A Unique Take on Musical Theatre: Sonder
At the Old Fitz Theatre, the experimental musical theatre production Sonder explores the concept of “sonder,” a term coined by writer John Koenig. This idea refers to the profound realisation that everyone we see is the protagonist in their own life story. In this piece, Romeo, played by Riki Lindsey, reflects on his own journey, navigating themes of love, identity, and personal growth.
The show is a solo performance, with no live musicians, and blends conventional storytelling with elements of myth, ritual, and song. The music, composed by Mitchell Sloan, is laced with electronic dance music, creating a unique auditory experience. Alexander Berlage, who directed and designed the show, uses a reflective black floor and bright lights to create an immersive environment for the audience.
Lindsey’s performance is compelling, showcasing both his vocal talent and stage presence. However, the writing could be more engaging, as the narrative feels somewhat linear and lacks depth. The character of Romeo is often one-dimensional, making it challenging for the audience to fully connect with him.
Despite these challenges, the visual and aural aspects of the production are strong. Berlage’s direction brings a fresh perspective to the stage, using reflective triangles to symbolise fragmented memories. The songs, while not groundbreaking, add a layer of emotional resonance to the performance.
One of the most striking moments occurs when Romeo shares a story about a caterpillar whose cocoon is destroyed in a storm. This moment allows the audience to feel a sense of wonder, highlighting the potential for deeper engagement with the character.
The show is a bold attempt at redefining musical theatre, though it falls short in some areas. It may not be perfect, but its audacity is commendable. If we were to award stars for daring to dream differently, Sonder would certainly earn them.
A Captivating Performance of Schubert’s Fantasy and Octet
On May 17, the Australian Chamber Orchestra (ACO) delivered a captivating performance of Schubert’s Fantasy in C major and Octet in F major at the Sydney Opera House. The event was reviewed by Peter McCallum, who praised the ensemble’s ability to bring new life to these classical works.
The Fantasy, originally written for violin and piano, was arranged for the ACO’s instrumentation. Richard Tognetti, the ACO leader and violinist, took on the challenge of reimagining the piece. His performance was marked by light sweetness and agility, especially in virtuosic passages. The use of gut strings added a unique texture to the sound, enhancing the overall experience.
The arrangement made effective use of the clarinet, horn, and bassoon, creating a rich tapestry of sound. The interplay between the solo violinist and the upper parts was particularly noteworthy, with the horn adding a smooth, glowing resonance. The string sections provided complex textures, contributing to the overall richness of the performance.
The second half of the concert featured a superb performance of Schubert’s Octet. The expansive paragraphs shaped an idyllic world, where time seemed to stand still. Moments like the simple horn call initiating the Coda of the first movement and the hushed violin sounds from Tognetti and Rathbone opening out to a perfectly placed cadence in the second movement were particularly memorable.
However, reality intervened in the fifth movement when one of the gut strings gave way. This occurred during the gentle Trio section, and while it was unfortunate, it did not detract from the overall quality of the performance.
A Moving Performance of Durufle’s Requiem and Poulenc’s Gloria
The Sydney Philharmonia Choirs presented a powerful performance of Maurice Durufle’s Requiem and Francis Poulenc’s Gloria at the Sydney Opera House on May 16. Peter McCallum, the reviewer, noted the emotional depth and technical excellence of the performance.
Durufle’s Requiem, written during World War II, draws on the French sensibility of the early twentieth century. The performance featured a large choir and orchestra, creating a sound of blazing splendour at key moments. Conductor Elizabeth Scott established an unhurried pace, balancing the choir well and nurturing a rounded, unforced tone.
Samuel Dale Johnson, the Baritone soloist, delivered a compelling performance of the Libera me, showcasing a focused tone and expressive accents. Helen Sherman, the mezzo-soprano, was strongest in the upper register, though her lower notes lacked penetration. The Sydney Philharmonia Orchestra provided a warm string sound in the Pie Jesu, tempestuousness in the Libera me, and delicacy in the closing In Paradisum.
Carl Vine’s new work, Time’s Fell Hand, set to Shakespeare’s Sonnet 64, offered a sense of immediate narrative connection combined with poetic depth. The baritone soloist, Dale Johnson, conveyed a sense of striving directness, leading to the central moment “time will come and take my love away.”
The program concluded with Poulenc’s Gloria, a vibrant celebration of piety. Soprano Meechot Marrero brought warmth and a full-bodied tone to the performance, closing the concert with a soft amen.
