The chemistry between Nicolas Altstaedt and Thomas Dunford was evident on an empty stage on Saturday night. The audience was ready for Altstaedt’s known technical style combined with Dunford’s virtuosity and for a conversation between a cello and a lute. We were immediately transported back to the Renaissance age with Marin Marais. Somewhere in Spain, Portugal or France, silk full skirts were rustling as courtiers palms met in a measured dance in an opulent room of gold and blue. The dexterous fingers of Dunford played a bell-like melody which was answered by Altstaedt’s honeyed tones as the notes lingered in the air.
La Leclair changed the tempo as a fiery melange of fast rhythms left a crackle of passion reflecting the composer’s known volatile nature. Then the audience was left alone with Dunford’s arrangement of Bach’s Cello Suite no 1 in G major with a display of the classic intricate technical perfection demanded by a maestro.
A return to the court of Versailles with more Marais’ Fete Champêtres offering a graceful dance and then a passionate Spanish piece allowing both musicians to move through the intricate ornamentation with speed and panache. Glimpses of a palace garden party came to mind with musicians playing delicately.
After the interval, Altstaedt sat down for Bach’s Cello Suite No 5 in C Minor, a piece written especially for the cello allowing the instrument to really sing. Sombre notes and a melancholy mood were combined with nimble playing from Altstaedt. For music aficionados, research the analysis of each movement and the techniques required, for the audience, it was a time for reflection and thought.
We returned quickly to pared down harmonies with Pärt’s Spiegel Im Spiegel, followed by Duparc’s Cello Sonata in A Minor. We returned to Marais’ courtly world with Le Voix Humaines imitating the inflexions of the human voice with a sombre elegance with cello and lute weaving between tones.
Marais’ Grand Ballet was all Baroque elegance testing each instrument and musician with showy ornamentation, bold gestures and complex bowing techniques required. It is a theatrical piece designed to be grand and majestic and it was.
The finale of Le Tourbillon was in the title, a whirlwind of virtuosity with a conversation moving to a debate between the cello and lute, ending in a flourish.
The audience was treated to a post-conversation with both Altstaedt and Dunford but the music said as much and was all that was needed.
What a privilege to be invited to review the ballet of ALADDIN by Victorian State Ballet company performing at The Palais in St. Kilda, a grande dame of theatres.
Everyone likes to dress up for the ballet!It’s so beautiful to even enter the foyer and watch lots of excitement meeting friends, buying programs before eagerly being shown to seats.A couple of young girls in front of me had their best ‘ballet’ buns in and ballet ‘pink’ clothes on, one with a picture of Princess Jasmin on the front. Their mum obviously equally looking forward to the show, smiling at her children’s joy. I remember those days!
Classical ballet is a very special form of dance.Whether or not these young girls are inspired to become advanced ballet students or simply continue to enjoy the art of ballet in an audience, they’ll never forget coming along to a full length ballet for the first time.(I asked their Mum and her reply was when she had heard it was ‘Aladdin’ she had to take them even though it was a late night because they love the Disney story so much!). After the show they were both skipping, twirling and arabesqueing up the aisle. I wonder if they went to sleep dreaming of either becoming a princess or a ballerina?
AlannaPuddy as Princess Jasmin shines as a principal.Not only is her exceptional technical training at The Queensland Ballet PPY and Australian Conservatoire of Ballet evident, she has the ability to tell this well-known storyline clearly and convincingly.There is often a lot colorfully going on around her and she is completely focused in bringing Jasmin to life within each scene exactly like those girls in the audience expect.They giggled at the cute moment of Jasmin playing cards with Aladdin.
I never look at who is in the show prior to reviewing, so I am thrilled to see a past school buddy of my daughter’s playing the title role ‘Aladdin’, Michael Scott-Kahans.Michael studied here in Melbourne at VCASS in the full-time dance stream, then went on to train at TanzAkademie Zurich and European School of Ballet.At 18 he was accepted into a contract with Alberta Ballet in Canada.As Aladdin, from stealing apples to a memorable solo, Michael is superb and his extensive training is highly noticeable.Impressive clean grand jetés and an acrobatic aerial from this guy too!
Tristan Gross as Jafar is excellent.Jafar is an interesting character isn’t he…. scary and calculating.Though in a ballet of course Tristan, as the expert artist he is (formerly of The West Australian Ballet and Royal New Zealand Ballet), has to relay these mindful exasperations of Jafar very differently from those who get to play the role in a musical or movie; only non-verbal expressions – he does very well indeed.
