No matter the season, we can introduce some Italian sunshine into our golden hour tipples with a classic cocktail—and it's a lot cheaper than flying to Europe. Italy's most popular liqueur is arguably amaretto, and the world's favourite way to enjoy it is in a classic amaretto sour cocktail. Read on to discover everything you need to know about this sweet-and-sour drink that has delighted cocktail lovers for decades. What Is Amaretto? Literally translated, amaretto means 'a little bitter' and that's exactly what this luscious liqueur is: a little sweet and a little bitter. There are numerous amaretto liqueurs on the market, but the originator is Disaronno, from the municipality of Saronno in the Lombardy region of northern Italy. Depending on the brand, it can be made from apricot kernels, bitter almonds, regular almonds or peach stones. These all contain a natural compound that imparts the liqueur's almond-like flavour. Like with many liqueurs, it can be enjoyed solo, with some ice, added to coffee, poured over ice cream, used in desserts like tiramisu (yum) or marinade for meat dishes, and, of course, in cocktails. What Is Disaronno? This Italian amaretto liqueur can trace its heritage back to the renaissance in 1525. Legend has it that Bernardino Luini, an artist from the Leonardo Da Vinci School of Art, was tasked with painting a fresco of the Madonna in the Santa Maria delle Grazie Church in Saronno, Italy. To complete his work, he needed a model, and he found one in the local fair-haired and beautiful innkeeper. According to the story, the innkeeper was so honoured to be chosen as the model for Madonna that she created an amber-coloured liqueur from a secret blend of 17 herbs and fruits infused in apricot kernel oil. It got its signature amber colour from caramelised sugar. She gifted this liqueur to Luini, and it caught on. The locals dubbed it 'di Saronno', meaning of or from Saronno, and eventually, that morphed into Disaronno. The liqueur is still made in Saronno, following that same recipe from 1525. How to Make an Amaretto Sour? This cocktail is believed to have been created in the 1970s and was originally known as Amaretto di Saronno. It's a twist on a classic sour cocktail that blends sweet and sour elements. It has two main ingredients: amaretto (in this case, Disaronno) and lemon juice. The inherent sweetness of Disaronno beautifully complements the tart lemon, but if you like it sweet you can always add a touch more simple syrup. For an extra touch of luxury, you can also add egg white, which imparts a silky texture and rich mouthfeel. Ingredients: 60ml Disaronno 30ml fresh lemon juice 5ml sugar syrup (optional, to taste) 1 egg white (or 15ml vegan-friendly option such as aquafaba) Ice Method: Put ice into a cocktail shaker. Pour in 60ml of Disaronno. Add the egg white (or vegan option if using) and freshly squeezed lemon juice. If you like it sweet, add the simple syrup. Shake the shaker and strain it into a chilled tumbler over ice cubes. Garnish with a slice of lemon, and enjoy. Where Can the Amaretto Sour be Enjoyed? In the summer sun, fireside in winter – an all year round tipple. But in all seriousness, we don't always want to be the ones mixing our cocktails. There are plenty of professionals out there who can do a better job than us. Simply go to your favourite bar and order an authentic amaretto sour made only with Disaronno.
If there's one way to forget that you're still in your own city, staycationing within a short drive from home rather than heading further afield, it's splashing around up high while peering down on familiar sights from a completely different angle. Sydneysiders, another place to do just that is in your future, with TFE Hotels set to launch its first Collection property in the Harbour City in early 2024 — complete with a rooftop infinity pool. The new Collection by TFE Hotels property will be a big feature of the in-development Surry Hills Village, sitting on Baptist Street as part of a precinct that'll also include shops, apartments, event spaces, work spaces and dining. The Sydney spot joins the brand's Savoy Hotel on Little Collins in Melbourne, Hotel Kurrajong in Canberra, Calile Hotel in Brisbane and Hotel Britomart in Auckland. That's impressive company, and the new boutique hotel will continue the same design-led, individual-focused approach. When it comes to slumbering, there'll be 102 rooms. While exactly what they'll feature, and what other amenities guests can expect, hasn't yet been revealed, the hotel will boast curved brickwork and stone pathways as part of its design — and greenery aplenty. Also set to be a highlight: the Cloister, the hotel's restaurant and bar space. And, yes, that sky-high pool with scenic views, of course. "Surry Hills is home to one of the city's premier restaurant, dining, and boutique precincts," said TFE Hotels CEO Antony Ritch, announcing the new hotel. "This Collection property will become a destination in its own right." View this post on Instagram A post shared by Surry Hills Village By TOGA (@surryhillsvillage) Within the 1.2-hectare mixed-use development that is Surry Hills Village itself, Sydneysiders can also look forward to a new 517-square-metre public park, plus up to 12,000 square metres of retail and commercial tenants. There'll also be a new public pedestrian thoroughfare linking Marriott Street and Baptist Street — and, as part of the hospitality offering, a new restaurant from Fink Group, the team behind Quay, Bennelong, Otto and newly anointed third-best steak restaurant in the world Firedoor. And yes, new hotels are sprouting up thick and fast around Sydney, with the new Collection by TFE Hotels site joining the soon-to-launch Porter House Hotel; the just-launched Ace Hotel, Australia's first outpost from the chain; and none other than the Waldorf Astoria, which'll also opening its first-ever Australian hotel in Sydney in 2025. That's obviously excellent news not just for staycationers, but for folks visiting the city from interstate as well. TFE Hotels' new Collection property at Surry Hills Village, on Baptist Street in Surry Hills, is due to open in 2024. Head to the Collection by TFE Hotels and Surry Hills Village websites to keep an eye out for further information.
As dairy fiends already well and truly know, adding burrata to any meal automatically levels it up several notches. Add the delicious blend of mozzarella and cream to every dish as part of a five-course dinner and, well, you've got yourself quite the cheesy, indulgent and delicious feast going on. That's what's happening at Burrata Night. Nope, that name doesn't disappoint. Salt Meats Cheese's Newstead store is whipping up a heap of burrata-topped options on Tuesday, April 5, then letting you eat your way through them. This is a choose-your-own-adventure kind of dinner, so you can pick as many — or as few — options as you like, and pay accordingly. Your options include burrata on top of meatballs, burrata with gnocchi sorrentina, a burrata version of spaghetti carbonara, and paired with shortbread and berries. Yes, there's dessert burrata this time around (because SMC hosts burrata nights every now and then, and the menu always changes). Taking the plate-by-plate approach, you'll pay between $16–26 a pop. It all kicks off at 5pm, and booking in advance for this one-night-only menu is essential.
Every September and October, Germany erupts with brews, food and lederhosen-wearing revellers for its annual Oktoberfest celebrations. When that time rolls around Down Under, Australia follows suit. One such festivity is Oktoberfest in the Gardens, which has been throwing big Bavarian-themed celebrations around the country for 14 years — and is returning to Brisbane for 2024. Oktoberfest in the Gardens will make its latest River City stop at Brisbane Showgrounds on Saturday, October 19. If you're keen to head along, expect company; the event expects to welcome in over 65 people enjoying steins, schnitties and German shindigs across this year's seven-city run. Brisbane's fest will serve up the same kind of beer- and bratwurst-fuelled shenanigans that Germany has become so famous for. So, if you have a hankering for doppelbock and dancing to polka, it's the next best thing to heading to Europe. Oktoberfest in the Gardens boasts a crucial attraction, too: as well as serving a variety of pilsners, ciders, wine and non-alcoholic beverages, it constructs huge beer halls to house the boozy merriment. When you're not raising a stein — or several — at the day-long event, you can tuck into pretzels and other traditional snacks at food stalls, or check out the hefty array of entertainment. Live music, roving performers, a silent disco, rides and a sideshow alley are all on the agenda.
We're definitely biased, but Sydney's one of the most beautiful places to see and stay. There's always something to do, some place to drink, somewhere to swim (winter doesn't stop those Sydneysiders from achieving their morning dip). And if you're touring in style, you might as well get the full experience with a luxury stay. Whether you're visiting from interstate or a few suburbs over, Sydney is packed with five-star hotels offering plush sheets (there's no better feeling), silver-platter room service, pamper packages, and infinity pools overlooking heart-stopping views. Capella Sydney, Loftus Street Ever wondered what it's like to stay in one of the world's best hotels? Look no further than Circular Quay — with Capella Sydney crowned the 12th best hotel on The World's 50 Best Hotels list. A feast for the architectural eyes, the meticulously restored former Department of Education building invites discerning guests to another kind of art deco wonderland. Hiding behind a historic facade lies a "meadow garden" — a kinetic lighting installation, featuring wildflower-like lanterns that bloom and fold; a Baroque-style indoor pool and wellness sanctuary, including the serene Aruiga Spa, as well as some of the best dining experiences in the city. Find timeless, moody glamour at the Victorian-style drinking den, McCrae, and award-winning and seasonal brasserie classics at Brasserie 1930. The rooms also fuse heritage motifs with contemporary furnishings and appliances — think Dyson hairdryers, intuitive tablets, and oversized bathtubs. Because what's a staycation without an indulgently long morning soak? 24 Loftus St, Sydney [caption id="attachment_1069490" align="aligncenter" width="1920"] Justin Nicholas[/caption] 25 Hours The Olympia, Paddington Ever return from a holiday or staycation wishing you had more time? Well, at 25 Hours Hotel Olympia, you've got an "extra hour" to play around with or lazily sink into — with an unhurried, halcyon-like atmosphere designed for comfort and presence. The global hotel chain, known for its soul-driven, chicly themed outposts, recently opened its first Australian branch at the original West Olympia Theatre in Paddington. Featuring 109 rooms for both the "dreamers" and "renegades" (the hotel's divided into two bold archetypes), wanderlust cinephiles are taken on a cinematic journey. There's "25 hours" service, retro furnishings, and a swathe of onsite destinations to check out — from the Mediterranean-inspired restaurant, The Palomar, on the ground floor (helmed by Luke Davenport, ex-The Palomar, London), to a buzzy Los Angeles-like rooftop, Monica. Guests can even pick up their morning brew and pastry at Jacob the Angel, the UK's specialist coffee house. With an international feel in one of Sydney's most fashionable enclaves, you'll totally absorb main character holiday energy. 1 Oxford St, Paddington InterContinental Sydney Coogee Beach Bondi may be Sydney's most famous beach, but Coogee's now home to the area's most luxurious hotel. Opened in December, the old Crown Plaza has transformed into a sparkling Grecian escape thanks to a not-so-little makeover by The InterContinental. The five-star utopia features 198 light-filled rooms and 22 sea-facing suites (some with lavish outdoor baths), all inspired by the undulating rhythm and colours of the shoreline. Because it's the eastern suburbs, obviously, there's a clear focus on wellness and rejuvenation: you'll find sunrise yoga sessions on the sand, pickleball courts for sprightly travellers, and lavish spa treatments for the digital detoxer. The palm-fringed infinity pool, bar, and leisure deck are now open, with the fully immersive Èliva Spa and Club InterContinental set to open in May, offering stellar rest and recovery alongside members-only perks. In the meantime, guests and visitors can check out Shutters Restaurant & Bar, a fitting Australian-Mediterranean fusion, as well as the hotly anticipated Rick Stein at Coogee Beach. The influential British chef's second Aussie outpost (he's got Bannisters by the Sea in Port Stephens) heroes Stein's "fresh seafood, simply prepared" ethos for a glitzy Sydney audience. You can order everything from Singapore chilli crab to hot shellfish platters, and even classic fish and chips. 242 Arden St, Coogee View this post on Instagram A post shared by The EVE Hotel (@theevehotel) The EVE, Redfern With Palm Springs sensibilities and a seriously cool, biophilic design, The EVE is a hidden oasis in Sydney's inner city. The five-star hotel by the TFE Hotels (the hotel management team behind Brisbane's southern-Cali-inspired hotel, The Calile) sits on the chic new Wunderlich Lane in Redfern, where some of the best new Sydney restaurants, bars and boutiques are situated, such as lifestyle brand Saardé (which partners with the hotel for luxury bathroom essentials). You'll find a mixed bag of clientele here, from tastemakers and It-girls in new-season St. Agni to corporate somebodies and aspirational digital nomads — languidly soaking up the lobby's mid-century modern interiors, as well as the piece de résistance: the rooftop pool. Featuring rust coloured sunloungers, cabanas, and bar service amongst the palms, this 102-room and suite space feels more like an exclusive members club than a standard hotel. 8 Baptist St, Redfern [caption id="attachment_986313" align="aligncenter" width="1920"] Christopher Pearce[/caption] The Grand National Hotel, Paddington The Grand National Hotel isn't your average foodie hotel. Founded by renowned restaurateurs Josh and Julie Niland, the restored neighbourhood pub punches above its weight in both flavour and flair. Tucked away from Oxford Street, the Paddington venue expands on Niland's three-hatted seafood-first restaurant, Saint Peter — while offering those in a food coma a place to nod off. Seamlessly blending the building's heritage charm with their ethos of sustainability and modern innovation, the 14-room boutique hotel heroes natural materials and local artisans. Eucalyptus and earthy brown tones encourage the outside world in, meanwhile custom-rendered walls and ribbed tiling mimic the ocean's ripples and fish scales. There's even fish-fat candles, ceramics made from fish bones, and custom plates and cups using discarded fish bones, in each distinctive room. As for the menu? Saint Peter 2.0 invites visitors to lap up their yellowfin tuna cheeseburger at the bar, and guests to embrace their three-course breakfast of champions. The marron scrambled eggs is a must-order. 