With the new year around the corner, Limelight’s critics pick their favourite arts events from a busy 2016.

Clive Paget – Editor

Harpsichordist Mahan Esfahani

Mahan Esfahani (Brisbane Baroque)

The Iranian-American harpsichordist arrived for his Australian debut trailing a string of awards and plaudits and he didn’t disappoint. An intense, considered presence at his instrument, and an engaging presenter of ideas, his recital was utterly engrossing and at times deeply moving. That he still hasn’t been paid for his labours is a scandal.

The Eighth Wonder (Opera Australia, IFAC Handa)

This site-specific restaging of Alan John’s opera about the vicissitudes of the building of the Sydney Opera House was a truly once in a lifetime event. As we watched the gulls wheeling in the shafts of light above Utzon’s iconic sails, this was a timely reminder that opera can dream, and when it takes a risk it can be the greatest art form of them all.

Hollywood Rhapsody (Sydney Symphony Orchestra)

It’s been a great year for the SSO with especially memorable concerts under David Robertson, Brett Dean and Korean maestro Shiyeon Sung, but for sheer pizazz and a wealth of unusual repertoire nothing quite beat John Wilson’s tribute to the Golden Age of Hollywood. Big, bold, and occasionally brash, this was heart-in-the-mouth concert gold.

The Melbourne Ring Cycle (Opera Australia)
Das Rheingold
Die Walküre
Siegfried
Götterdämmerung

Neil Armfield’s intelligent, theatrically astute staging of Wagner’s teratology has bedded in since its first outing three years ago. This year’s realisation was beautifully played under conductor Pietari Inkinnen – whose reading has also brewed very nicely indeed – and a strong cast was crowned by fine central performances from Jacqueline Dark, Warwick Fyfe, Lise Lindstrom, Daniel Sumegi, Stefan Vinke and Amber Wagner.

My Fair Lady (Opera Australia)

Dame Julie Andrews took us to musical theatre heaven with her recreation of the original production of My Fair Lady, which also turned out to be an intelligent homage to George Bernard Shaw’s original play. An outstanding cast was led by Anna O’Byrne’s feisty Eliza and Alex Jennings’ quixotic, capricious and at times surprisingly sad Higgins.

Jo Litson – Deputy Editor

Hayes Theatre Co’s Little Shop of Horrors

Little Shop of Horrors (Hayes Theatre Co)

The creative team behind the Hayes’s stunning debut production Sweet Charity did it again with a dazzling Little Shop of Horrors, which was simultaneously creepy, comical and touching. Directed by Dean Bryant on an off-kilter set by Owen Phillips, with gorgeously kitsch costuming by Tim Chappel, the production moved from monochrome to glorious technicolour: an inspired decision. Brent Hill and Esther Hannaford broke your heart as Seymour and Audrey, while Erth Visual & Physical Inc. brought Audrey II to life in spectacular fashion.

Antigone (Sport for Jove)

Sport for Jove proved once again to be one of the most exciting theatre companies around with an emotionally shattering Antigone. Featuring a new adaptation by Damien Ryan, who co-directed with Terry Karabelas, the production was set in a contemporary war zone and felt utterly topical while remaining true to the spirit of Sophocles’ original. Andrea Demetriades was a compelling Antigone, and the very fine William Zappa has rarely been better as Creon. 

Nijinsky (Australian Ballet)

John Neumeier’s extraordinary dance-drama Nijinsky is thrillingly different to anything else in the Australian Ballet’s repertoire. Seen through Nijinsky’s disintegrating mind, Neumeier’s choreography – which combines classical ballet with modern movements – is endlessly inventive as memories of Nijisky’s famous roles, family and relationships, as well as nightmarish visions of World War I, fill the stage. The AB gave a gripping account of the work, with an intense performance from Principal Artist Kevin Jackson, which captured Nijinsky’s fragility, confusion and fear.

All My Sons (Sydney Theatre Company)

The design for Kip Williams’ searing production of Arthur Miller’s classic play All My Sons told you immediately that all was not well at the Keller household. Instead of the usual naturalistic backyard, Alice Babidge’s black box set with a flat cut-out of the family home created a foreboding atmosphere. The staging, along with the clarity of Williams’ direction, threw a laser focus on Miller’s beautiful writing, with riveting performances from an excellent cast led by John Howard as Joe and Robyn Nevin as his anguished wife.