Dancing since he was 5 after commencing at Melbourne Dance Theatre, Daniel Sierra as The Genie is absolutely living the dream and what a lovable role to fill.I have watched Daniel before as a much younger dancer (VSB shows regularly tour to the suburbs and regional areas in Australia).He continues to build a strong presence on stage I recognize and no doubt has an equally strong future ahead of him.It was fun to watch him as Genie.
Belle Thorneycroft (Sapphire) has exceptional poise and elegance.
New Zealander, Courtney Taylor (Ruby) shows passion and an eye for detail right to her fingertips.
Maggie deKoning (Diamond) simply oozes love for this genre she performs outstandingly.
Grace Kefford (Emerald) is graceful and gorgeous.
Felix Milewski (Magic Carpet) loves to perform since his journey began as a child dancer with the Australian Ballet. Though you cannot ‘see’ him as the Magic Carpet, the ‘dancing’ carpet is a feature especially entertaining!
Charlotte Jones (Aladdin’s mother), a very lovely dancer, having been accepted into the prestigious English National Ballet School in London, stood out to me as one upcoming young lady to watch.
There are members in the corps of Victorian State Ballet who are amazing; extensions that defy the definition of flexible and their interactions with each other are suitably staged with spot on timing to create the whole picturesque scenes in very pretty costumes. I particularly liked the castle scene. A+
I overheard many positive comments after the applause finally subsided and I’ll note one in particular:
“was interesting how they changed the lighting to show off the costumes”
I agree, the lighting was used in co-ordination with the costume colours and settings super well!
Every dancer tonight created an impactful connection with their audience to tell the narrative about a poor boy who falls in love with a girl, finds a genie in a bottle, fights off a villain and eventually gets to marry her as a princess (“wedding scene had ‘cool’ drum music” my own daughter reported on way home).
It was magical to see Aladdin as a ballet.Thank-you all!
The Victorian State Ballet is a professional ballet company all ages can go along to enjoy and appreciate the art of ballet at an affordable ticket price, but still with quality and care of remarkable artistic talent.
Congratulations Martin Sierra (Artistic Director) and Michelle Cassarde Sierra (Choreographer & Co-director) and your entire team behind-the-scenes and on/side-stage.
To find out more see www.victorianstateballet.org.au
Tony & Gaga: An Opulent Big Band Experience Rating
★★★★★
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Most know the late Tony Bennett and the much younger pop icon, Lady Gaga, who shared a musical partnership and a friendship for decades. Both were Italian singers with a mutual respect for each other, as well as two collaborative jazz albums.
After first meeting at the 2011 Robin Hood Foundation gala in New York City, when Bennett told Gaga, “Lady, you are a jazz singer”, later that year Gaga recorded “The Lady Is a Tramp” for Bennett’s Duets II album.
So successful, they then released the chart-topping jazz record Cheek to Cheek in 2014 and the Cole Porter tribute album Love for Sale in 2021.
What many don’t know is the mutual impact and support they shared revitalized Gaga’s love for music when she was considering quitting the music industry. Their partnership was that profound.
For the amazing Tony & Gaga tribute show in Melbourne last Friday, acclaimed powerhouse vocalist, Sarah C, (Dancing with the Stars, X Factor) teamed up with debonair Melbourne fashion icon, Dom Bagnato, to sing the unforgettable hits of the American Songbook.
Arguably, some of the best songs ever produced in our history, some nearly 100 years old, these timeless tunes fit somewhere into our lives emotionally, still today.
When I last reviewed Sarah’s ‘Soul Divas’ show, I met Dom in the audience, excited about doing this new show with Sarah C.
This had developed when Sarah and Dom had sung together at the birthday of Dom’s daughter when they realised they had some great musical mojo together. Now, the rest is history.
No coincidence, the 20-piece band backing Sarah and Dom on Friday night were named the Mojo Orchestra and, the chemistry between Sarah and Dom with this great band, was an absolute treat to behold.
Dressed in dinner suits and bow ties, the Mojo Orchestra stage setting was reminiscent of the halcyon days of the Glenn Miller Orchestra. Mojo had the same musical precision Miller’s band was famous for – when to come in loud and when to pull back – without anyone knowing how they timed that.
The first song of the night, sung by backing singers Cathy Moloney and Julie Kemelfield, was ‘Summertime’, from the musical Porgy and Bess. They were there to warm us up so, we had no idea how opulent our experience was about to be.