161 Underwood St, Paddington [caption id="attachment_797071" align="aligncenter" width="1920"] George Apostolidis[/caption] Crown Sydney, Barangaroo The shining, sculpturally designed beacon of Barangaroo is the city's first six-star hotel — with everything at its doorstep. From the moment you walk in the lobby, Crown Sydney exudes Hollywood glamour. You'll be greeted by distinguished uniformed doormen before being dazzled by a gigantic six-storey crystal chandelier and monolithic white marble columns sourced from Europe. Sydney's tallest hotel offers 327 guest rooms, including premium villas and two super-prime villas, featuring deep-soaking baths and floor-to-ceiling windows, showcasing sweeping sea vistas. Postcard views aside, guests can relish in a true staycation experience here — with an incredible infinity pool that seems to flow into the harbour, as well as an open-air tennis court, a luxurious day spa optimising La Prairie products, and 14 restaurants and eateries to taste test at. Have a cucumber-infused tequila cocktail on the rooftop at CIRQ, followed by Nobu's signature black cod miso for dinner. Dessert on white chocolate mousse at Teahouse… then rinse, rotate, and repeat the next day. 1 Barangaroo Ave, Barangaroo W Sydney, Darling Harbour Darling Harbour is so back. The '80s and '90s weekend hotspot for food, entertainment and immaculate views underwent a major a revitalisation in the early 2020s — and W Sydney is part of the glow-up. The largest of the global W Hotel group stands tall like a wave (it's shaped as such), luring tourists and locals seeking some "big smoke" energy. There's 588 maximalist rooms and suites to soak in harbour views, with pulsating beats reverberating through the high-shine hallways. A two-storey rooftop bar and infinity pool encourages the party at night with bold flavours and innovative cocktails; whereas the on-site restaurant BTWN (because it sits directly "between" two motorways on each side of the hotel), honours locally-sourced, seasonal produce from morning to night. If you're a sweet treat before bed kinda person there's also 2am: Dessertbar by Janice Wong inside. Indulge in one of the world's best sticky date puddings and Basque cheesecakes (Wong won Asia's Best Pastry Chef) while watching the world go by. 31 Wheat Rd, Sydney [caption id="attachment_854324" align="aligncenter" width="1920"] Ace Hotel[/caption] Ace Hotel Sydney, Surry Hills One of the world's most stylish hotel chains finally opened its doors Down Under in 2022. Ace Hotel has built itself up a cult following since opening in 1999, with the boutique chain going for a luxe-vintage vibe — and now, it boasts a sleek 18-storey outpost in Surry Hills. Apart from the 264 rooms (some that are pet-friendly), there are heaps of spaces to hang out in. Once you make your way past reception, you'll stumble upon the fun, laidback lobby cocktail bar that's regularly offering up DJ sets, artistic residencies and absolutely killer negronis. There are also two restaurants — the ground-floor neighbourhood diner Loam and Kiln, a rooftop restaurant and bar by Mitch Orr. They're joined by the final piece of the Ace Hotel's culinary puzzle, laneway cafe and bar Good Chemistry. Either spend the night at one of Sydney's best hotels or just drop by for drinks and dinner. 53 Wentworth Avenue, Sydney Paramount House, Surry Hills When Paramount House Hotel was first announced back in August 2017, it promised it wouldn't be your standard luxury Sydney hotel but rather an experience that would immerse patrons in the inner-city culture of Surry Hills. And when it opened in 2018, it delivered on that guarantee. You'll never have a dull moment at Paramount (unless you actively want one) as the building offers up a rooftop gym, gorgeous independent cinema and one of Sydney's best cafes — plus, depending on when you book your stay, you're likely to find a dance party, art exhibition or a film retrospective awaiting your attendance. There's also a new mini mart, Paramart, in the hotel lobby, which blends the classic Australian milk bar experience with the convenience and style of Tokyo vending machines. Designed by Anna Wu of AWA Studio, the concept heroes local restaurants, bars, cafes, and stores — while injecting a playful edge into your stay. Guests can mess around with vintage Nintendo Game Boys, chess sets, and even tarot cards. Set in an old 40s warehouse, the 29-room hotel features soaring ceilings with exposed brickwork, luxury copper finishes and Jardan sofas that complete the Paramount House identity. 80 Commonwealth Street, Surry Hills The Langham Sydney, Millers Point Just a ten-minute walk from Circular Quay and The Rocks, The Langham is the epitome of indulgence. With 96 rooms on offer, demand for even just one night at this Sydney institution is high all year round. And with facilities like its fitness centre, sauna, day spa and spectacular indoor pool with a star-dappled sky ceiling, you'll find it hard to tear yourself away from the Sydney hotel to explore the amazing surrounding areas. Within the suites, expect plush furniture, high ceilings and large windows overlooking the western side of the harbour. Bed and breakfast specials are also on offer, as is a 'pampered pets program' — making it one of Sydney's few pet-friendly accommodation options at the luxury level. We're also very big fans of The Langham's traditional afternoon tea. Enjoy a bespoke version of this beloved British tradition, elevated with classic Wedgwood teaware and The Langham Sydney's champagne of choice, Laurent-Perrier. 89-113 Kent Street, Millers Point Oxford House, Paddington Find West Hollywood (or year-long summers) in Paddington with one of the city's sunniest hotels. Revitalising a mid-century gem, Oxford House (or OH! for short) comprises 56 rooms and suites of earthy hues, layered textures, and natural light. There's a stylish nod to local and international artisans and designers with curated art and photography by Ksubi co-founder George Gorrow — including work by Lena Gustafson, Adam Turnbull, and Niah McLeod — as well as custom bathrobes by Paddington designer, Double Rainbouu. In-house wine, restaurant and hi-fi bar Busby's promises dimly-lit hedonism, groovy tunes, and steak frites. If you fancy breakfast, you can carb-load with potato rostis and poached eggs. But the main event revolves around the bright and leafy courtyard pool (which many rooms face), which absolutely pops off on weekends. Poolside DJ sets and digital projections lift the mood, meanwhile, the bar keeps you well-fed and "hydrated" with Mandarin Palomas and club sandwiches. 21 Oxford St, Paddington Little National Sydney, Clarence Street A pint-sized national treasure. The Little National Hotel may be just steps away from Barangaroo and the CBD, but inside, there's a sense of zen. The intimate hotel honours Japanese minimalism with 230 petit-chic rooms and bare necessities. Little luxuries include plush king-sized beds, crisp white linen, skin and hair products by Appelles Apothecary and Lab, bathrobes by Brogo, complimentary movie access, intuitive tablets, and a partnership with UberEats. That means you can order from any available CBD-based business — and have food items delivered straight to your door by hotel staff, along with sustainable disposable plates and cutlery. Head up top, and you'll find a rooftop oasis featuring a timber-decked balcony, lush greenery, and communal sofas. Order a spritz at the bar in summer, and sip on a negroni in the indoor velveted lounge areas during winter. For commuters, businesspeople, and digital nomads, there's also "the library" (a quiet workzone) to get in a flow state and print those tickets. If you're after big-city vibes in mindful settings, The Little National is your gateway to productive rest. 26 Clarence St, Sydney [caption id="attachment_975684" align="aligncenter" width="1920"] The Old Clare Hotel[/caption] The Old Clare Hotel, Chippendale Since its highly anticipated re-opening back in 2015, Chippendale's Old Clare Hotel has held a firm place as one of the best hotels in Sydney. Reborn from the (metaphorical) ashes of the historic (and dearly beloved) Clare Hotel, and adjoining Carlton United Brewery Administrative Building, the city stay boasts heritage timber panelling and exposed brick walls, furnished with pendant lighting and vintage furniture. You can also bring your pooch along, thanks to several dog-friendly suites. Other hotel amenities include a rooftop pool, private gym and in-room massage services. Guests can also take advantage of custom-made bicycles to explore the surrounding neighbourhood. At night, simply relax at The Clare Bar or on the city-sweeping rooftop bar. 1 Kensington Street, Chippendale Shangri-La Sydney, The Rocks The views from Shangri-La Sydney look as if they have been plucked right out of a Tourism Australia ad. Look to the left and you'll see the Harbour Bridge up and close. Roll over in bed and look to your right, and you've got the Opera House just sitting there looking right back at you. It's pinch-yourself stunning. And everything you get is centred around those panoramic harbour views. Each of the 565 rooms has a different angle of the harbour. The restaurant and bar, up on level 36, are also made for gawking out at the surrounding Sydney landmarks. As you'd expect from a five-star hotel, the Shangri-La also has its own opulent spa facility. Relax here before heading to the gym, indoor swimming pool, hot whirlpool bath or sundeck. Deep dive into that self-care life. We could think of worse places to rest your head for a few nights. 176 Cumberland Street, The Rocks Sofitel Sydney Darling Harbour This 590-room five-star haven was Sydney's very first luxury hotel built in the CBD. And it has never fallen behind the pack, constantly setting the standard for all new hotels in the area. It is a true Sydney institution — for overnight stays, pampering and dining. First off, the Sofitel Sydney Darling Harbour rooms are just stupid glamorous. Spread over 35 floors in Darling Harbour's tallest building, guests enjoy all the latest tech and contemporary design with chic French touches. The rooms are classically designed, but they never feel old or outdated — much of this is thanks to the constant updates going on here. If you're not trying out its new luxury spa facilities, be sure to at least take a dip in the infinity pool overlooking the harbour. Food and drink-wise, you'll be sorted too. Visit the French-inspired grill combining French flavours with locally sourced produce at Atelier, order a poolside cocktail at Le Rivage Pool Bar, take in the sunset at the award-winning Champagne Bar or grab a coffee & croissant at the Esprit Noir Lobby Bar on Sundays. It's clear why Sofitel Sydney remains one of the very best hotels in Sydney. 12 Darling Drive, Sydney Crystalbrook Albion, Surry Hills Crystalbrook Albion is a luxurious operation in the heart of Surry Hills. It was launched back in July 2018 by 8Hotels, but has since been acquired by the Crystalbrook Collection hotel group. With 24-hour service and brekkie included, this guest house is pitched as a fusion of hotel and home. Here, at one of the best hotels in Sydney, you'll get to lounge around in designer interiors decked out with a covetable art collection — and in a rooftop garden complete with an outdoor shower and panoramic city views. There's also an honour system bar, where guests can help themselves to high-end nibbles and drinks. When it comes to the food and drinks, both at the breakfast table and in the mini bar, working with local businesses such as Brix Distillery, Infinity Bakery and Poho Flowers is of major importance. 21 Little Albion Street, Surry Hills [caption id="attachment_936166" align="aligncenter" width="1920"] Kimpton Margot Sydney[/caption] Kimpton Margot Sydney, Pitt Street Kimpton Margot Sydney may have only opened in 2022, but the Sydney hotel has some real old-world energy about it. Stacks of heritage-listed art deco architectural features have been paired with some contemporary Aussie style. The art deco vibe flows through to each of the 172 spacious rooms and suites, as well as the four restaurants and bars. Out of these drinking and dining spaces, Luke's Kitchen is the centrepiece — helmed by chef Luke Mangan. You can't stay at Kimpton Margot Sydney without taking a dip in the sun-drenched rooftop pool overlooking the city — especially come summer in Sydney. It's a proper concrete oasis, decked out with lounge chairs and couches, surrounded by city towers. All these luxury offerings are also paired with a heap of complementary amenities. Grab a free bike for the day, do some yoga in your room with all the gear and online tutorials provided, and even bring your dog — at no extra charge. 339 Pitt Street, Sydney QT Sydney, Market Street Every one of QT Sydney's guest suites has been carefully crafted to reflect and honour the historic Gowings and State Theatre buildings in which it resides. QT's exterior sports a striking blend of gothic, art deco, and Italianate-influenced architecture — and inside, the luxurious rooms carry through that art deco-meets-gothic aesthetic to quite a striking degree. Plus, thanks to its location right in the centre of the CBD — and alongside one of the city's most famous theatres — the luxury Sydney hotel is a great pick for out-of-towners, while locals can often be found making the best of its various bars, bistros and restaurants. Want to stay a little closer to the beach? Hop over to the QT Bondi for a coastal escape. 49 Market Street, Sydney Travelling with a four-legged friend? Check out our list for the best dog-friendly hotels in Sydney before you go. Images: supplied
It's that time of year, Brisbanites. Yes, it's spring — but it's also time for Brisbane Festival. Every September, the huge annual event takes over the city, serving up every kind of creative performance that artistic director David Berthold can think of. In 2019, that's a hefty list. Get ready to walk through fire, lose yourself in a maze of doors, watch theatre in a warehouse, see a classic ballet completely reimagined and listen to a bedtime story — when you're not celebrating the birthday of a Brisbane icon, worshipping at the altar of house music and watching a saucy cabaret, that is. The program goes on, as it always does, spoiling fans of art, music, performance, comedy, cabaret, installations and culture for choice in a very big way. From Brisbane Festival's 2019 lineup, which features 454 performances of 83 shows over 23 days between September 6–28, here are our must-see highlights.
