Classical

The Weekend Australian - Review - - Out & About - David Strat­ton SR SR Martin Buza­cott

(M) A de­light­ful con­tem­po­rary com­edy about the prob­lems fac­ing an in­de­pen­dent 30some­thing New York woman who can’t sus­tain re­la­tion­ships but who yearns to be a mother. Writer-di­rec­tor Rebecca Miller and a su­perb cast headed by the divine Greta Ger­wig along­side Julianne Moore and Ethan Hawke en­sure that this smart, witty com­edy is based firmly in re­al­ity — and all the bet­ter for it. Love & Friend­ship (PG) In Love & Friend­ship, di­rec­tor and writer Whit Still­man boldly goes in a few di­rec­tions. First, the film is based not on a fa­mous Austen work but on an epis­to­lary novel she wrote in her late teens. This is an Austen adap­ta­tion that re­minds us what a funny writer she was. The di­rec­tor is aided and abet­ted by a strong cast, es­pe­cially Kate Beck­in­sale as the lead­ing char­ac­ter, Lady Su­san Ver­non. Aus­tralia’s Xavier Sa­muel is ex­cel­lent as the hand­some but sen­si­ble Regi­nald De Courcy. Still­man uses the cor­re­spon­dence ba­sis of the novel with great ef­fect. Austen did like to have fun with her char­ac­ters to show the stranger sides we all have, and watch­ing this classy adap­ta­tion of one of her lesser-known works will re­mind you of that.

Lights Out (M) Lights Out is di­rected by David F. San­berg, an ex­pan­sion of a short film he made in 2013. It is an old-fash­ioned hor­ror film in which rat­tling doors, sud­den move­ments, noise, ap­pari­tions and, in this case, dark­ness build se­ri­ous ten­sion. The evil here is a woman named Diana who ap­pears as a talon-handed shadow, but only in dark­ness. Light hurts her, makes her dis­ap­pear. If you are in the mood for some neck-hair prick­les, this should do the trick. By the finely judged end, just who is caus­ing all this hor­ror is not clear, and that is the great­est fright of all.

Blaz­ing Baroque The Aus­tralian Bran­den­burg Orches­tra pre­sents this op­por­tu­nity to hear baroque con­cer­tos played on rare com­bi­na­tions of in­stru­ments. Com­po­si­tions by Tele­mann, Vi­valdi, Sam­mar­tini and Fasch will be played un­der the ba­ton of Paul Dyer. In ad­di­tion to lead­ing the orches­tra, con­cert­mas­ter and vi­o­lin­ist Shaun Lee-Chen (pic­tured) will play a vi­o­lin con­certo by Vi­valdi — known as Il grosso Mogul — on a baroque vi­o­lin. City Recital Hall, 2 An­gel Place, Syd­ney. Wed­nes­day, 7pm. Tick­ets: $32-$173. Book­ings: 1300 782 856 or on­line. Un­til Au­gust 6. Choir of Trin­ity Col­lege It’s the phys­i­cal sep­a­ra­tion be­tween the singers that you no­tice first when the Choir of Trin­ity Col­lege Cam­bridge takes to the stage, half a body width to spare on ei­ther side of them. Then you hear the in­di­vid­ual voices, each of which, hor­ror of hor­rors, stands out. From a brief Arvo Part opener it’s straight on to Byrd, Tal­lis and Pur­cell as cho­ris­ters half turn to­wards one an­other. Stephen Layton con­ducts, the man who has been di­rec­tor of music since 2006. In a pro­gram that moves be­tween old and new, the cen­tre­piece is Frank Martin’s Mass for Un­ac­com­pa­nied Dou­ble Choir. It’s glo­ri­ously sung. City Recital Hall, 2 An­gel Place, Syd­ney. To­day, 2pm. Tick­ets: $30-$117. Book­ings: 1800 688 482 or on­line.

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