I had just flown in Friday morning from a friend’s “007” wedding in Greece and a week in Thailand’s relaxed humidity, straight into Melbourne’s frosty Friday night to do this review, so ‘Summertime’ seemed serendipitous.
I was ready for the warmth of “crooner” tunes, when Musical Director, Peter Foley, introduced us to Sarah C and Dom Bagnato as Gaga and Bennett and their first duet, the classic, ‘The Lady is a Tramp’. It is a playful song about a woman who hates strict social rules, made famous by singers like Frank Sinatra and Tony Bennett, celebrating being free and real. What more could one want?
Sarah C, always so glamourous – was wearing a leopard print blazer, diamante brooch and a Fedora hat, the first of her many changes – showed us her vocal versatility with some matching Beebop, (first developed in the 40s by legends like Charlie Parker and Dizzy Gillespie.).
The band sounded romantic and fabulous and the audience couldn’t wait to hear what more was in store for their evening.
Next, Sarah and Dom performed ‘Heaven’ with Sarah’s tone reminiscent of Amy Winehouse, she always sings so brilliantly; followed by ‘Night and Day’, composed by Cole Porter in 1932 for the Broadway musical, Gay Divorcee; and ‘Under my Skin’, also by Cole Porter in 1936 and adopted by Sinatra as one of his signature hits.
Dom bantered happily with our audience like he knew us all personally.
“When I travel, I like to sing, especially this one’, ‘I left my heart in San Francisco’. He sang a very apt tribute to Tony Bennett, who originally recorded and popularized the song in 1962, when it quickly became Bennett’s signature song.
Dom then chose the Sinatra hit, ‘The way you look tonight’, originally sung by Fred Astaire and, Mojo’s trombones were exquisite.
Then, another Sinatra hit with an arrangement by Quincy Jones from 1964, ‘Fly me to the Moon’ – later becoming tied to NASA’s Apollo space missions.
The Mojo band excelled during this number with their eight saxophones especially synchronised, powerful and melodic.
Sarah C returned to the stage in a long pink satin dress to sing us ‘La Vie ‘en Rose’ (Life in pink), in French. A wonderful tribute to Edith Piaf’s 1945 version, which later became a hit in the USA in the 50’s.
Next was ‘At Last’, originally recorded by the Glenn Miller Orchestra with vocals by Ray Eberle and Pat Friday in 1941. Most know Etta James’ 1960 soul version. Sarah C’s smoky depth gave us a little mix of both, Sarah taking full advantage of her exquisite 20-piece orchestra at that moment.
The audience was invited to take a break and on return, Dom treated us to a Sinatra and Dean Martin medley: ‘Come fly with me’, ‘All of me’, ‘You’re nobody ‘til somebody loves you’ and finally, ‘My Way’, which Dom sang with all his heart and soul, totally winning over the audience and causing us all to stand and cheer.
Sarah C in her a beautiful, long pink gown, tied in a huge bow – designed by Ella Atkins – paired with a stunning Halo diamante Tiara, sang one of my all-time favourite songs – once recorded by Sammy Davis Junior, John Coltrane, Michael Buble, and, most famously, the irrepressible Nina Simone – the very cool and extremely groovy, ‘I’m feeling good’.
To hear this classic sung by Sarah in an intimate band room, performed live by the magnificent Mojo orchestra, was spine-tingling.
As were the following hits, ‘Orange coloured Sky’ originally by Nat King Cole; ‘My Baby just cares for me’; ‘I get a kick out of you’; Duke Ellington and Ella Fitzgerald’s, ‘Don’t mean a thing if you ‘aint got that swing’ and finally, ‘New York. New York.’
By this time, the audience was singing along loudly and with joy.
Brunswick Ballroom is one of Melbourne’s live music gems. Not only does it host live original and cover bands of every genre on Fridays, Saturdays and Sundays – and some weekdays – on this marvellous night, it opened at 6.30pm for dinner before the show starting at 8.30pm.
Who doesn’t love a dinner and show?
This was something different – An opulent big band experience, everyone dressed up to the nines in an intimate ballroom, hosting a 20-piece orchestra behind two powerhouse voices, two good friends, who, like the real Tony and Gaga re-igniting these classics, had a camaraderie and talent too good to miss.
A time of chivalry, respect, romance and joy. Melbourne needs more of this.
Don’t miss your chance to see this great show. Upcoming dates are:
Frankston Arts Centre – Saturday, 5th September, 2026.