UPDATE, September 1, 2020: Fighting with My Family is available to stream via Stan, Foxtel Now, Google Play and iTunes. A word to the wise: should you find yourself watching wrestling with the Bevis family, don't go claiming that their favourite sport isn't real. While the in-ring entertainment is staged, its narratives are scripted and its rivalries areas fabricated as any soap opera, the difference between fixing matches and faking them is as hefty as The Rock's hulking biceps. The same sentiment rings true in Fighting with My Family, in a fashion. Playing producer as well as appearing as himself, Dwayne Johnson ushers this British tale onto the screen with a clear awareness of its tropes and cliches, which anyone who's ever seen a rousing sports drama or underdog movie will spot. But the former WWE pro also knows that a fantastic story can make a mark even when it's swinging every expected blow — and in terms of emotional impact, Fighting with My Family packs a mighty punch. The driving force behind Norwich's World Association of Wrestling, the Bevis crew first came to broader attention in the 2012 documentary The Wrestlers: Fighting with My Family. It's easy to see why they've now inspired not just a TV doco, but a dramatised film that shares most of its predecessor's moniker. Patriarch Patrick Bevis (Nick Frost) turned to the spandex as a respite from a life of crime, then founded his own wrestling organisation with his wife Julia (Lena Headey). Better known as Rowdy Ricky Knight and Sweet Saraya in the ring, the two were soon bringing their kids in on the action, including a daughter named after Julia's stage persona. When the big leagues came calling for the younger generation in 2011, Saraya (Florence Pugh) and her brother Zak (Jack Lowden) couldn't get to their audition fast enough. While the above details could've filled a movie by themselves, here they're just the starting point. The jump from scrapping around England's east to earning fame and fortune doesn't come without ample hard work — and many doubts. Training montages rumble across the screen, but so does plenty of contemplation, with Fighting with My Family never shying away from the difficulties of trying to make it in wrestling. Some members of the Bevis clan are forced to realise that dreams don't always come true. Some learn to stop living vicariously through others. Thrust out of her comfort zone and struggling with her sense of identity, Saraya discovers the challenges and costs of even trying to take the next step. Indeed, Fighting with My Family might champion a broader focus in its title, but this is Saraya's show. Or Paige's, as she's been known to her adoring WWE fans since 2012. The film correctly notes that she took her new name from her favourite childhood TV show, Charmed, and it's that kind of earnestness that helps transform a straightforward tale into a resounding crowd-pleaser. Devotees and newcomers alike will know where the movie is going, however this feel-good comedy charts its path with genuine affection for its characters, their chosen pastime and the quirks of each. It immerses viewers in the wild, weird and wonderful world of wrestling, embraces the sport's theatricality and pageantry, and never serves up an ounce of judgement. As a result, the film deserves every laugh and fist pump that it inspires. Of course, it's easy to go along with the movie's flow when there are such engaging figures at its centre. The picture's pitch-perfect tone feels like an extension of its central motley crew, who love everything about wrestling even when the sport is kicking their arses. Segueing from an initially reluctant fighter to one of the field's female superstars, Pugh puts in a powerhouse performance as Paige, switching the scheming steeliness of 2016's Lady MacBeth for a completely different type of fierceness and fortitude. Credit should also go Lowden, Frost and Headey's way, all playing multifaceted characters who could've devolved into caricatures in other hands. As the no-nonsense WWE scout with dominion over the family's hopes and dreams, Vince Vaughn similarly leaves an imprint among Fighting with My Family's impressive cast. As for The Rock, he cameos as his usual likeable self — the kind of tough but tender guy viewers have basically welcomed into their families for decades now, and that the Bevis' mob incredulously yet excitedly welcomes into theirs. Like his former profession, his well-cultivated persona shares much in common with this flick: big-hearted, sturdy, sincere, relatable and relentlessly charming. Stylistically, the film earns comparable terms, with writer-director Stephen Merchant rarely dazzling with his visuals, but crafting a delight of a movie nevertheless. And yes, it's the same Merchant who's best known for palling around on-screen and off with Ricky Gervais. Devoid of snark or awkwardness, the sweat, stress, tears and cheers of this wrestling comedy suit him nicely. https://www.youtube.com/watch?v=MFew9cpWijc
No one wants to relive the worst experience of their life again and again, but Peter Greste has been doing just that for a decade. The Correspondent is the latest instance. In December 2013, while on assignment in Cairo with Al Jazeera to fill in for a colleague over Christmas, the Australian war correspondent answered a knock at his hotel room door. He wouldn't taste freedom again until February 2015. Over that period, he wasn't just detained and interrogated, as the new Australian film shows — the Sydney-born, Brisbane-raised journalist was arrested, refused bail, incarcerated, put on trial for reporting that was deemed "damaging to national security" by Egypt, barely afforded resources to mount a defence, found guilty and sentenced to seven years' imprisonment. New coverage came fast, flowing unsurprisingly furiously during Greste's 400-day ordeal. In 2017, then arrived The First Casualty, his memoir. More than a decade since Greste's Egyptian encounter began and exactly that since he was deported back to Australia from a country that still considers a convicted terrorist to this day, now The Correspondent brings it all to the big screen. Countless movies have made their way to cinemas by following a similar path, even if the specific circumstances at the heart of the nightmare differed. For the man at the centre of this powerful and empathetic one — who endured not merely a gruelling fight for his own freedom, but was caught up in the bigger ongoing battle for press freedom — how does it feel to see this chapter of his life flickering through picture palaces? The first time that he watched it, in the room with director Kriv Stenders (Last Days of the Space Age, Lee Kernaghan: Boy From the Bush), "was kind of weird. I walked out of that feeling a little bit shellshocked, I have to admit", Greste tells Concrete Playground. "After I got out of Egypt, I wrote the book. I've since given countless talks about the whole Egypt experience. I've built a career on it, in a way, and so I thought I was across all of it. I thought I've dealt with it. I mean, I don't suffer from PTSD. There's no sort of psychological fallout. And in a way, all of that talking has been a form of ongoing therapy, if you like," Greste advises. "But I don't think I was really quite prepared for what I saw on-screen. These guys managed to nail — obviously there are little details here and there that are different to what I went through in Egypt, and the story itself has been modified a little bit, not in any significant way — but in its essence, at its core, they managed to get the feeling of what it was like to be stuck in that concrete box, the kind of loss of control, the Kafka-esque nature of the trial, that sense of ongoing doom, if you like, and the real angst about whether or not this would ever come to an end. So in really essential ways, I walked out of there feeling as though I'd kind of been a little bit punched." By "these guys", Greste is referring to Stenders — the son of friends of his own family, with both his and the filmmaker's Latvian-born parents knowing each other for decades — and also actor Richard Roxburgh (Force of Nature: The Dry 2), who steps into his shoes on-screen. Stenders describes watching the film with Greste for the first time as "very nerve-wracking, obviously". He continues: "it was a funny screening because Marc Wooldridge, our distributor, was in the room at the same time. And the minute the film started screening, Peter was sitting right next to me and Mark was a few pews down, I realised 'this is actually a really bad idea to have Peter here in the same room, because what if Peter hates the film?'. And then the film finished and Peter didn't say a word. He went out, and I went 'oh my god'. And he came back five minutes later obviously quite emotional, and he hugged me and said 'that was amazing'. And just the relief was palpable. I just went 'thank you'. He then just proceeded to tell us how happy he was with the film, and how it was difficult for him but how he felt the film really, really captured his experience." Roxburgh's tension came at the beginning of the process, when screenwriter Peter Duncan (Operation Buffalo) suggested the Aussie acting great to Stenders to play Greste on-screen. Thanks to Rake, plus films Children of the Revolution, A Little Bit of Soul and Passion before the hit series, Duncan and Roxburgh are long-term collaborators; Stenders was the star's director on Danger Close: The Battle of Long Tan. "I guess I approached it with some trepidation, because it's not as if I'm a close match in any way, particularly to Peter. And because he was somebody," he shares with Concrete Playground about being canvassed for the part. "I remembered the story vividly. He was a journalist who I respected so much and respected the horrors of his experience." "Talking to Kriv early on helped to massage some of those fears, because he said that we were never going to try to make it an act of mimicry in any way — that it was going to be about the internal life of what that human went through in that environment. And so that helped me, in a lot of ways, to work my way into where it needed to be." [caption id="attachment_1001033" align="alignnone" width="1920"] Australian Human Rights Commission via Flickr[/caption] Also among the apprehension surrounding The Correspondent: for Greste, whether recounting his stint in Egypt would be as timely and topical as it undeniably proves to audiences now watching Stenders' intimate, immersive, like-you're-there recreation of it, which only ventures elsewhere to jump back to an earlier assignment in Mogadishu. For viewers, it feels as if this tale was always destined for the screen, and that it would always be relevant — the movie has released at a period when journalists still keep facing arrest and imprisonment for doing their jobs in some corners of the world, and when attacks on reporters have been spreading to nations where that once would've been unthinkable — but its subject wasn't always so sure. How involved was Greste, and how did that assist Roxburgh and Stenders? How crucial was the picture's tight focus on Greste's experience with the Egyptian authorities from arrest to release? Why was he uncertain about the movie's timeliness? We asked The Correspondent's key trio about the above, too — and about casting Roxburgh and his history of portraying real-life Australian figures (Bob Hawke twice in Hawke and The Crown, Roger Rogerson in Blue Murder, Ronald Ryan in The Last of the Ryans, Graham Ashton in Bali 2002, plus more), Greste and Stenders' childhood ties, how Stenders' mix of documentaries (including The Go-Betweens: Right Here, Brock: Over the Top and Slim & I) amid his features (such as The Illustrated Family Doctor, Lucky Country, Red Dog and Red Dog: True Blue, Kill Me Three Times and Australia Day) helped and other subjects. On Greste's Involvement with the Film, Including Giving Roxburgh a Resource to Drawn Upon — and Coming to Set, But Only Once Richard: "Peter and I met — well we brushed elbows a great many years before at some strange awards night." Peter: "Richard won't tell you that I got the award for Man of Chivalry." Richard: "He did. He was awarded the Man of Chivalry. I don't know what my award, I can't even remember what my award was for. But we met properly at the first read-through at Carmel Travers' [The Correspondent's producer] house. And I was quite nervous, again, about meeting Peter. But having him in the room — and seeing and feeling his support for the project — it was incredibly helpful, incredibly useful for me along the way. And a relief as well. So I was able to, I guess, quietly observe Peter and the way that he was up close and personal, which was obviously incredibly useful as an actor. But also to have somebody that I could message with irritating thoughts, questions and observations along the way." Peter: "I guess it's one of those choices that you make, either you abandon it and let them get on with it, or you engage with the process and hope by engaging with it, you can help nudge things in a direction that works for you — that worked for me. I was a little bit nervous at the beginning, because there's all sorts of stories of people who've given over their lives to filmmakers and come away fairly battered by the experience. But everyone involved from the moment I met Carmel to working with Peter Duncan and Kriv and then Rox, they all showed real curiosity, real empathy with the experience. And there was a real willingness to try to make something that was as authentic as possible. And as Rox said, he and I, it's not like we'd spend whole weekends together, but the communication was pretty free. And I realised that he was trying to do something that was really empathetic to the experience, and I was more than happy to help and support that." Kriv: "He wasn't on set very much. He only came to set once, only for one day, but he and Peter worked — Peter always ran, Peter Duncan, that is, always ran the drafts by Peter Greste, and Peter was very open to not censoring the story. And what I felt, even though we decided to make the perspective very much Peter's perspective in Cairo, the other story I think that was really important was Kate Peyton's story in Mogadishu [where the British BBC journalist was killed on an assignment with Greste]. And the idea of that coming in these fragmented flashbacks was something that Peter Duncan and I talked about, and I felt as well, from a formalistic point of view, the idea of being able to escape that unrelenting internal Cairo world, it would be great to open it up into Mogadishu. That was something we decided on, those two kind of colours, but what was great was that Peter Greste was very open to us going there — because it paints Peter in a kind of compromised light, and Peter was, I think, very brave. It's quite brave for him to allow us to tell that side of the story and what he went through, but it was also important, because I think it shows what these journalists sacrifice and how it's not a glamorous job — and how there is a price to pay for being a truth-teller." On the Importance of Starting The Correspondent on the Day of Greste's Arrest and Ending It on the Day of His Release to Take Audiences on an Immersive Like-You're-There Journey Peter: "From my perspective, I didn't really understand how Kriv was going to do it. It was very obviously a directorial choice, and I think Rox will probably have a lot more to say about it than for me, but I was actually feeling quite puzzled by how he was going to pull this off. How do you make a compelling movie about arguably the most-boring, tedious situation imaginable, where you're stuck in a concrete box ad nauseam? How do you turn that into something that's actually watchable? And so when I saw the finished product, that's one of the things that really astounded me — was how gripping the whole thing was, how it seemed to move quite relentlessly through this story, but at the same time by not going very far at all. That, I think, is