre director, I often stress the importance of teamwork and that no player reaches their best without the shared journey and uplifting of every member of the cast, often to eye rolls. However, Bipolar Express is a gleaming example of a powerful ensemble who are the backbone and heart of the story. It’s only now as I sit down to write this, having just read the program, that I ascertained how many creatives were among this ensemble cast including choreographer, Avalon Ormiston, and producer, Phaedra Brown, which doesn’t surprise me considering what a stellar example of full-bodied togetherness that this piece is.

Anton played by writer, Bianca Yeung, is on a train to meet an estranged friend when she has a manic episode. The train is depicted with a simple yet vibrant set consisting of three double floodlights, and cane chairs with the iconic Sydney Transit blue squiggly velvet seats. Anton is desperately trying to remain upright as she sends voice-notes to friend, Mish, not knowing if Mish will be meeting her at the other end.

The ensemble weave and move around her, engaging in conversations that begin as small talk and progress into more interesting musings. Anton has a bouquet of orange flowers that become more disheveled as she unravels. They are the motif that anchors the passage of time. The set is changed with rhythm and poetry by the actors throughout the show.

The story moves between the present train delay and the past story of Mish and Anton. We discover that Mish was the keeper of Anton’s secrets, she was the one with the directives for what to do and when, and she was often the keeper of this part of Anton. We see the complications of these assigned roles between the two, and how it impacts their friendship over time.

To describe and adequately give voice and understanding to a complex mental health diagnosis such as Bipolar would be incredibly difficult in words, that is where the powerful art of movement and dance breathtakingly fill in some of those gaps. For example; the ensemble close in around Anton during a portrayal of exhaustion. She tries to creep out, reach out and even tries to free Mish in these moments, but she is unheard as she is swallowed by “The Others”.

Sound and light design take a huge amount of credit as a device in this piece as well. We are stagnant and trapped along with Anton in the darkness and we are pulled into the jubilance of the bright highs punctuated by poppy, boppy, music.

It is abundantly clear this piece has involved all creatives building, supporting and creating deep intimacy, which in turn made it inevitable that the audience become deeply invested and intertwined.

It’s a bold and breath-taking culmination of art forms that does great justice to shining some light on an important lived experience. I highly recommend supporting this work.

To book tickets to BiPolar Express, please visit https://sydneyfringe.com/events/bipolar-express/.

Photographer: Nat Cartney

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Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

26/09/2025 Chantal Harrison Writer🥉

Stranger Sings! A Parody Musical Rating

★★★★★

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The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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