In the self-proclaimed ‘arse end of England’ there is a tavern in the village of Gotham (pronounced Go-tham, not Batman’s Gotham). Picture yourself in ye olden times of 1206, ruled by the King, the mystical wonder of knights and the clinking of mead in tankards. Lose yourself in an era where the lute and the medieval fiddle, the vielle, play in harmony with the gentle beat of the tabor and tambourine.
This is where A Kingdom of Fools, a one act comedic farce, directed and written by Ryan Atkins, begins with a burst of excitement. The tavern owner Mildreth (Meredith Welch) commands her workers, chef Simple Thomas (Alex Hutchison-Smith) and tavern wench Ethelfleda (Nala Davies) to prepare for the arrival oenf a knight, Sir Guy Ashcombe (Brendan Atkins) and nobleman Sir William Drakeford (Yarno Rohling). To present their best face in tavern hospitality, the tavern is rushed to be cleaned. The chamber pot “near to overflowing” is brought out ready to empty, a fixing of the floor near the door is attempted, Ethel practices her best bosomy sexy postures in the hope of snagging the knight, the welcome horn and the pouch of rose petals are at the ready. All these make their way back into the story later, serving as the accomplices to some hilariously comedic scenes.
Whilst waiting for the noblemen, Gerd (Lachlan Atkins) a sweet and simple miller, and Alfric (Ryan Atkins), a man with his head and both hands enclosed in a long wooden pillory arrive. Ryan’s Alfric unknowingly slams the wood into two characters, causing one to tumble outside and Gerd to become a temporary wall decoration which was one of my favourite scenes. It is difficult to describe this scene without giving away spoilers, but I’ll just say that it was so well timed and had the audience laughing and wondering how the set would recover.
Sir Ashcombe and Sir Drakeford also made a memorable entrance onto the stage. Sir Ashcombe tripped over and fell onto his back. Brendan’s portrayal of the knight, scrambling furiously and failing several times to get up off the ground because of the heavy armour was played to perfection, and reminded me of a cockroach with legs running askew!
The knight and the nobleman were at the inn to announce that King John was seizing it for himself. Everything, he says – including the tavern and the people, the animals and the flowers in the fields. The villagers are outraged at this greed, with Meredith’s Mildreth shooting the darkest and murderous looks at Sir Drakeford. Thus begins an outrageous plan of rebellion to convince the noblemen to leave and never return. Father Godric (Arnold Walsh) is brought in by the noblemen in attempt to temper the situation, but this fails and the audience most likely silently cheer as he flees.
The chaos that ensues from the villagers’ plan is all encompassing, involving the characters in non-stop scenes of utter hilarity and originality. One standout scene was when Sir Drakeford was reading the decree to Mildreth, unspooling it and reading it slowly line by line in a totally matter-of -fact way. Meanwhile, Ethel, Gerd and Simple Thomas are in the background, in their own world creating the most ridiculous skits, yet being one hundred percent true to their characters, which made it even funnier. This was one of the cleverest ways of involving a lot of the cast onstage, separate yet together to create one unforgettably funny scene. Ryan Atkin’s script was witty, fast paced and engaging, eliciting clever wordplay to capture the audience and tickle their funny bone.
The costumes were period perfect, especially their medieval tunics, brown soft sole boots and hanging coin pouches, as were the props and the set. The end scene was outrageously messy, and the physicality of Simple Thomas’ actions had the whole audience “laughing their head off” which is my way of giving a nod to the Ryan’s Aldric who spent the majority of the play with his head and hands trapped as well as something else.
Although I could see that there was no one ‘main character’ as such, as each character was written with their own flair, Lachlan’s portrayal of loveable ‘village idiot’ Gerd was a standout. He managed to deliver many not so hidden innuendos with the innocence of the young, which added to the comedy.
It was no coincidence that A Kingdom of Fools was at the Sydney Winterfest Medieval Fair on the weekend before the play’s opening week at The Eternity Playhouse. It was a strategic stroke of genius, because putting your head and hands into a pillory for a photo opportunity was perhaps the best advertisement for this play. A hilarious comedy of Monty Python-esque proportions, A Kingdom of Fools gathered the audience into a medieval time machine and stepped us back to where the little people overthrow the powerful. I’ll fill my tankard with mead and drink to that!
A Kingdom of Fools is playing at The Eternity Playhouse. 39 Burton St, Darlinghurst 90 minutes Season: 16 July – 26 July 2026 Tickets: www.events.humanitix.com/a-kingdom-of-fools