a testament to Kriv's directing skills and experience, but also to Rox's acting." Richard: "I think it really speaks to Kriv's understanding of the craft, and also his daring as a filmmaker — because a script like this could go in any number of directions. You could tell this story in all kinds of ways, and go off on lots and lots of different pathways. Kriv's choice was pretty astounding and bold — that it starts with the knock on the door and it ends with walking out as a free man — and the kind of strictures and the discipline that that applied to the filmmaking itself was so strong. But he was so avowed and had such a great vision for how he was going to, and belief, self-belief, I think, in how he was going to bring that to the screen. As Peter was saying, as a story that in fact is surprisingly full of suspense and has a forward momentum, it's a testament to his filmmaking craft skills." Kriv: "Well, it was more of a reductive process. The book, Peter's book, obviously, it's chequerboard, the chapters of chequerboarded are between Peter's experience and his other assignments and other stories. And the initial draft [of the script] was quite, very different. It had a number of parallel storylines going on, or timelines going on. It had, I think, the family or people back in Australia. It had the consulate. It was a much more, I guess — it had more scale in terms of the other storylines and the other characters. And my connection was 'well, you know what, I'm really interested in what Peter went through'. And I felt that if we just reduced it to Peter's experience and made it a very first-person journey from the minute that he gets a knock on the hotel room door to when he's released, if we just scaled everything to that, then we've got a really interesting movie that can say more by the way, not so much doing less but by being less. It can be much more interesting. And as a director, your currency is form. I always think my job as a director is to really play with form, and that's my remit. So once I pitched my approach to Carmel and to Peter Duncan, the writer, they could see, I guess, the throughline, and we then just quickly — very, very very quickly — adapted the script just to be that one-person perspective. It's critical because I felt, I just thought 'well, what would it be like to be arrested?. What would that feel like? What would that sound like? What would it look like?'. And what I realised, it would literally be a series of corridors, prison vans, prison cells, courtrooms — and you wouldn't really see Egypt. You'd just hear it or you'd feel it. And to me, I wanted the audience to — and I wanted to — experience what it would be like to actually be thrust into that position. And therefore, being put into that, how would I feel by the end of the journey? And by the end of the journey, I think you really do get a sense of the hugely traumatic gauntlet that Peter went through and how lucky he was to escape it." On Whether There Was a Sense of How Timely The Film Would Be — and That It'd Feel Like It'd Never Not Be Relevant Peter: "Well, you say it was always going to be timely. I didn't think it was. I was actually really worried about that when I first wrote the book. I told the publishers to get the story out quickly because it would start to date pretty quickly. I trace back the origins of what I've come to think of as the war on journalism back to 9/11, when George W Bush declared the war on terror. And what that did was, it kind of liberated the language, the rhetoric around national security and terrorism, so the governments were able to use it to introduce all sorts of what I think have become pretty draconian crackdowns on freedom of speech, on the lot of civil liberties and freedom of the press. What happened to us in Egypt was a way in which the government had weaponised that definition of terrorism and used it to come after uncomfortable journalism. But I honestly thought that the further we moved away from 9/11, the more that that rhetoric would feel dated, would feel tired, that we'd grow up, we'd move past it, that journalism would recover its traditional role in our democracies. But as you said, quite the opposite has happened. The numbers of journalists that have been imprisoned are at record highs. The numbers of journalists that have been murdered on the job are at record highs. We're seeing assaults on media even in the United States from the White House — which is supposed to be the bastion of liberal democracy, the bastion of freedom of speech and press freedom. They've got the First Amendment, for christ's sake, that gold standard of press freedom, of a defence of press freedom. And so yeah, and in ways that I don't think I ever really anticipated and certainly wouldn't have wanted, it does feel more timely than it ever had ever before. It wasn't a plan, put it that way." Richard: "It feels like the film is coming out at a period of some real urgency. It's not that the film itself is a didactic work or that it's meant to be. Above anything else, it's an extraordinary piece of storytelling. But as Peter says, it couldn't be more timely given what's happened to journalism and to the role of journalists. And hopefully, if anything, if it opens a discussion about that with people who've seen the film or it brings some attention to that matter, then that's all for the better. Journalism used to be, up until very recently, something that was protected under the Geneva Convention. And so for that to have completely vanished, certainly in theatres of war; that journalists are now people who are essentially regarded as the enemy; and to have governments of leading democracies now talking about journalists as the enemy of the people — I think we are at a time where there's no more pertinent story to tell." Kriv: "I think when Peter wrote the book — and when it happened to him, then when he wrote the book — I think we were more than a decade on from September 11, and the idea that journalism was under threat was still, it was there, but it was nowhere near as acute as it is now. So the relevance of the story has, I guess, amplified over the last ten years — and that's the biggest takeout that I've got. And then the biggest motivation we had making the film is that this story is more important than it ever was. I was just thinking about this this morning — I was thinking, just looking, you're always aware of what's happening in the world, and we're heading into, I think, a very, very scary time. I mean, America is turning into — it's becoming a fascist state. It's a really terrifying time. And I think it's very important even if the film just reminds us what democracy is. Journalism is a basic foundation to any kind of functioning civilisation or democracy, and the minute you start eroding that — and even now, people are questioning universities. It's just like 'what?'. This is just absolutely insane. A new dark age is coming. And I think it's very important that films, journalism, politicians, all corners of society, start to remind each other and remind ourselves what's important and what's crucial that we don't lose." On Why Roxburgh Was the Right Actor — and Dream Pick — to Play Greste Kriv: "Because Peter Duncan told me that he's the one. Because Peter Duncan and Richard have a long working relationship. And I'd worked with Richard previously on my last film Danger Close, and I loved working with Richard. He's such a beautiful actor to work with. I liken him to like a Rolls-Royce: he's just beautiful to drive. It's just a pleasure to work with him. And when you're trying to cast a film, there's all these pressures to cast a name and whatever — but when Peter said 'look, really think about Richard', I did. And I went 'well, why not?'. It wasn't like Peter Greste is a well-known face or well-known voice. You could find an actor who could interpret Peter. It didn't have to be slavish. It wasn't like we're making a film about Elvis or Muhammad Ali. It wasn't a biopic in that respect. So you could have the license to have an actor interpret it. And when I thought about Richard, it just made so much sense on so many levels, because he just brings this wonderful humility and at the same time, this gravitas, that I think the role needed." On How Roxburgh Approached Conveying Greste's Emotional Journey, Through Shock, Exasperation, Determination, Bravery, Weariness and More — and the Kind of Direction Needed, If Any, to Help Richard: "It was a project that, in conversations with Kriv, we really wanted it to feel minute, so that it was about trying as much as humanly possible to just sit in the circumstance. And to that end, I think the exhaustion helped. I think it was a tough shoot, but that was a good thing because it helped. I think it helped to give, to have a sense of being more emotionally ragged, of being spent — of, I suppose, having some sort of proximity to the way Peter might actually have felt, through all of the exhaustion of the shoot. This one was very particular in the sense that, because it was 100-percent POV, it meant that I'm in every single frame of the thing, which was new territory for me. But I think the sheer exhaustion of doing that was a useful thing, because it strips everything away and it just leaves you closer to where you need to be to countenance what Peter actually might have gone through." Kriv: "I think really as a director, when you work with actors, the biggest direction you give them is really casting them. That's directing. Once you've cast them, that is really the biggest bit of direction you're going to give, because you've chosen them to play the role — and as a director, really, it's a matter of trust. I really believe that the actor should know more about the character than me, because all I am is just a sounding board. All I am is a pair of ears and a pair of eyes. And if it sounds right and looks right, we just move on — and I'm just there to tell the story, orchestrate telling the story, and the actor is there to actually bring the character to life. So there's really not much direction I give as a director — it's purely there to support and to make sure that we're getting the material we need in order to tell the story." On How Roxburgh Tackles Portraying Real-Life Figures, and Helping to Chronicle Very Diverse Aspects of Australian History On-Screen, as He Has Several Times Across His Career Now Richard: "I guess I don't really think about it in that way. There's obviously a huge, huge responsibility that comes with playing figures who are in the public consciousness, who are actual people. In this case, it was something very different altogether, because this was a man who was in the room, a man who had been through this terrible ordeal and somebody who I really respected. And so that came with its own particular set of concerns, and I guess a bigger sense of internal responsibility to the storytelling. I think for both Peter and myself, it was some relief to feel like I was not going to be doing a Peter Greste, in the sense that I wasn't going to be copying Peter's way of being — that, in a way, it was about embodying that experience, the kind of internal landscape of that experience, if you like, as much or as empathetically as I could." On Greste and Stenders' Childhood Connection — and Whether Stenders Ever Thought He Might Make a Film About Greste When He Was Seeing the Latter's Ordeal Play Out in the News Kriv: "Not at all. No, no. That's why it was very funny when — I mean when it happened, it was like 'yeah, wow, that's sounding really heavy'. And it was because, when it's happening, you don't see the end. You're in the moment. And at that point, when he first got arrested and then when he got sentenced, it felt really hopeless. Then when he was released, obviously there was relief, and I got on with my life and with other projects and things, that wasn't really something that was foreground for me. But when Carmel called me up out of the blue and said 'do you know anything about Peter Greste?', I just laughed and I went 'yeah, I do'. I told her the backstory and then she said 'look, I've got this idea' and suddenly it clicked. I went 'yeah, I'm onboard'. She didn't even have to pitch it to me, really. She just said, when she said 'I'm adapting it into a story', I just went immediately 'yes, I'm in' — because I knew what it was, and I knew I kind of had a personal connection to it immediately." Peter: "As you said, it had been many, many, many years since I'd met Kriv, and I think we barely remembered each other from that initial meeting. Although we did meet, we realised that we had crossed paths, we had played together as kids. And I think it's more the synchronicity of it that feels right somehow. I'm not the kind of person that believes in the universe planning things out and sending messages, but there just does seem to be something delightfully synchronous about having Kriv on this particular job. I remember when I was telling my father about how Carmel was hunting around for a director and we thought we'd found someone. And dad, I couldn't say anything more, dad jumped in and said 'oh well, listen, if you need some help finding a director then my friend Andy, his son I think is in the movie business and maybe he might be able to help'. I said 'dad, it's okay, it's under control. We've got Andy's son Kriv'. And that, I think, is delightful. Kriv also — Kriv gets it. He's the kind of director, at so many levels, he's obviously incredibly skilled at filmmaking, but he's also done a lot of documentary work. He understands not just the creative elements of really good nonfiction storytelling, but he also has a really good handle on how to tell a good true story. And I think all of those elements came in. He brought all of that into this narrative. And, of course, being Latvian as well brings a certain kinship and understanding, I guess, which is also really lovely." On the Sense of Responsibility That Comes with the Job for Stenders Given That Personal Connection Kriv: "I think even if I didn't know Peter, the responsibility and that same weight would have been there. The fact that I knew him, it just allowed the access to be a little bit more fluid, because there wasn't any of that guardedness that you had to break down. So we were already, we were able to get that out of the way. And I think the trust — I think what it did give us was a different level of trust than I would have normally had if I didn't know Peter." On Whether the Documentary Side of Stenders' Filmography Assisted with The Correspondent Kriv: "A little bit. Documentary and fiction are actually not that different. They're still storytelling. You're still editorialising everything, still making decisions about what to show and what not to show. There's a physical obvious thing about the handheld camera and the verite feel of it, that, I guess, comes from documentary — and that you don't, even though you labour a lot over the way it looks, you also try to make it look effortless, and documentary just does that by default. The difference, though, with this was that yes, it's based on a true story, but you still take dramatic license — which you can't in documentary. So you still stylise certain things, you still shorthand certain things, you still abbreviate certain things. But having a documentary background, I think all it does is — I call it cross-training. I do documentary. I also do features. I also do television drama. And those three disciplines, just oscillating between those three, they sharpen up your intuitive muscles and reflexes. So when the day's going difficult or when you're in a tight corner and you don't know what to do, another part of your brain, your documentary brain, goes 'well, we're just going to do this' — or your TV drama brain says 'look, we can shoot this in one hour if we do this'. So I just adapt to the situation or to the problem at hand." The Correspondent opened in cinemas Down Under on Thursday, April 17, 2025. Images: John Platt / Daniel Asher Smith.
