33 Variations review

It's a mystery how a song or piece of music can elicit strong emotions from a person. We may listen to heavy metal when we need a release whereas for moments of clarity we might seek some classical music, such as Beethoven. In many ways, the music we listen to often becomes the soundtrack of our lives and this is touchingly explored in Moisés Kaufman's 33 Variations, in which a musicologist devotes years of her life trying to understand why German composer Beethoven was so consumed with writing 33 variations to Anton Diabelli's simple waltz.

American film legend, Ellen Burstyn is utterly captivating as musicologist Katherine Brandt. Her ability to show her gradual loss of control of her body due to her diagnosis of amyotrophic lateral sclerosis (ALS) while desperately clinging to her intellect is masterful. Her troubled relationship with her daughter Clara, played by the inimitable Lisa McCune, is examined without melodrama and reaches a genuinely affecting conclusion with acceptance of mistakes from both sides.

Assembly Operation review

Our ticket for Speak Percussion's Assembly Operation is a Chinese one Yuan note, but this isn't just for novelty. The program tells us the inspiration for the show comes from the image that is printed on this note, and it allows us an opportunity to see the image and to better understand the show's concept. On it is an image from the West Lake in Hangzhou, which depicts three pools reflecting the moon. A body of water, a bridge and three ceramic stupas (pagodas) are also shown, and it is these items that influences Assembly Operation.

Walking in, we see three rows of tables facing the audience, each row adorned with different items. The one furthest to the back holds three small electronic keyboards whereas the middle one has a variety of traditional looking ceramics and a number of instruments, including drums. The front table is where the three percussionists, Kaylie Melville, Matthias Schack-Arnott and Eugene Ughetti, sit motionless. They are surrounded by crumpled up tissue paper, and knowing what we know about the show, it looks like a sea of water is surrounding them. A recording in Chinese plays through a PA or a megaphone and what its saying is lost on me, but I believe it to be sprouting cultural propaganda. Suddenly it stops, and the three percussionists begin.

Anicca review | Arts House

In Buddhism, anicca (impermanence) is seen as the first of three marks of existence and the idea that existence is by nature, evanescent and inconstant. With his new show, Anicca, composer and performer Matthias Schack-Arnott manages to bring these beliefs into the thoughts of his audience as we reflect and ponder on the transient nature of not only moments in our lives, but of life itself.

While his previous show, Fluvial had its own impressive concept and visual design, Schack-Arnott has truly outdone himself with the design of the instrument for this performance. An array of bamboo sticks, pebbles, shells, felt and other tactile items are glued on to a flat round surface and with the use of a motor from an electric pottery wheel, Schack-Arnott gets the instrument spinning, where it begins to resemble a large roulette wheel. This variable-speed rotating instrument created with engineer Richard Allen, has no name and this adds to the mystery and wonder of the show.

Alice Tovey: Malice review - Melbourne Fringe

Alice Tovey has a lot to say about many things. Mainly it's about things that frustrate her and anger her. Things like racism, anti-vaccine supporters and organised religion. In her Melbourne Fringe cabaret show Malice, Tovey sings her way through these contentious issues with with and charm and with no care if she is going to offend you or not.

While she performs a number of brilliant songs, the highlight of the evening would have to be her loving tribute to “Today” show host Karl Stefanovic, in which Tovey sings about her suffering from Stefano-sickness. "Disciple of Satan" is also a great song that is infused with Tovey's sharp wit and humour.

Lost In The Looping Glass by Helen Bower - Melbourne Fringe Festival preview

The great thing about Melbourne Fringe is the sheer range of shows on display and one that promises a unique experience is Lost In The Looping Glass. Created by violinist and sound artist Helen Bower in collaboration with composer Charles MacInnes, this is a unique musical show not to be missed. An exciting sequel to Bower’s 2014 fringe show Through the Looping Glass, this new work delves deeper into the fascinating new music that can be created with just one violin, a loop station and some well-placed sonic effects. 

"Looping is taking a fragment of music (a melody or a chord sequence of a rhythm for example) and making it go round and round - a bit like having a song on repeat, once it gets to the end it starts again at the beginning," Bower explains. "Live electronic looping is when you record those fragments live and then loop them and layer them on top of one another to create a piece of music.  It's a really fascinating way to create rich and interesting textures with just a single instrument."

Fluvial review

It begins with a single chime that resonates through the room. It lingers in the space, bringing a calming, meditative state over the audience, and just as it ends another one begins and another and another.

I can only begin to wonder how composer and performer Matthias Schack-Arnott even began to visualise his installation for Fluvial. It consists of two rows, about five metres long, of various metal, aluminium tubing and glass bottles running parallel to each other. A number of bottles and chimes hang from above with fishing wire, seemingly floating in the air. The pools of water along the rows and the name of the show itself, make this "river of percussion" a sight to behold.