Melbourne Observer. Wed., Mar. 20, 2019

Page 1

Melbourne

Observer

NEW WBIZ ★ LIFES TYLE ★ TR AVEL ★ FEA TURES ★ BARGAINS ★ SPORT NEWSS ★ SHO SHOWBIZ LIFESTYLE TRA FEATURES

Melbourne

95

$2

ISSN 1447 4611

Observer

Ph 1800 231 311 Fx 1800 231 312

WEDNESDAY, MARCH 20, 2019

VICTORIA’S INDEPENDENT WEEKLY NEWSPAPER

50TH YEAR OF PUBLICATION $2.95

STATE EDITION Vol 51 No 1727 SERVING VICTORIA SINCE 1969

including GST

33 VARIATIONS

● William McInnes and Ellen Burstyn in 33 Variations. Photo: Lachlan Woods.

■ Ludwig Van Beethoven (1770 1827) devoted his precious later years to writing a variation on a ‘mediocre’ waltz composed by his publisher Anton Diabelli. Much mystery surrounds why Beethoven initially declined and later accepted Diabelli’s request to write a single variation for a Grand Collection of variations by Vienna’s leading composers. Amongst them Johann Sebastian Bach who already had 32 Goldbergh Variations and theories are that Beethoven went one step further, either to be one up man ship on Bach or to flex his muscle as a composer by showing what he could do with a ‘mediocre’ waltz and compose 33 Variations. Moises Kaufman’s meticulously researched play 33 Variations, explores the creation of the Variations through researcher and musicologist, Dr. Katherine Brandt (Ellen Burstyn) who afflicted by early stages of ALS (Lou Gehrig’s disease) travels to Bonn, Beethoven’s birthplace to gain access to his music archives stored for some 200 years. As her health deteriorates while spending days at the Archives Library, her daughter, Clara Brandt (Lisa McCune) travels from New York with Nurse, Mike Clark (Toby Truslove) to be with her in the hope she can influence her mother to return to New York. With the help of librarian Dr Gertrude Ladenburger (Helen

Morse) and her obsession with Beethoven, Brandt becomes the embodiment of the very pieces of music she is struggling to understand, a theme with more variations, perhaps, then even she anticipated. Beethoven, (William McInnes) with his secretary Anton Schindler (Andre De Vanny) bring to life the idiosyncrasies of Beethoven, his temperament, his deafness and his decline in health, running parallel to that of Brandt’s. Publisher Anton Diabelli (Francis Greenslade) was persuaded to give Beethoven more time to complete the variations as difficulties arose in their relationship. It is a consummate performance by a stellar cast, led by celebrated Ellen Burstyn in her Australian stage debut by giving us a full spectrum of emotions, expressively moving, yet at times humorous performance. McCune, McInnes, Morse, Greenslade, De Vanny and Truslove all excelled as one would expect in their character roles, well supported by accomplished pianist Andrea Katz. A dynamic and versatile set, complemented by AV screens, superb lighting and sound with wonderful snippets of Beethoven’s work all cleverly directed by Gary Abrahams. Performance Season: Until March 24 Venue: Comedy Theatre, Melbourne Bookings: Ticketmaster. - Review by Graeme McCoubrie

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