If you're a regular on the train line between Epping and Chatswood, your routine is about to get a bit of a shake-up, with New South Wales Transport Minister Andrew Constance confirming dates for the line's closure. Starting September 30, trains will stop running along this route for a whole seven months while the Sydney Metro system gets its much-hyped upgrade. The move is likely to cause its fair share of disruption, given that around 20,000 commuters currently use this rail line according to the ABC. They'll instead be forced to swap the train for one of the new, hot-pink, high-frequency Station Link buses — part of a $49 million investment by the NSW Government. Mr Constance announced that over 1000 bus services would run between Epping and Chatswood daily, with more than 110 making the route during peak times. "The new high-frequency Station Link service will run on a turn-up-and-go basis on seven additional routes," explained Mr Constance, with Ryde MP Victor Dominello confirming that those travelling during the busiest parts of the day can expect a bus every six minutes. To cater for the influx of extra buses on the roads, turning lanes will be extended and 580 metres of bus lanes will be added. Plus, for university students and staff, a dedicated service will run directly between Epping Station and Macquarie University Station during semester. The line works should mark the final part of construction before the $8.3 billion Sydney Metro Northwest is completed and ready to take passengers. Via abc.net.au
Earth Hour is a symbolic action. Although there is carbon saved by turning things off, the point is the unmissable demonstration that a huge chunk of the world's population caring about the same thing at the same time. If we can manage this for Earth Hour, why not for grander environmental things? The Hour started in Sydney in 2007, and has become an international event in the years since. There are Earth Hour events in Kenya, India and Ireland these days, but you don't need to travel so far afield to find a way to join in this time around. At its simplest, all you need to do is stay home and turn off the lights. But if you'd like to have a more social darkened moment, you can head to a candlelit restaurant or one of a raft of other lights-off events.
When Sydney Theatre Company released their 2009 program including an "untitled project" from Steven Soderbergh, there were some grumpy mummers from prospective subscribers who felt that being asked to sign up for a play nobody knew anything about was a bit rich, or, worse, that the company was over-investing in international celebrity appeal as if glittery names like Steven Soderbergh were enough in and of themselves. When Soderbergh finally announced what the production would be several months ago, the murmuring was far from hushed. That he was basing his project on a real life child homicide case that is yet to go to trial was enough to whip up a mild flurry of outrage - and we all know there's nothing like a bit of controversy to conjure public interest. In fact the machine of publicity and media scandal lies at the heart of this new play. Using the still-unfolding mysterious story of murdered Florida toddler Caylee Anthony, it will draw on themes of parental neglect and the eternal appeal of murder mysteries and crime investigation, but also on the nature of media frenzies and sensationalist public spectacle in the modern age. This much anticipated final production of STC's 2009 Main Stage season has been extended until February 7. Image courtesy of Picture Media.
Both you and your four-legged friend can get in the Christmas spirit at this festive photo op. Popping up from Tuesday, November 24 till Wednesday, December 16 at Broadway Shopping Centre — so you can get your Christmas presents and cards sorted in one hit — Melting Moments is an Aussie twist on your usual Santa photos. Instead of being surrounded by trees, elves or reindeer, this Santa is surrounded by melting ice creams. The photoshoot is open to adults, kids and pets, too, which is a bonus if you're both a fur-parent and normal parent. And it's open from 5.30–8pm on Tuesdays and Wednesdays — perfect for after-work (and after-doggo daycare) visits. Exactly how much the shoot costs depends on how many photos you want, with $23.95 the starting price (for two four-by-six photos) and $49.95 the most expensive, with the latter including everything from a calendar to Christmas cards and a magnet to bookmarks. Melting Moments with Santa is open for bookings from 5.30–8pm on Tuesdays and Wednesdays.
