Clas­si­cal

The Weekend Australian - Review - - Out & About - Stephen Romei DS Mur­ray Black Deb­o­rah Jones Elias Visontay

(M) This ro­man­tic com­edy-drama from Amer­i­can film­maker James C. Strouse is un­con­ven­tional — and that’s why it’s so in­ter­est­ing. At times it feels awk­wardly real. This has a lot to do with an un­con­ven­tional lead per­for­mance by New Zealand mu­si­cian and ac­tor Je­maine Cle­ment, best known as one half of the mu­si­cal com­edy act Flight of the Con­chords. Cle­ment brings a sub­tle sense of com­edy to pro­ceed­ings. This en­gag­ing, good-hearted film stum­bles at times, but it’s never less than thought­ful. I hope other film­mak­ers take no­tice of Cle­ment, as on the ba­sis of this slow-build, un­der­stated but pow­er­ful per­for­mance I’d like to see more of him.

Life (MA15+) In the win­ter of 1955, just prior to the New York pre­miere of East of Eden, the film that would make him fa­mous, James Dean (Dane DeHaan) meets pho­tog­ra­pher Dennis Stock (Robert Pat­tin­son) and the two be­come friends. The re­sult is some of the most cel­e­brated can­did photos of Dean, but also in­sights into the life of this hugely tal­ented but im­mensely in­se­cure ac­tor who rep­re­sented some­thing new in Amer­i­can cin­ema and whose death later in 1955, at the age of 24, left him more cel­e­brated than ever.

Amer­i­can Ul­tra Mozart’s Fortepi­ano Fortepi­anist and guest di­rec­tor Kris­tian Bezuiden­hout showed he shared Paul Dyer’s lik­ing for speed and con­trast in his Mozart per­for­mances with the Aus­tralian Bran­den­burg Or­ches­tra. The ABO im­pressed with its con­sis­tently wellinte­grated ensem­ble sound. Swift tem­pos, strong dy­namic con­trasts and em­phatic at­tack cre­ated an en­er­getic, vi­va­cious ac­count of Mozart’s Sym­phony No 36 ( Linz) while pure-toned flautist Melissa Far­row re­alised a grace­fully shaped ac­count of the An­dante for flute. Bezuiden­hout’s own solo turn was no­table for its re­fined del­i­cacy and as­tute tim­bral va­ri­ety. City Recital Hall, An­gel Place, Syd­ney. To­day, 2pm and 7pm. Tick­ets: $20-$166. Book­ings: (02) 8256 2222 or online. Anne-So­phie Mut­ter Plays Dvo­rak A reg­u­lar soloist with the Syd­ney Sym­phony Or­ches­tra, Ger­man vi­o­lin­ist Anne-So­phie Mut­ter re­turns to per­form the mu­sic of Dvo­rak. Also fea­tur­ing Beethoven’s Sym­phony No 3. Con­cert Hall, Syd­ney Opera House, Ben­ne­long Point. Opens Wed­nes­day, 8pm. Tick­ets: $49$185. Book­ings: (02) 8215 4600 or online. Un­til Septem­ber 26. Su­per­po­si­tion A Ja­panese-French art in­stal­la­tion by Ry­oji Ikeda, pic­tured, inspired by math­e­mat­ics and quan­tum me­chan­ics. Video screens, sound sculp­tures and hu­man per­form­ers com­bine in the im­mer­sive dig­i­tal ex­pe­ri­ence. Car­riage­works, 245 Wil­son Street, Eveleigh. Opens Wed­nes­day. Tick­ets: $35. Book­ings: 1300 723 038. Un­til Septem­ber 26. to solve a prob­lem and cause mis­chief si­mul­ta­ne­ously, and two party-crash­ing jour­nal­ists (Vir­ginia Gay and Bobby Fox) stir the pot and arouse pas­sions. The four-piece band un­der Daryl Wal­lis’s di­rec­tion achieves won­ders. The cast is classy from top to bot­tom and you’d have to go a long way to see bet­ter than Leh­pamer, Gay and Fox. Hayes Theatre Com­pany, 19 Green­knowe Av­enue, Potts Point. To­day, 2pm and 7.30pm. Tick­ets: $59-$65. Book­ings: (02) 8065 7337. Un­til Oc­to­ber 3. Mi­nu­sone­sister Sto­ries Like These and Grif­fin In­de­pen­dent present a mod­ern retelling of Sopho­cles’s Elec­tra by Anna Barnes, who won the Pa­trick White Play­wrights Award in 2013, told from the point of view of teenagers. SBW Sta­bles Theatre, 10 Nim­rod Street, Kings Cross. Tonight, 7pm. Tick­ets: $30-$38. Book­ings: (02) 9361 3817. Un­til Oc­to­ber 3. for the first time, Kisielewicz will dis­play her new body of oil paint­ings, Grow­ing Up is Over­rated, an ex­plo­ration of Western con­sumerism through bright self-por­traits with re­cur­ring pop-cul­ture im­agery. Matthys Ger­ber Older paint­ings and newer pieces by Syd­ney artist Matthys Ger­ber are jux­ta­posed to demon­strate his ex­per­i­men­tal foray into pho­to­re­al­ism, fluid ab­strac­tion, por­traits and still lifes. Known for his bold and colour­ful ap­proach, Ger­ber draws in­spi­ra­tion from the mo­tif of the Rorschach, the inkblot pat­terns com­monly used by psy­chi­a­trists, through­out his works. Mu­seum of Con­tem­po­rary Art, 140 Ge­orge Street, The Rocks, Syd­ney. Opens Tues­day. Daily, 10am-5pm, and un­til 9pm on Thurs­days. Free. In­quiries: (02) 9245 2400 or online. Un­til De­cem­ber 6. (The Con­form­ist). In Rome in1938, young, re­pressed Mar­cello is drawn to fas­cism and is dis­patched to Paris to kill his for­mer col­lege pro­fes­sor, an anti-fas­cist. Palace Elec­tric Cin­ema, 2 Phillip Law Street, Can­berra. Opens Tues­day. Tick­ets: $14-$19.50. Book­ings: 1300 620 809 or online. Un­til Oc­to­ber 11.

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