It has been four years since Brisbane Powerhouse added a new festival to their events calendar, giving the Brisbane Queer Film Festival a multi-arts sibling celebrating all things LGBTIQ+ beyond the screen. And while BQFF and MELT no longer coincide, they're both still going strong — with the latter back for another round of diverse theatre, comedy, dance, art, circus, music, burlesque and more from May 17 to 27. Taking place a little later in the year compared to previous fests, 2018's MELT actually kicks off on IDAHOT, the International Day Against Homophobia, Transphobia and Biphobia. To mark the occasion, it'll unleash 11 days filled with more than 20 different events, making Brissie an even more vibrant place than it already is. Prepare for pop, drag, parties, pride and plenty of fun. Top image: Savannah van der Niet.
What's set to feature synth-heavy tunes, a big blender, plus Tony Armstrong and Courtney Act chatting Australian audiences through one of the huge music events of every year? In 2025, that's how the Eurovision Song Contest will play out. Another May is in full swing, which means that another round of acts are taking to the stage to compete for Europop glory. Flying the flag for Australia at the 69th Eurovision: Go-Jo with the song 'Milkshake Man'. The place: Basel in Switzerland, thanks to Nemo winning Eurovision 2024 with 'The Code'. And the dates for your diary: Wednesday, May 14–Sunday, May 18 Down Under. The event's 2025 semi finals take place at 5am Australian time on Wednesday, May 14 and Friday, May 16, with Go-Jo featuring in the second. Then, this year's winner will be crowned on Sunday, May 18. To watch along from home, you'll be heading to SBS and SBS on Demand — which is where Armstrong and Act come in. As announced back in April, the pair are fronting the Aussie commentary team this year, with the ex-AFL footballer-turned-TV presenter (Eat the Invaders) teaming up with the Australian Idol and RuPaul's Drag Race alum to guide audiences through the full 2025 Eurovision experience. Act was part of the 2024 coverage, too, as SBS's backstage Eurovision correspondent. Go-Jo, aka Marty Zambotto, was named in February as Australia's latest entrant. While you might've been among the folks helping his single 'Mrs. Hollywood' notch up 60-million digital streams and one-billion views, he's performing 'Milkshake Man' at Eurovision. Enter that big blender for the Manjimup-raised, now Sydney-based performer, another former footballer (in the West Australian Football League), who was the ninth most-streamed Australian artist in the world in 2023. "The Milkshake Man's purpose is to inspire people to embrace the loudest and proudest version of themselves, and I can't think of a better place to share that message than the Eurovision stage. It's an absolute dream come true to represent such a beautiful and diverse nation, and I've never been more excited to share my art and vision with the incredible Eurovision fans around the world," said Go-Jo when he was announced at 2025's Aussie competitor. And that blender? It's part of Go-Jo's staging, and measures four metres in height — with Australia going big, literally, to mark ten years since first competing in Eurovision when Guy Sebastian entered the 2015 contest with 'Tonight Again'. [caption id="attachment_1003691" align="alignnone" width="1920"] Jason Henley[/caption] For newcomers, Eurovision started back in 1956 as a competition between a mere seven nations. Now, nearing seven decades later, it's a glitter-strewn and spandex-fuelled global musical phenomenon. Thirty-seven countries not only in Europe but from elsewhere are competing in 2025 — hello Australia — and viewers tune in en masse to watch, sing along and add new pop tunes to their queues. When Go-Jo performs his track in the semi final, he'll be up against performers from Ireland, Austria, Greece, Denmark, Finland, Montenegro, Latvia, Armenia, Lithuania, Malta, Georgia, Czechia, Luxembourg, Israel and Serbia. If he then makes his way through to the grand final, he'll be one of only 21 acts making the cut,. France, Germany, Italy, Spain, the United Kingdom and Switzerland are automatically guaranteed spots. You have choices if you're keen to watch — depending on whether you want tear yourself out of bed before it's light. If you want to view the proceedings live, you can from 5am on the relevant days. Streaming replays will also be available mid-morning. Or, if you can somehow manage to avoid the internet and social media, both semis and the grand final will also screen in primetime across Friday–Sunday. Can't decide whether to beat the sun or wait and host a party at sensible hour? It's worth remembering that Australians can indeed vote for Eurovision, but only until around 18 minutes after the last song is performed in each live semi-final broadcast and about 40 minutes after the last track ends in the grand final. Voting is open to everyone in all finals — whether you're from a country participating in that final or not — and the artists who get through from the two semi finals to the grand final will be solely chosen by the audience at home. Still remaining the same: the rule that says Australians can't actually vote for Go-Jo, because no one can vote for the country they represent. [caption id="attachment_1003694" align="alignnone" width="1920"] Nick Wilson[/caption] "I'm so excited to jump into the world of Eurovision with the one and only Courtney Act, who has already taken me under her wing. I'm definitely not envious of her brilliance and my jealousy won't make it on screen I promise. Eurovision holds such a special place in so many hearts around the world. I look forward to being a part of the spectacle along with Courtney," said Armstrong when his Eurovision hosting gig for SBS in 2025 was announced. "I was not prepared for how much I would enjoy Eurovision last year — and this year I'm back, now with everyone's favourite IT man Tony Armstrong (who I can confirm is just as delightful and dashing in real life as you'd expect). I'll be offering my commentary expertise on every costume reveal, key change, wind machine and pyro moment I know Switzerland will deliver. Tony's already taught me a thing or two about team sport energy, and I'll be returning the favour with a crash course in camp," added Act. Eurovision 2025 Broadcasts Live broadcasts: Semi final one: 5am AEST on Wednesday, May 14 on SBS and SBS on Demand Semi final two: 5am AEST on Friday, May 16 on SBS and SBS on Demand — featuring Go-Jo Grand final: 5am AEST on Sunday, May 18 on SBS and SBS on Demand Streaming replays: Semi final one: from 8.30am AEST on Wednesday, May 14 on SBS on Demand Semi final two: from 8.30am AEST on Friday, May 16 on SBS on Demand — featuring Go-Jo Grand final: from 10.30am AEST on Sunday, May 18 on SBS on Demand Prime-time TV 'access all areas' broadcasts: Semi final one: 7.30pm AEST on Friday, May 16 on SBS Semi final two: 7.30pm AEST on Saturday, May 17 on SBS — featuring Go-Jo Grand final: 7.30pm AEST on Sunday, May 18 on SBS SBS' Eurovision 2025 coverage runs from Wednesday, May 14–Sunday, May 18. For more information, head to the broadcaster's website — and for more information about Eurovision, head to the event's website. Eurovision rehearsal images: Alma Bengtsson / Sarah Louise Bennett / Corinne Cumming.
We're lucky to have access to Clarice Beckett's work today. Beckett painted hundreds of paintings during the 1920s and 30s, before passing away in 1935 at the age of 48. Following her death, her artworks disappeared for decades before being rescued by Dr Rosalind Hollinrake, who salvaged 369 of Beckett's paintings from a shed in rural Victoria. From Saturday, February 27 until Sunday, May 16, the Art Gallery of South Australia is presenting the most comprehensive Clarice Beckett retrospective ever, exhibiting nearly 130 of the artist's works, including pieces from the private collections of Russell Crowe and Ben Quilty. Beckett's work focuses on capturing the everyday world through muted and pastel tones and with a focus on natural light. In The Present Moment, these works are thematically displayed to chart the chronology of one single day — starting with sunrise and ending with nightfall. Accompanying the exhibition is an workshop for those wanting to learn about Beckett on Saturday, March 27 and a series of mindfulness workshops offering tai chi, yoga and relaxation classes while surrounded by artworks every Wednesday in April. Tickets to the exhibition run from $20, while the workshops will set you back $35. Images: Installation view: Clarice Beckett: The present moment, Art Gallery of SouthAustralia, Adelaide, 2021. Photo: Saul Steed.
By this point in the year, a certain three words have been overused and then some. That trio? 'Tis the season. That said, it truly is the season for booking in cheap holidays for the year ahead, starting with Black Friday sales and now going into Boxing Day sales. If you're after discounted flights to a heap of places — including around Australia and the globe — yes, Virgin is getting into the post-Christmas spirit and slashing prices again. For Boxing Day — starting at 12.01am AEDT on Monday, December 26 and running till midnight on Thursday, December 29, or earlier if sold out — there's a hefty 800,000 discounted domestic and international fares up for grabs. Sticking with home turf, you can head to Byron Bay, Cairns, the Gold Coast, Darwin, Hobart and more. And, if you're eager to journey overseas, you can hit up Bali, Vanuatu and Tokyo. With discounts of up to 30-percent off, one-way domestic fares start at $55, which'll get you from Sydney to Byron Bay. As always, that's cheapest route. Yes, we say that every time one of these sales drop, but it's genuinely always the case. Other cheap flights include Brisbane to Cairns for $89, Melbourne to Hobart from $79, Adelaide to Darwin from $139 and Perth to Sydney from $209. Internationally, return deals include Brisbane to Vanuatu from $539, the Gold Coast to Denpasar from $479 and Cairns to Tokyo from $699. If you're wondering when you'll need to travel, there's a range of dates across 2023, all varying depending on the flights and prices. As usual when it comes to flight sales, you'll need to get in quick. Actually, given how much everyone loves a Boxing Day sale — in-person or online — setting an alarm to make your New Year's travel resolutions come true isn't outlandish. Virgin's Boxing Day sale runs from 12.01am AEDT on Monday, December 26 until midnight on Thursday, December 29 — unless sold out earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
On any given day at Netherworld, absolutely anything could pop up — and on Saturday, September 28, that something is a vegan bake sale. Running from 10am–12pm, this once-off feast of cakes, cookies, scones and the like will serve up all of the tastiness and none of the animal products, with the venue's in-house Hellmouth Diner leading the charge. Like your baked goods of the savoury variety? You'll find those on offer. Substituting vegetables into recipes is one of the joys of vegan baking, after all. So is stuffing tarts and pies with them, too. And if you happen to possess the sweetest of teeth — or just need something on that end of the taste spectrum after a big Friday night out — you'll obviously be catered for. Any event at Netherworld usually comes with two added bonuses as well: games and brews. Indulge in both while you're munching on muffins, and you're in for a good morning.