It's worrying the way we deride films aimed at an older audiences as simply being a Best Exotic Marigold Hotel facsimile designed to snare seniors, given how we largely ignore the fact that the majority of mainstream cinema over the past 30 years has been made for 12-year-old boys. Philomena, with its poster depicting a smiling Judi Dench alongside a stoic Steve Coogan, will no doubt be dismissively lumped in with this crowd. It is, however, a million miles away from the likes of Best Exotic (which, for the record, was actually rather good). Based on a true story, Philomena follows ex-political spin doctor Martin Sixsmith (Coogan), who, in an attempt to revive his journalism career, chases the "human interest story" of Philomena (Dench) an elderly woman searching for her long-lost son. In flashbacks, we see the younger Philomena (Sophie Kennedy Clark) as she becomes pregnant out of wedlock, and is forcibly kept in servitude by nuns, who then sell her son to a wealthy couple. As the pair investigates, the truth behind the forced adoption becomes all the more shocking. Coogan, who not only portrays Sixsmith but also co-wrote the screenplay, strikes a perfect tone with such sensitive material. The revelations are powerful and honest without being gut-wrenching; the comedy is welcome and consistent without being inappropriate. It's a remarkable juggling act, directed beautifully by Stephen Frears, who atones for recent disasters Lay the Favorite and Tamara Drewe. Coogan's sardonic Northern charm makes Sixsmith a compelling lead, and his relationship with Dench's Philomena is wonderfully developed. It's Dench who is the real standout here. At this point in her career, she could easily get away with sleepwalking through roles, relying on her undeniable presence to carry her performances. But as in 2006's Notes on a Scandal, she creates a character unrecognisable from her previous roles. Philomena is pleasant, vague, forceful and compellingly well-rounded. Dench's energy and attention to detail elevates this film to something even more remarkable. The depiction of the Catholic structure both past and present is one of the most fascinating elements of Philomena. It's caused controversy, with many accusing the film of being anti-Catholic. To make such an accusation, however, fundamentally misses the point, and excuses the crimes committed in the name of the church. The film does not shy away from Philomena's piety or Sixsmith's atheism, and argues strongly in favour of both. Sixsmith is deeply compassionate without religion, whilst Philomena embodies the ideals of Christianity that the Church and its representatives so often and so demonstrably forget. Disinterested in a sanitised "I'm okay, you're okay" message, the film manages to extol the best elements of both atheism and Christianity whilst unrelentingly and unapologetically shining a light on the darker side of organised religion. It is truly impressive stuff. Be not fooled by the marketing materials, which make the film look like an aged-up version of The Trip with Judi Dench in place of Rob Brydon. (Although, thinking about it, that would be brilliant.) Philomena is a terrifically made, entertaining work that stands head and shoulders above many of the films being forced upon us this Christmas. See it. https://youtube.com/watch?v=rD8f9kn7D2U
When Ana Lily Amirpour made her spectacular feature filmmaking debut in 2014, and made one of the best movies of that year in the process, she did so with a flick with a killer title: A Girl Walks Home Alone at Night. That moniker also summed up the picture's plot perfectly, even if the Persian-language horror western vampire film couldn't be easily categorised. Take note of that seven-word name, and that genre-bending approach. When Amirpour next made wrote and directed The Bad Batch, the 2016 dystopian cannibal romance started with a woman meandering solo, albeit in the Texan desert in daylight, and also heartily embraced a throw-it-all-in philosophy. Now arrives her third stint behind the lens, the hyper-saturated, gleefully sleazy, New Orleans-set blend of superheroes, scams and strippers that is Mona Lisa and the Blood Moon — which, yes, features a female protagonist (Jeon Jong-seo, Burning) strolling unescorted again, back under the cover of darkness this time. Mona initially walks out of a home instead of towards one, however. And Amirpour isn't really repeating herself; rather, she has a penchant for stories about the exploited fighting back. Here, Mona has been stuck in an institution for "mentally insane adolescents" for at least a decade — longer than its receptionist (Rosha Washington, Interview with the Vampire) can remember — and breaks out during the titular lunar event after gruesomely tussling with an uncaring nurse (Lauren Bowles, How to Get Away with Murder). The Big Easy's nocturnal chaos then awaits, and Bourbon