This is an intelligent documentary. The commentary is both clear and pertinent, thereby helping the viewer appreciate the creativity, and the risks taken, by a roll-call of gifted composers and lyricists who, between them, produced most of the great musicals of our time .Above all though-there is, throughout the entire film, the music itself, and, as the song goes-who could ask for anything more!
From the start it should be stated that ROCK THE CASBAH, a film in Hebrew and Arabic with English sub-titles, about the first Intifada in 1989-is disturbing. That, however, is not a criticism of its obviously talented director, Yariv Horowitz, or it’s truly admirable cast-but is solely the consequence of its tough subject matter.
At its core, Eyton Fox’s CUPCAKES is a gentle satire of the Eurovision song contest, an event familiar to most people, but it adds layers of real-life personal challenges and telling observations about today’s society. It emanates warmth, vibrant colour, wit, and great foot-tapping music.
Many talents contribute to the making of a fine play, and in ROSENCRANTZ AND GUILDENSTERN ARE DEAD which opened to an enthusiastic full house at the Sydney Theatre Company last Saturday, those talents were clearly visible. The production was seamless, the direction flawless, the set both perfectly functional and satisfyingly inventive, the sound effects appropriate and the lighting (and, at all the right moments, the total darkness) effective.
Bernadette Robinson’s voice is amazing. It is clear, powerful, warm and has a great range. She can, and does, turn it to singing opera, jazz, blues and popular music at will and with consummate ease. She can, and does, effortlessly change herself from a diva to a torch singer and back to a diva. And In doing this, her acting skills match her vocal ability.
If ever there was a film which produced mixed feelings, it is MIDNIGHT’S CHILDREN, the film adaptation of Salman Rushdie’s prize- winning novel of the same name