Whether you're somewhere near or somewhere far, there are scores of ways to acknowledge just how incredible your mother (or grandmother or aunt) is with some good old-fashioned spoiling. But, fellow mama-lovers, if you've let the annual celebration of maternity known as Mother's Day (Sunday, May 9 btw) slip your mind this year, we're here to help out. We've picked out our favourite mum-worthy gift ideas—from the reliable candles and cocktails, to personalised luggage and DIY pottery classes—so you can just stick to worrying about what you're going to write in the card. After all, this is your once-a-year opportunity to show your ma how much she means to you, so the pressure is absolutely on. [caption id="attachment_785836" align="alignnone" width="1920"] NRMA Glamtainer by Shan Rose Photography.[/caption] FOR THE TRAVELLING MUM After last year's lockdowns, we've all got some missed travel opportunities to make up for, mum included. So what better time to treat her to a little getaway? If she's a snow bunny or beach-lover, NRMA's new luxury 'glamtainers' should do the trick — there are now four of the beautifully repurposed shipping container stays operating, with the original two located at Ocean Beach Holiday Resort and the other pair landing at Jindabyne in time for the winter season. Or perhaps she'd fancy a trip to the Gold Coast for a couple of nights in this gin-themed caravan, from Camplify and The Botanist Gin. Weekend stays include a bottle of gin and all the trimmings for whipping up some dreamy cocktails. If wine's more her thing and a jaunt to the Mornington Peninsula is on the cards, you could treat her to this memorable Red Balloon experience, involving a vineyard tour, wine tasting and five-course lunch at the renowned Montalto Estate. And no matter where she's headed, you can ensure your mum's holiday-ready with a piece of personalised luggage from July. Right now, the brand's including a complimentary Mother's Day card with each order and offering free personalisation, too, so you can get mum gifted all at once. FOR THE FOOD (AND BOOZE) LOVING MUM She's cooked countless dinners and birthday cakes for you and the rest of the fam—now, it's mum's turn to be treated to a little culinary indulgence. The minds behind the annual Mould Cheese Festival are slinging a range of home-delivered offerings that'd have any dairy fiend salivating—from curated cheese boxes filled with top Aussie picks, to a DIY cheesemaking kit. If mum's a fan of variety, swing past Good Day People's online store and order one of their non-boring hampers to be dropped to her door. There are lots of fun curations for food-loving folks here, catering to palates both sweet and savoury with treats from the likes of chocolate brand Hey Tiger, Wondaree nuts and Drunken Sailor condiments. Meanwhile, for those who can't take mum out for a drink IRL, the cocktail experts at the Everleigh Bottling Co have a range of classy pre-batched libations available for delivery. Choose from sips like the classic martini, a chic Manhattan, or maybe one of the new spritzed French 75 cocktails. [caption id="attachment_810524" align="alignnone" width="1920"] Active Truth's new Brolga range.[/caption] FOR THE OUTDOORSY MUM If some great outdoors action is on the cards, have mum looking her best, with one of the new activewear pieces from Active Truth. The Aussie label has teamed up with Indigenous artist Bobbi Lockyer for this limited-edition Brolga collection, featuring high-waisted leggings and crop tops in a gorgeous hand-painted print. For more rugged outdoors adventures, take a peek at these latest offerings from Kathmandu—the nature-loving mum always has room in their collection for a new rain jacket, cosy down vest or pair of hiking boots. Once you've sorted her wardrobe, she can check out our pick of must-try Aussie mountain hikes—perhaps with her favourite child (aka you) along for company. And for the adrenaline junkie, there's plenty of high-flying fun to be had on a skydiving adventure; like this heart-pumping Red Balloon experience that'll have mum enjoying a tandem freefall over stunning coastline off Wollongong, 90 minutes south of Sydney. [caption id="attachment_810528" align="alignnone" width="1920"] tbh. skincare products.[/caption] FOR THE SELF-CARE MUM A spot of self-care and mindful pampering never goes astray, and we're sure mum would agree. You can help brighten up her skin and her bathroom cabinet with a few of the latest colourful goodies from cult skincare brand tbh. The sustainability-focused company is only young, but it's already causing a big splash with its innovative, science-driven products. If you want her to think of you when she's curled up with a good book and a cuppa, try one of these very cuddly customisable cushions from Hommey. There are over 160 colours, fabrics and shapes to choose from, plus you can score an extra 20 percent off for Mother's Day (use MOTHERSDAY20). And that relaxing bath is sorted thanks to a new limited-edition collaboration from booze-free winemaker Non and luxe candle label Maison Balzac. The gift pack features a bottle of exclusive Non wine, a specially matched scented candle and a QR code linking to a curated playlist—all designed to be enjoyed simultaneously for an immersive sensory experience. Find it at Blackhearts & Sparrows stores nationwide, as well as Winona Wine in NSW and Wine Republic in Melbourne. Or for a twist on the classic Mother's Day bouquet, check out this clever match from LVLY—a locally-grown flower arrangement paired with a pack of Rise and Shine yoga cards illustrated by Georgia Perry. FOR THE CREATIVE MUM Say thanks for all the decades of motherly support by helping her indulge her own creative side. For a bit of at-home fun, you can treat her to one of Crockd's DIY pottery kits, available for delivery Australia-wide. The classic box comes with enough clay and equipment for two (so you can join her), and whatever pieces you make can be air-dried at home, without the need for any fancy kiln. Otherwise, sign her up for one of Class Bento's sprawling list of creative workshops and classes, running both online and at various locations across Australia. You'll find everything from perfume-making and mosaic workshops, to a class that teaches you how to create your own botanical-infused phone case. And if mum's got a creative eye, we're betting she'll also appreciate these sweet new designs from Aussie jewellery label Elle Haitch. Expect hoops, necklaces and chic rings for all tastes. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Top image: The Everleigh Bottling Co by Gareth Sobey.
When you've ushered the world into Vincent van Gogh's work — getting them not just peering at it but stepping through it thanks to an immersive 360-degree experience — what comes next? For the folks at Melbourne-based Grande Exhibitions, it's now Claude Monet and his impressionist peers' turn. Hot on the heels of Van Gogh Alive touring the country, and even hitting up some cities multiple times, Monet in Paris is set to dazzle from winter 2023. This exhibition will enjoy its world premiere in Brisbane, hitting Northshore Hamilton for two months from Wednesday, June 7–Sunday, August 6. While further stops haven't yet been announced, the River City stint is being hailed as its global debut — and it will tour Australia afterwards. Art lovers can look forward to wandering around the 2500-square-metre Grand Palais, a marquee custom-designed by Australian theatre designer Anna Cordingley, with the venue set to feature six breakout spaces, a cafe, multiple bars and a gift shop. Of course, it's Monet and his pals' creations that's the big drawcard. Featuring Monet's Water Lilies, getting attendees dancing with Edgar Degas' ballerinas and just whisking visitors into 19th-century Paris' bohemian vibe — with detours to the French countryside — there'll be plenty to see. Fans of Van Gogh Alive know how it works from there, with iconic paintings projected large — pieces not just by Monet and Degas, but also from Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne, Berthe Morisot, Mary Cassatt and more. Once again, that means using Grande Experiences' state-of-the-art technology, which is behind those beamed images. And, there'll also be a classical score soundtracking the experience. "The team at Grande Experiences are absolutely thrilled to premiere Monet in Paris in Brisbane in June," said Founder and CEO Bruce Peterson. "Produced in the same immersive multi-sensory format as the hugely successful Van Gogh Alive, this very new and unique experience will captivate and enthral audiences young and old as we enjoy many of the colourful works of art from the French masters of the 19th century, combined with a wonderful musical score and special aromas permeating throughout the venue," he continued. If Monet in Paris sounds familiar, that's because Grande Exhibitions also run Melbourne's digital-only gallery The Lume, which has been hosting the similar Monet & Friends Alive since October 2022. Monet in Paris' debut season will run from Wednesday, June 7–Sunday, August 6 at Northshore, Brisbane, with ticket pre-sales from Thursday, March 9 and general sales from Tuesday, March 14. For further details, head to the event's website. Images: Grande Experiences.
Worldly cinemagoers rejoice, our next overseas adventure told through the screen is locked in. The South African Film Festival (SAFF) is back for its eighth edition in 2026, perfectly timed for Mandela Month, bringing a program of 33 films to six cities in Australia and New Zealand from Sunday, June 21 to Sunday, July 26. Can't make it to your nearest participating cinema? An online pass is also available, giving you access to the full program from the comfort of your own screen. Entirely volunteer-run and not-for-profit, SAFF sends all proceeds from the festival to support Education Without Borders, a South African-based youth education and mentorship program. So what's on the program? This year's lineup spans features, documentaries and short films, covering drama, comedy, LGBTQIA+, family and environmental stories. Leading the program is Don't Let's Go to the Dogs Tonight, the feature debut of director Embeth Davidtz. Adapted from Alexandra Fuller's 2001 memoir, the film follows eight-year-old Bobo through a childhood on her family's Rhodesian farm (now Zimbabwe) as the Zimbabwe War for Independence draws to its end, closing the festival on Sunday, July 19 with SAFF's inaugural gala at Liverpool Powerhouse. Beyond the headliner, there's the Australian premiere of Pangolin: Journey to Freedom, a groundbreaking insight into the struggles of the world's most trafficked animal; The Heart Is a Muscle, a taught Cape Town-set crime drama where the disappearance of a young boy unleashes hidden trauma for his father; Lucky Fish, a heartwarming satire set around an unconventional beauty pageant and the characters it attracts and My F*ck, Marelize! — an Afrikaans box office hit that was inspired by a 2019 viral video and ensuing catchphrase. For the full SAFF 2026 program, or to book your tickets, visit the website. Images: 'Don't Let's Go to The Dogs Tonight', 'The Heart Is a Muscle', 'My F*ck, Marelize!', 'Lucky Fish' — supplied
The click of a heal, the spin of a top hat, or the lure of a melody. No matter which way you turn, it's hard to resist the razzle dazzle that is Chicago. This year, Blue Fish are beginning their theatre season with a revival of one of the most exhilarating and loved musicals of all time, and they are bound to do it with a bang. From the songwriters that brought you Cabaret, Chicago is a sharp and seductive tale that transports its audience to the sinister streets of 1920's Chicago. Roxie Hart's dreams of fame and glory on the stage are dashed with one vengeful shot of a revolver... Or are they? With the help of her silver tongued lawyer Billy Flynn, Roxie and her fellow merry murderesses attempt to shimmy, strut and sway their way through the justice system and into the hearts of the fickle but powerful public. Following last year's highly successful production of the whimsical musical The Producers, Blue Fish have chosen a darker tale to dazzle and delight it's audiences. Not that it will be without it's hilarity and toe tapping numbers. The Schonell Theatre is bound to come alive with the 14 piece on stage band and the talented ensemble, starring Cait Gregory as Roxie Hart, Jessica Papst as Velma Kelly, and Wade Colbran-Thomas as Billy Flynn, are sure to have you shuffling along with them. Coinciding with the 15th anniversary of the Tony Award-winning Broadway revival, it seems like there's no better time to get on down to view this masterpiece of love, lust and corruption. Tickets are sure to sell fast so don't miss out, grab yours today!
In an age where a band gets their fifteen minutes before being spat out and forgotten about, it’s kind of nice to see that bands like La Dispute have avoided the hype machine all together and have had a loyal fan base since their conception in 2004. That’s seven years longer than we’ve all known about Lana Del Rey, you guys. It’s because instead of forming under the united goal to hit the top of the pops, La Dispute formed as a group of close friends with the primary belief in the concept of the medium of music an art for making new friends. Their music is intricate, melodic and emotionally engaging, drawing fans in with their exegesis of life struggles that define and identify pretty much anyone going through the rite of passage from adolescence into adulthood. La Dispute have only been to Australia twice in their eight-year career, but this tour marks their third visit. Catch them at The Zoo this Wednesday for the most moving show of the year.
If you've grown up in or around Brisbane, you'll have seen it in all its forms. You'll have seen it packed tight with sports fans, baking in summer sun, and fighting to stay afloat in flood. You've seen it rejoice and seen it suffer. But you've never seen it like this. Have you ever had someone tell you "You just had to be there?" You can expect to hear a lot of that around town after Still Night finishes its run at The Point Hotel this September. The performance is a creative, interpretative retelling of our city, designed to evoke particular thoughts and emotions about Brisbane culture. Writers, directors and performers Gemma Brockis and Silvia Mercuriali weave a fantastical narrative, partly based on fact and partly injected with myth, to present their idea of the city through performance. The performance is 45 minutes long, without interval. Concession ticket prices available.
When Benjamin Law writes, he has a knack for making you feel like he is right there in the room with you - retelling his wickedly funny stories face to face. On Sunday evening, you have the rare opportunity to hear the entertaining stories of ‘The Family Law’ firsthand from the man himself. In what poses to be an interesting collaboration, Southern Cross Soloists will join Benjamin Law in an integrated production in celebration of Brisbane Writers Festival 50th birthday. The Southern Cross Soloists will perform the world premiere of the new composition by prominent composer Steve Newcomb whilst Ben Law will complementarily narrate his novel. Integrating classical music, urban jazz, literature, comedy and irony to produce a charming and witty production.
Based in a post-apocalyptic world without an overflowing water supply, Urinetown is the tale of a time of tinkle-taxes. All toilets are pay-to-pee, private lavatories are outlawed and all water is controlled by irritating, irrigating magnate, The Urine Good Company. The title may stir doubt, but this musical by any other name would still be as hilarious. The third offering of Underground Productions for 2012 is a satirical comedy by Mark Hollman and Greg Kotis, and has made its way from Broadway to UQ. Urinetown pays homage to stage giants such as West Side Story and Les Miserables, while finding inspiration from the current pay-to-use public toilets of Western Europe. Nightly 7:30 screenings at the Schonell Theatre of the University of Queensland until Saturday September 8th, and tickets are still available online. Members tickets are going for $15, students at $18 and adults $20. A pretty good price for toilet humour.