Street's specifically, as does instantly intrigued drug dealer Fuzz (Ed Skrein, Maleficent: Mistress of Evil) and a determined but decent cop (Craig Robinson, Killing It). With opportunistic pole-dancer Bonnie Belle (Kate Hudson, Music), Mona thinks she finds an ally. With her new pal's kind-hearted latchkey kid Charlie (Evan Whitten, Words on Bathroom Walls), she finds a genuine friend as well. Amirpour's movies sport a kinetic feel that's as natural to them as breathing is to watching audiences. Her love of movement shines through as brightly as moonlight, too — and Mona Lisa and the Blood Moon is another glowing example. Directed with style and boldness to spare, this is a garish, on-the-go, howling-at-the-sky kind of southern Gothic horror flick, purposefully and strikingly so. Slinking along with it is inescapable, whether Mona is unleashing her supernatural skills, navigating the French Quarter's hustle-and-bustle nighttime vibe, or wholesomely dreaming of a safer future. First, though, Mona has to break out of the bayou-adjacent facility she's been forced to call home, which happens in a grim, revenge-seeking, attention-grabbing fashion. The aforementioned nurse usually spits insults the straightjacketed, catatonic Korean detainee's way, including while clipping her toenails. Then the inmate snaps back into focus — maybe the moon that's stirred her? — and uses her gifts to wreak havoc. Without touching the nurse, or anyone else she imposes her will upon throughout the movie, Mona can take control of their bodies. There's no flesh-swapping (another spin on Freaky Friday, this isn't); here, via voodoo-esque physical manipulation, Mona Lisa and the Blood Moon's main figure waves her hands or nods her head, then whoever's in her gaze does as she directs. That's a skill that comes in handy once she's out on her lonesome, meandering the city barefoot with threats lurking. It's also a talent that Bonnie observes during a fast-food store car park catfight, with Mona saving her bacon. Deciding that those telekinetic capabilities can be put to cunning, canny and profitable use — look out, strip-club patrons — Bonnie is swiftly offering up her companionship, and her home, although the metal-loving Charlie warns their new houseguest to be wary. Even if obvious nods to Alice in Wonderland weren't baked into the production design, Mona Lisa and the Blood Moon would play like a fairy tale (a sweaty, seedy, go-where-the-night-takes-you fairy tale, but a type of fairy tale nonetheless). Its namesake wanders through an otherworldly realm, gets caught in perilous situations, learns lessons and benefits from something akin to magic — aka those just-awakened powers — to mosey forward. Thanks to the movie's moral code, she only deploys her paranormal prowess on folks who deserve it, or uses it to save herself, when the decision to bust out the mind control is hers alone. At its core, the film can be that straightforward. That said, it also stems from a director with a history with deceptive simplicity. A Girl Walks Home Alone at Night was about exactly what its title describes, after all, and yet it was also filled with oh-so-much more. Starting with easy-to-spot scaffolding, then building a glisteningly distinctive, eagerly detailed flick that couldn't have been crafted by anyone else: that's one of Amirpour's own super skills. Plenty of that pivotal talent comes through visually here, with gloriously atmospheric and neon-soaked help from Hereditary and Midsommar cinematographer Pawel Pogorzelski. Indeed, anyone who thinks that style can't also be substance, can't sweep viewers into a film's mood and can't anchor everyone watching in a character's headspace, should be motivated to rethink their position. Mona Lisa and the Blood Moon's manic dance through New Orleans after dark is that immersive — and that means something. As thrust across the screen with scuzzy yet giddy flair, and set to a mesmerising soundtrack as well, this spirited picture proves as keen as can be to skip along with people, survivors all of them, that society usually casts aside. Speaking of casts: Jeon's magnetic performance is worth erecting an entire movie around, so Amirpour has. Quietly spoken but infinitely expressive in every look and move — and brimming with mystique — the film's lead is hypnotic; understanding why Charlie and Fuzz are so drawn to Mona isn't hard for a second. Young Whitten helps give Mona Lisa and the Blood Moon its sweetness, and a loveable odd-couple buddy-flick centre. Robinson is unsurprisingly effective and engaging as a cop with compassion, and also part of an immensely amusing chase scene. And opposite almost anyone other than Jeon, the mesh singlet-wearing Hudson would steal the show, revelling in getting trashy but remaining savvy. She takes a dauntless swing and it pays off; so does Mona Lisa and the Blood Moon on both counts.
