‘Out to lunch’—finale

Press, 13 July 1985, Page 8

‘Out to lunch’ —finale

“Out to Lunch” series of concerts presented by the Arts Employment Scheme in the Great Hall, Arts Centre, July 1 to 12, at 1.10 p.m. A summary review by Philip Norman. With a whimsical and vaguely disturbing performance by Don McGlashan and Harry Sinclair of excerpts from their theatrical piece, “The Front Lawn,” the “Out to Lunch” series ended yesterday. Ten days of often high-quality fare were appealingly capped by this free-wheeling examination of life in a New Zealand suburb. This last fortnight’s bout of “Out to Lunch” concerts is the third such series, all organised by the intrepid administration team of the Arts Employment Scheme. With a fourth series planned for later in the year, this mini-festival of concerts looks set to become a regular part of the city’s cultural programme. This is all to the good, for the series serves several important functions. As well as providing varied and low-cost entertainment to help enliven the dreary winter season, it also presents a platform for aspiring artists to gain experience in the art of public performance. The promising young jazz singer and pianist, Lizzie Cook, to give but one example, will have benefited enormously from this opportunity to perform. Likewise, the jazz saxophonist, lan Edwards, and the classical flautist, Rebecca Steel, deserve all the promotion and exposure that the series offers. Running back through the

complete list of artists who appeared, one can safely report there were few who would not have benefited from either the additional work or the experience of concert conditions. However, that is not to say that all the featured performers warranted inclusion in the series. In this respect, there were at least two, perhaps three, borderline cases. After all, a low admission price is still an admission price; there needs to be some vestige of quality control in the programme selection. A general criticism of the series is that many concerts either started or finished late. If members of the workforce are to be attracted to a lunchtime recital, they need the assurance that performances will start at the nominated time and conclude within a maximum time of 40 minutes. In all, however, the administration of the concerts was of good order. Martin McPherson and his team of helpers must be complimented on their efficient, courteous, and at times innovative management. One feature of the Arts Employment Scheme I find disturbing. In this, and in the preceding “Out to Lunch” series, the musicians showing the least promise were, in fact, those employed full-time (albeit for a limited term) on the scheme. It seems incongruous that these State-spon-sored musicians are, in all likelihood, receiving an average weekly income significantly in excess of their more promising counter-

parts endeavouring to work as freelance professionals. The notable exception to this can be found in the spirited work of the A and E Players, a quintet of actors employed on the scheme. Under the direction of Alison Quigan, their lively band of al fresco cabaret in the Arts Centre quadrangle brightened the beginnings of each concert throughout the fortnight. The “Out to Lunch” series also provided an excellent opportunity to appraise the strengths of the Great Hall as a performing venue. Work has already begun on refurbishing the interior of this stately building. A lowered stage allows for a greater ease of communication between performers and the audience. Plans are being drawn to install additional heating, movable tiered seating, lighting banks, and a foyer leading in from Worcester Street. One problem particularly evident through many of the recitals was that of the hall’s acoustic properties. While traffic noise rendered it unsuitable for music of a quiet dynamic, excessive reverberance made it difficult to hear both the spoken word and music and more than average amplitude. If these difficulties can be overcome through the use of double glazing (as planned) and judiciously placed carpets, drapes, and acoustic panels, the Great Hall could well become one of the most adaptable and pleasing performance spaces availble in the city.