It may be a summer blockbuster but the weighty themes come thick and fast in JJ Abrams' second Star Trek film Into Darkness. Just minutes into the opening scene, almost before we've even seen our first lens flare, Spock (Zachary Quinto) reminds the crew of the Enterprise with Leninesque fidelity that "the interests of the many outweigh the interests of the few". Soon after, we're asked to consider the true meaning of friendship, to weigh the expediency of vengeance against the necessity of justice and even to opine on the militarisation of a traditionally scientific vessel. In short: it's a terrifically fun film that aspires (and mostly achieves) to be something much more. In many ways, Spock's eloquent reminder is just as relevant to the big studios, compelling them as it were to balance the expectations of dedicated fans with the need to make the movie widely marketable. That's why Abrams is such an excellent choice of director, not only for these Star Trek films but now also the Star Wars ones, since both possess loyal and passionately defensive fans who consistently reject change as often as they reject each other. Arguably the greatest accomplishment of his first Star Trek film in 2009 was that it satisfied the Trekkies whilst opening up the franchise to an entirely new audience. Now again, in Into Darkness, Abrams carefully traverses that balance between old and new, as well as between the pop and the pensive. For every furrowed brow or teary eye moment come multiple laughs, usually courtesy of Quinto's logic-driven Spock or Simon Pegg's Scottish-driven Scotty. And as for the action, it's predictably topnotch, both in its intergalactic sequences and small-scale, hand-to-hand pieces. The Star Trek universe has always been defined by the relationship of its two leads — Kirk (Chris Pine) and Spock — however, it's also true that heroes are defined by their villains, and thankfully in Into Darkness they have a fantastic one in the shape of Benedict Cumberbatch. With that now famous Alan Rickman-like baritone growl, he throws himself into the character of John Harrison, a British spy turned rogue terrorist whose devastating attack on London sees Kirk pursue him to the far reaches of the galaxy in order to bring him to justice one way or another (given those orders come from Robocop's Peter Weller as Starfleet's admiral, it was a small shame he didn't actually say "Harrison, dead or alive, you're coming with me"). Into Darkness also sees all the familiar characters return (Bones, Chekov, Uhura and Sulu) along with the introduction of a sadly underused Alice Eve; however, it's Cumberbatch who really drives it forward. Even the Kirk/Spock dynamic takes a back seat (subject to one or two key moments), and if anything, it's that shift away from what made the first Star Trek film soar that's probably Into Darkness's only significant failing. Overall, this is a wonderful movie, large in scale but also capable of delivering impressively intimate moments throughout.
Have you organised your Saturday night yet? No? Well, regular club night Trainspotters at the Grand Central Hotel are mixing things up a bit this Saturday and it's bound to be a good one. The teams behind Lost Movements and Trainspotters have joined forces to create a super fun night filled with live bands, art and entertainment. Some of the bands who will be rocking out will be The Dead Love, Love Like Hate and White Elephant. Artists such as Littleamb, Steven Falco and Jackson Hambridge will be showcasing the fruits of their labour. Talented Brisbane burlesque dancers, Tina Joy and Samantha Nova, will also grace the stage and be sure to put some colour in your cheeks with their va-va-voom performances. Pencil Trainspotters vs Lost Movements into your diary and be prepared for a great night.
Get your groove on at Alhambra Lounge with the help of oOoOO and Butterclock. Why not end your weekend with a bang as these international acts specialise in tasty tunes and blissed out vibes. Hailing from Paris, oOoOO makes eclectic tracks and seamlessly fuses hip-hop beats with irresistible melodies and fresh sounds. The Berlin beauty Butterclock will be keeping oOoOO company and lending her vocals to his beats. Butterclock is an exciting artist in her own right and has been making waves internationally with her debut EP First Prom. Kush Club DJs will keep the party pumping with DJ sets. Tickets are $23.50. Float your way into the weekend with these two talented and effortlessly cool artists. Listen here for a taste of the floaty electronica and haunting vocals that these guys are pumping out.
Sons of Sin puts on stage all of the testosterone fuelled trials and tribulations that accompany the rocky road towards manhood. This production by The Danger Ensemble explores what happens when an individual defies the collective voice of his pack and the results are provocative and captivating. Sons of Sin follows a group of males as they navigate their way around all of the usual rites of passage such as, sporting matches, drinking games and music festivals. The cast of young male actors will be accompanied by an extraordinary soundtrack that beautifully accents the predicament of the characters. Before you embark on this epic journey, the audience is warned that they may get wet, dirty or splashed, so dress accordingly. Sit back, buckle up and enjoy the ride! Tickets are available here.
Old school friends Amy Franz and Hayley McKee make up the duo Super Wild Horses. The pair have brought their garage sounds and wholesome harmonies to Black Bear Lodge and are keen to share their impressive new album, Crosswords, with you. Crosswords is the follow-up to the band's critically acclaimed debut album, Fifteen. Their debut single, 'Alligator', is a no-nonsense track filled with driving drums, infectious guitar twangs and distinct vocals. Crosswords retains the unique sound that skyrocketed the band to success in the no-fi scene. The girls have shared the stage with big name acts such as Best Coast, Foo Fighters, Eddy Current Suppression Ring, Pond and The Drones. Super Wild Horses have perfected their live set thanks to earning spots at festivals including Big Day Out, Golden Plains and Goner Fest in Memphis Tennesse. Pencil in Super Wild Horses this Friday night and kickstart your weekend.
There should be a name — or at the very laziest, a portmanteau — for the kind of the film that instills a sense of dread in its audience from the outset and just lets it sit, collecting in the base of one's stomach until the very final moments. Thomas Vinterberg's new film, The Hunt, would then appear at the top of a wiki entry for that term, alongside keywords: intense, powerful and great-bone-structure. Mads Mikkelsen plays Lucas, a resolute divorcee with a strong jaw (keyword) who's rebuilding his life in a small Danish township, trying to win back some time with his somewhat estranged teenage son while working as a kindergarten aide. Lucas is that classic infants teacher — equal parts stern disciplinarian and schoolyard fool. When his best friend's young daughter, his student Klara, makes an offhanded remark suggesting he's been sexually inappropriate towards her, his good community standing is suddenly upended, no good against the chilling fear of innocence lost. From the outset, the case is handled appallingly by Lucas's colleagues. Klara is provoked with leading questions and when she tries to recant, her uneasiness is taken for truthful shame. As the lie spreads through the school and then the town and beyond, Lucas becomes resolutely calm towards the situation, outraged to the point of passivity. As his friends, family and lover question his integrity, he doesn’t directly deny the charge, though you wish, agonisingly, that he would. Instead he poses the question back to the accuser, leaving open a small window of hope as a gust of hysteria blows right on through. There's violence, fear and a deep sense of dread as Lucas's community all but takes to him with a pitchfork. This is Vinterberg's best since his dogme 95 blazer Festen (1998), which also touched on some of the same issues of abuse and family, though with a more sickeningly farcical touch. Much of The Hunt's success lies in Mikkelsen's stoic performance, which rightfully won him the Best Actor gong at Cannes in 2012. The Hunt is a taut, unpleasantly bristling drama and one of the best and most precisely directed films we'll see this year.
You know what's not cool in the 21st century? Buying corporate-owned magazines and having the prefix 'maga' anywhere near independently owned, periodically realised illustrated articles. Long story short, zines are the new big deal, and Brisbane's own Lost Zine is a welcome new addition to any mag-stand. The launch of this publication will be matched with the fifth and latest night of art and music hosted by Lost Movements, those hardworking guys who are all about promoting new artists. They've well and truly established themselves as having eagle-eyes for some of Brisbane's best bands and artists, so you can expect nothing short of perfection from the evening. Featuring music from eight bands you may have never heard of but will be hearing more of soon, live art and a touch of burlesque to top off the evening, this afternoon will be a continuum of quirky wonders. So, April , 5pm, be at Coniston Lane. Listen to some tunes, have some drinks, and be a part of one of Brisbane's best collaborative efforts - for only $8, it's a bargain.
Plotting the traditional structure of a film trilogy results in a sort of 'N' symbol on a graph. Part 1 (the incline) offers the introduction to the characters and concludes with a satisfying, inspirational victory (the first peak). Part 2 then explores the characters in greater depth, exposing their shortcomings and instilling both doubt and conflict until all hope seems lost (the descent and trough). Finally, Part 3 sees the protagonists discover — or at least 'relearn' — the true strength of their convictions, allowing an eventual, all-encompassing victory in the conclusion (the ultimate peak). The Hangover trilogy, however, does not follow this structure. On its graph, 2009's Part I held the line well and provided one of the surprise hits of the year courtesy of some snappy writing, extreme political incorrectness and three terrific characters (the fourth guy really is a spare). Instead of marking the descent, though, Part II just ran with the exact same formula. It was Part 1 all over again, except Bangkok was subbed in for Vegas and the baby was replaced by a monkey. So going into Part III, the big question was always going to be: would this be 'Part I again, again' or something genuinely different? The answer was the latter, which in turn begged a second question... was that a good idea? In this third instalment, our three wolf-packers — Phil (Bradley Cooper), Alan (Zach Galifianakis) and Stu (Ed Helms) — are one again forced into a nightmarish series of disasters in order to rescue their friend Doug (Justin Bartha...who really is the spare). Regrettably, Hangover Part III centres upon the trilogy's most annoying character, Mr Chow (Ken Jeong), whose whiny, sort-of-Asian, sort-of-gay, sort-of-hip-hop-gangsta ramblings grate the ear like a screaming baby on a packed plane during descent. During one early scene in which Chow's butchering a karaoke cover of 'Hurt', Bradley Cooper winces and asks "what the fuck are we watching!?" He's not the only one to think it. By focussing on Chow and favouring a more conventional plot over the simple yet effective premise of 'rediscovering unremembered anarchy', The Hangover Part III boldly — if also mistakenly — shifts the focus away from the very thing that made the franchise a success: its 'wolf pack'. They still have their moments, especially Galifianakis; however, this is a far more 'normal' movie and as a result, so too become the characters. There are still loads of laughs and it's a definite improvement on the carbon-copy disappointment of Part II, but the tiny coda that pops up part-way through the final credits (certainly worth staying for) shows us what might have been had they just found a way to use the original amnesic plot structure in a new and different way.
Street Food Australia presents a night to eat, drink and celebrate the future of street food in Brisbane. This night is your night to try foreign delicacies, from Chinese dumplings and South American Elote to Tequila Ribs, Banh Mi and other street-born delights from around the world. While satisfying your tastebuds, feast upon the live musical stylings of Greshka, devour the treasures of the pop-up cookbook bookshop, indulge in photography shows and wet your whistle at the bar. The event gives privilege to the humble bicycle; not only will they be hosting their wares on bikes, but if you bring yours along, you will receive free valet parking. This is a joint venture with the Institute of Modern Art and the Judith Wright Centre, and is supported by the Scrumptious Reads Bookshop. In other words, this evening of tasty morsels will leave no discernible taste unsatisfied (vegetarians too!). Please note this is a cash-only event.
The team at Seven w/ Another believe great minds think alike no matter how different they are, and the evidence is all in their latest exhibition. Showcasing 14 paired-off, well-known creatives, Seven w/ Another’s latest installment delivers an exciting fusion of creativity. Throwing their artists into the deepest of hot water and pushing them miles out of their comfort zones, Seven w/ Another risked disaster with their matches - an opera singer and an animator just one of many crazy clashes. The art and designs produced by these creative marriages, however, are nothing short of truly mind-blowing. After all the hard work, and brilliant collaboration you can witness the work of these creative at the Brisbane Powerhouse in an exhibit that’s intriguing, a little delightful, and definitely not boring.
Now is the time to catch the ever-rising Kite String Tangle. Snap up your tickets as it's almost guaranteed that this time next year Danny Harley from the one-piece band will be in very high demand. His sound is influenced by the likes of Mount Kimbie, Active Child and Fever Ray, with the perfect balance of dance beats and delicious floaty electronica making The Kite String Tangle one to watch in the near future. His track, 'Given the Chance', has been spun regularly on Triple J and received a flurry of positive feedback. Harley has warmed the stage for the likes of MS MR, Gold Panda, RUFUS, Owl Eyes and Movement. This November sees the Brisbane boy take to the stage in his first headline tour. Be sure to see this impressive act in the early days of his career as one thing is certain, great things are coming his way.