Kinky Boots (Michael Cassel)

Winner of the 2013 Tony Award for Best Musical, Kinky Boots by Cyndi Lauper (music and lyrics) and Harvey Fierstein (book) isn’t without its flaws as a show, but the beautifully cast Australian production is a delight. Set in a floundering Northampton shoe factory, the musical has a huge heart and a simple but important message about acceptance. Callum Francis as Lola and Toby Francis as Charlie give touchingly real performances and have a lovely chemistry. A life-affirming, uplifting show that sends you home smiling.

Angus McPherson – Staff Writer

Ferdy Roberts as Puck in Filter Theatre’s A Midsummer Night’s Dream, photo © Tristram Kenton

A Midsummer Night’s Dream (Lyric Hammersmith & Filter Theatre, Brisbane Festival)

Filter Theatre’s fast-paced reimagining of Shakespeare’s classic comedy at the Brisbane Festival was a hilarious action-packed romp. Shakespeare’s dialogue was delivered with whip-crack timing, interspersed with contemporary speech, in a riotous modern adaption true to the spirit of the bard if not always the letter. The set was a wonderfully crumbling destructible environment where the fourth wall wasn’t the only one left in tatters.

The Musem Goes Live: Music for a Time of Dysfunction – Part 1 (Jon Rose, Liveworks Festival)

Set within the violin paraphernalia of the Rosenberg Museum, experimental violinist Jon Rose’s The Museum Goes Live: Music for a Time of Dysfunction – Part 1 was an incredibly vivid, immersive experience. With the Data Violin playing the music of Wall Street money changing hands, a dizzying lighting design consisting entirely of standing lamps, and every conceivable – and inconceivable – variation of the violin, this was a terrifying and fascinating concert to experience.

Avi Avital (Australian Brandenburg Orchestra)

Hipper than HIP, mandolin rock-star Avi Avital brought stunning musicality and fearless energy to the music of Vivaldi, Paisiello, Tsintsadze in a concert by the Australian Brandenburg Orchestra that would have felt just as at home in a low-lit bar as the City Recital Hall.

Leonskaja & Mozart (ACO)

The Russian lioness of the keyboard, Elisabeth Leonskaja brought a polished brilliance to Mozart’s Jenamy concerto – her technique glistening with refinement. Bookended by Timo-Veikko Valve’s arrangement of the sextet from Strauss’ Capriccio and Beethoven’s Op. 127 String Quartet. 

Nelson Mass (Sydney Chamber Choir, Australian Romantic & Classical Orchestra)

Richard Gill, the Sydney Chamber Choir and the Australian Romantic and Classical Orchestra paired Haydn’s ‘Nelson’ Mass with Ross Edwards’ stunning Mass of the Dreaming: Missa Alchera. Gill traced a beautiful line from the primal opening drone of the Edwards to the brilliant climax of the Haydn, finding an elegant unity in the two very different explorations of spirituality through music.

From critics around the country

Adelaide Symphony Orchestra’s Principal Conductor Nicholas Carter

Dazzling Prokofiev (Adelaide Symphony Orchestra)

“Carter, Shamray and the ASO gave a truly scintillating performance, one that proved the concert’s title – Dazzling Prokofiev – was not hyperbole.” – Dylan Henderson

Missa Solemnis (Melbourne Symphony Orchestra)

“With its clear antecedents but harmonic and structural barrier-breaking, and its pleas for peace ultimately unanswered and unresolved, the Missa solemnis was given a sensitive, accomplished and acutely thoughtful reading.” – Lisa MacKinney

Mahler 2 (QSO)

“With de la Parra at the helm, the Symphony was played very well indeed. Mahler’s great span of emotional and technical virtuosity was realised to its fullest extent, the exuberance, skill and feeling of the piece fixing audience members in their seats.” – Madeleine Dale

Tristan und Isolde (Tasmanian Symphony Orchestra)

“A musical climax is reached, though after two hours of ascending tension, it doesn’t leave us at peace. It does, however, receive a standing ovation from a full house – and touch our hearts with a dizzying and remarkable musical event.” – Stephanie Eslake 

Fisch Conducts Zarathustra (West Australian Symphony Orchestra)

“The Tannhäuser Overture duly unfolded with immense power and dignity, Fisch imploring with eloquent gestures every section, but the strings especially, to sing as they had never sung before. A finely responsive and alert WASO more than delivered.” – Will Yeoman 

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