This exhibition explores the complex concept of intimacy. Through the medium of art, You & I: Thoughts on Intimacy delves deeply into this shared experience and puts the spotlight on the bond formed between people in varying relationships. The mediums included in the exhibition are interactive, drawings, paintings and installations. The joy and other positive emotions experienced when relating to a fellow human on a deep level will be examined as well as those more difficult moments of awkwardness and disgust. Head to the exhibition and be immersed in pieces by artists such as Rachael Archibald, Tor Maclean and Leena Reithmuller. Get your fix of provocative and captivating art at You & I: Thoughts on Intimacy at West End's innovative gallery space, The Hold. The opening night is Friday 16th August, curated by Kylie Spear, and a panel discussion will be held on Saturday 24th August.
Django Django have made the long trip from Scotland to Australia to play sets at Falls Festival and Field Day. However, Brisbane fans need not fret as the quartet haven't forgotten about our town and are playing a headline show at The Zoo. The Scotsmen released their debut self-titled album early last year which was warmly received by critics, making Django Django one of the most talked about bands of 2012. Django Django even have proof of their brilliance as the boys were listed as number 10 in NME's 50 Best Albums of 2012, now that's impressive. The lads are known for their energetic live shows and colourful singles, Default and Wor, which have been played regularly on Triple J. Django Django's sound is a unique and tasty mix of electronic, psychedelic and pop rock making them a must see. Head to one of Brisbane's favourite music venues, The Zoo, to catch these guys' boundless energy and irresistibly infectious music.
Rodgers and Hammerstein's much loved musical, South Pacific, has sailed into Brisbane for four days. This musical masterpiece has been awarded 7 Tony Awards and has sold out its seasons on Broadway and the West End. Theatre lovers have been eagerly waiting for the spectacular musical to come to Brisbane and now, the wait is over. South Pacific stars the talented Lisa McCune as Nellie Forbush and Teddy Tahu Rhodes as Emile De Becque. An exquisite live orchestra will accompany the cast and play magnificent pieces such as 'Some Enchanted Evening', 'Bali Ha'i' and 'There is Nothin' Like a Dame'. South Pacific has received rave reviews and been described as, 'A show you will remember forever' (Star-Ledger) and 'Simply wonderful!' (New York Post). Make sure you catch this magical musical and be swept away in its timeless story.
It's that time of year again. Summer is just around the corner and the books have been put away as students celebrate the end of the academic year. This years work from the talented Queensland College of Art students will be on display in the exhibition, Here Now, to give the public a taste of the wonderful talent that the Griffith University students possess. Students who have completed a Bachelor of Fine Art, Bachelor of Contemporary Australian Indigenous Art and Masters in Visual Arts will be showcasing their pieces. The exhibition will feature a diverse range of artworks and is designed to acknowledge the hard work of the students. Make sure you catch the next generation of Australian artists as they exhibit their stunning pieces in their own exhibition. The showcase is running for three days, with the opening night on Wednesday at 6pm.
Abaji is a Lebanese-born, multi-instrumentalist, singer and composer, whose signature strand of world music is one unlike any other. His musical roots stem from his home in Beirut, where his love of music, particularly Creedence Clearwater Revival, Cat Stevens and Bob Dylan, was interspersed with Oum Kaltoum and Turkish music. The mid 1970's saw Abaji flee to Paris, and the beginning of his committed musical education. In the search to replicate and transform the sounds of his youth, Abaji has learned to play over 250 instruments and has crafted a uniquely vibrant and personal sound. You can see Abaji perform in the Judith Wright Centre’s performance space in theatre or cabaret-style seating, and discounts are available for bookings of 6 or more people. This one-time-only performance is one you’ll be glad you saw. watch?v=8eIrXdwlO5U&feature=related
Rose Revolution is a celebration of textural rose wine and will engage a number of events in capital cities and regional areas around Australia. The launch of Rose Revolution is going to involve tastings and gatherings to bring rose lovers together throughout the summer months. On 14 November, Kettle and Tin will host a free tasting followed by a Rose Soiree hosted by Michael Ellis of The Wine Punter. You'll mingle with local winemakers and gear up for the hotter months ahead with your deepened knowledge of rose. Bookings: 07 3369 3778
The tale of Medea, as based on Greek mythology and first turned into a play by Euripides back in 431 BC, tells of betrayal and retribution. A woman sacrifices everything for the man she loves, only to become a spurned wife seeking revenge against her cheating husband. Given all the emotions and anger flying around, a happy ending is out of the question. Medea has been performed many, many times over the years, but you can still teach an old production new tricks, it seems. That's what acclaimed Australian playwright Suzie Miller has done, giving the story a bold and different interpretation. Miller's vision tears down gender stereotypes and sees things through the eyes of the titular character. Together with director Todd MacDonald — who happens to be La Boite's artistic director, too — her take on Medea is dark, dramatic, tense and thrilling, contemplating a strong, strategic leader struggling to retain her position of power. You wouldn't have seen that 2500 years ago.
Privacy mixes with voyeurism and a gallery turns derelict (but not Zoolander's Derelicte) in an exhibition that peers deeper into our always online, instantly shared way of living. Intrigued? You should be. There's a lot going on in Metro Arts' latest show that you'll want to see. Brisbane-based visual artist Jarrod Van Der Ryken uses his latest work, Empty Places/With Suspicion, to ponder a #firstworldproblem if ever there was one: the diminishing space we each have to call our own. Keeping something to ourselves is rare in this day and age of smartphones permanently clutched in hands — but should it be any different? Or does our reliance on personal mystery need a challenge? Patrons can not only ponder all this and more but also wander through their thoughts and feelings, as the exhibition comes to life within a decaying home. Yes, you'll literally stroll through a crumbling structure as you contemplate the decline of some of modern society's foundations: secrecy, intimate thoughts and private activity.
They don't call Bruce Springsteen 'The Boss' for nothing, even if several stories supposedly explain his nickname. He has been rumoured to hand out pay cheques to his band mates, and to play a mean hand of Monopoly; however, whatever the real reason, it's a label that fits. Across four decades, the singer-songwriter has strutted his rock 'n' roll stuff, his working-class anthems helping him become one of the bestselling artists of all time. As his album titles tell us, he was born in the USA and born to run. As his song titles tell us, he went dancing in the dark and had a hungry heart. For one night only, The Triffid pays tribute to a superstar like no other, assembling a bunch of Brisbane's finest bands for what promises to be a rousing celebration. Moses Gun Collective, Good Oak, Love Hate Rebellion, Halfway and Sahara Beck will each add their spin to the Boss's classic tracks, hopefully while wearing plenty of denim. Someone might even channel their inner Courtney Cox and jump up on stage.
There’s never a bad time to wander through the work of David Lynch at GOMA’s Between Two Worlds exhibition — but there’s something extra special about doing so by night. If anyone’s moody movies and out-there artwork lend themselves to the mystery of the evening hours, it’s his. Under the cloak of darkness, that’s when all things strange and surreal can shine. Thankfully, the simply titled Lynch By Night has this covered, courtesy of three Fridays of after-hours fun. As the program comes to a close, the gallery is leaving its doors open late for talks, tours, dining, bars and an ambient backdrop of sounds. A packed musical line-up of McKisko & Caitlin Franzmann, Sky Needle, Nonsemble, Rainbow Chan, Lucy Cliché & Sarah Spencer (Blank Realm), and Teeth & Tongue has the atmosphere covered, with the exhibition itself doing the rest. You can even end your evening with a film, with tickets to The Straight Story, Mulholland Drive and Inland Empire sold separately.
Fancy yourself as a Scrabble whiz? Annoyed all your friends by taking Words with Friends a little too seriously? There may not be a solution for your shameless word nerdery, nor should there be, but there is a place where you can laugh at it. Welcome to The 25th Annual Putnam County Spelling Bee, the word wrangling championship of a lifetime. Six teens face off against six adults, all outsiders in their own way, and all determined to emerge victorious. Oh, and they sometimes break into song — when they're not jangling with nerves, that is. If you've been keen to see singing and spelling together somewhere other than Sesame Street, then this is the play for you. The show's Broadway run was nominated for six Tony Awards, and now it's Brisbane's turn to pay tribute to wielding letters as a competitive sport. Beware: you might not just watch others demonstrate their dictionary skills. Yes, this is a play with audience participation.
If you’ve ever daydreamed about the days when gents wore three-piece suits and ladies dolled up in flapper finery, the upcoming Gangster’s Ball may be for you. Hosted by the Tivoli, the ball offers a chance to get gussied up in your vintage best for what sounds like a memorable night out. Embracing the entertainment of the 1920s-'50s, the evening includes live magic, vaudeville, cabaret and a turn from NSW’s reigning burlesque queen, Kelly Ann Doll. Should you need a break from being a spectator, you can get all gangster and try your luck in the gambling den (pinstripes and spats compulsory) or pamper your inner-moll at the vintage styling parlour. Cocktails and a spot of drunken swing dancing are optional.
Black Bear is helping Red Deer stampede into 2013. The folks at Black Bear Lodge are showing support for their other woodland creature-themed event by hosting the launch party of the annual Red Deer Festival. Red Deer is a festival of music and arts, of camping and friends, and is eagerly awaited by punters year-round. Not only does its 2013 launch call for mass celebration, but it is only the beginning of musical treats and friendly vibes. Joining the festivities will be Fire and Whistle Theory, The Dashounds and Jean Jameson for your listening pleasure. This year’s Red Deer Festival is boasting the talents of The Grates, Kingswood, Chance Waters and Triple J’s Sarah Howells, plus many more, and is being heralded its most successful year running.
As one of the most moving, finely curated and culturally rich events to be hosted by The Powerhouse, The Festival of Tibet is a must-attend experience regardless of your knowledge on the country. From divine art to even more celestial experiences, this four-day celebration offers in its entirety the beauty that defines Tibet. Throughout the Festival, the Tashi Lhunpo Monks of Tibet will be constructing, with anything but ease, a stunning sand mandala. You can even create your own mandala under their guidance from 3pm to 5pm each day, and learn what patience really encompasses. The Powerhouse’s Turbine Platform will be transformed into a sacred Tibetan space of stunning Buddhas, bodhisattvas and deities, with all painting created by Tibetan artists in exile. Make sure you check out the huge range of exhibitions, discussions, and workshops on offer for all ages. There will even been a handful of nighttime events, so whether the sun is up or down, make sure you invest at least a little into this experience of a festival.
Think back to the best gig you've ever been to. Although your memory may be a little hazy, you will probably agree that a great set takes more than a lead singer with an impressive set of lungs or a talented bassist rocking out. An enjoyable live performance requires a buzzing atmosphere, charismatic performers and a genuine connection between the audience and the band. Held at the SLQ Gallery, 4Senses appreciates the multi-faceted nature of a good performance. This unique event aims to make live music an experience that everyone can enjoy, including those who are deaf or hard of hearing. Attendees have the chance to experience music in a different way, for example, music will be presented through visual art and multimedia showcases, subwoofer seats will be available for participants to sit on the box and feel the bass vibrations and by holding balloons. Interpreters and lyrics will also add to the experience. What's more, All funds from the event will be donated to Deaf Australia.
Everything is better on a boat. Whether it’s mocking Mumford and Sons, escaping the Feds, or simply downing a champers in the company of bikini-clad ladies, nothing beats going naval. So when we tell you there’s a boat party happening right here in Brisbane, with a line up of a-grade DJ's, and some sunset vibes to match, we expect you to tune in. The party people at The Kush Club are hosting this limited ticket cruise on the waves. They’re no strangers to the sea, and have party curations skills rivaled only by Martha Stewart. Paleman and Chaos in the CBD will be rocking away and causing some sways on the Brisbane River. The boat will set sail from South Bank Ferry Terminal 1 at 2pm and will return at 7pm. There’s only 125 tickets going, so get in quick, and secure your spot pronto!
How do you celebrate the birthday of your favourite filmmaker, particularly when the director in question is none other than John Waters? Sure, you could watch a stack of DVDs in the comfort of your own home. Or, you could head to Brisbane's one and only John Waters 70th Birthday Festival. Expect parties, screenings and a quiz, aka an event only cult cinema guru Kristian Fletcher could've thought of. And expect to spread the fun times around, too, with Saturday's program taking place at Fish Lane Studios at the Fox Hotel in South Brisbane, and Sunday's taking over New Farm Cinemas. It all starts with a double of shindig and film doubles: dance along to the hits of the '60s before watching Hairspray, then don your best Divine costume and get ready for Pink Flamingos. Follow it all up by getting your scratch 'n' sniff on thanks to Polyester in Odorama. And once you've made it through all that, you're going to want to show off your mad Waters skills at the trivia evening. You will have earned it.