Spending time with your loved ones is what Christmas is all about, but the annual occasion also encompasses many other elements. Enjoying a few festive drinks, exchanging gifts and eating your way through a feast are all on the list, as are marvelling at festive ornaments and peering up at a tree. And when it comes to both food and decorations, plenty of folks take both areas very seriously. Every time that December 25 rolls around, are you obsessed with having (and devouring) the perfect dessert? Are you the type of person who goes much further than simply decking the halls with boughs of holly (and tinsel, lights and other trimmings)? If so, then you might want to add Black Star Pastry's new cherry Christmas tree cake to your must-have list. From the folks that gave the world that famed, super-Instagrammable strawberry watermelon cake, it's a 35-centimetre dessert that resembles a snow-dusted Christmas tree, is obviously edible, and will also look rather striking sitting in the middle of your table as part of your festive spread. Available in both Sydney and Melbourne — at Black Star Pastry's Newtown, Rosebery, Moore Park and St Kilda stores — the cake is covered in white chocolate and vanilla mousse, and adorned with edible decorations. So, it definitely looks the part. Inside, you'll find many a treat, starting with a base of puffed rice, candied orange and milk chocolate crunch base. From there, it's layered with lemon and yoghurt sponge, citrus marmalade, praline crunch, cherry compote made with cherry wine, tea jelly and cherry mousse. The cake serves 10–15 people — or fewer if you're keen on giving yourself one or more hefty slices. It'll set you back $150, and there are only a limited number available, so getting in quick is recommended. To get your hands on one, you'll need to place your order online, then pick it up in the two days immediately before Christmas. [caption id="attachment_793973" align="aligncenter" width="1920"] Chloe Dann[/caption] Black Star Pastry's cherry Christmas tree cake is available to order online until 4pm on Tuesday, December 22, to pick up on either Wednesday, December 23 or Thursday, December 24. Images: Chloe Dann.
This techno-call to arms comes from self-professed dorks “doing strange things with electricity”. There's something appealing about Dorkbot's epigram, especially when we consider the predictable behaviour electricity is made to perform: it is generated at power stations, sent through the grid, directed into our homes, and used without much thought or reflection. Like most things that satisfy our needs with the least amount of effort, electricity is often forgotten as the skeleton inside almost all of our movement, communication and entertainment. Dorkbot, an eclectic group of organisms working as artists, electricians, engineers, software developers and hermits, comes together to stage various experiments and applications of electricity that are not as established or readily accepted as a flick-of-the-switch. So, if you're wondering how else you might utilise your computer, or what secret potential a desk lamp might have, Dorkbot welcomes you to join the circuit at this group exhibition curated by Dorkbot Sydney 'Overlord' Pia van Gelder, featuring work by Warren Armstrong, Tega Brain, Samuel Bruce, Melissa Hunt, Lukasz Karluk and Gavin Smith.
It is a testament to Chippendale's final stage of gentrification that the old working class suburb is not only home to several ARIs and commercial galleries, but now houses a big shiny contemporary art institute, The White Rabbit Collection. One of several new private foundations that are opening up across the country, the purpose-built site houses the extensive and evolving collection of contemporary Chinese art belonging to billionaire Judith Neilson and her family. With digital media, hyperrealism, miniature worlds made of dust, strobe lighting, photo documentation of menstruation, and an abundance of bright, high-gloss finishes on oversized sculptural works of bronze, fibreglass and porcelain, the collective mood is one of irreverence and exuberance. It was not so long ago that the world started to take notice of the new generation of artists who had grown up in China with comparative peace and prosperity, as well as urban landscapes saturated with commodities and advertising. It has now become cliche to speak of 'China's New Cultural Revolution', but it is clear that art thrives in times of change, and these artists are capturing the energy and ambivalence of their rapidly transforming society. Embracing individualism and breaking away from the old-world values of generations past, many of these artists also evoke a quiet melancholy for lost tradition. The collection suggests that Chinese artists today often dip into their rich history and employ traditional craftsmanship or reference ancient mythology and aesthetic values. But The White Rabbit is all about the now, and the future. All the works in the collection were created after 2000, and they confirm we're going to be seeing a lot more from Chinese artists in the years ahead. Image: He Jia, Apple In Love (detail), 2006, acrylic on canvas, 200x320cm
If good things come to those who wait, then three-storey beachfront haunt Manly Greenhouse must be destined for greatness. The hotly anticipated venue has launched, months after its original April opening date, and a whole four years since the site last saw customers as the former Shore Club Hotel. The venue's opening in two stages, with the ground-floor Greenhouse and the Rooftop first up. Next month will then see the launch of the middle level, which will be home to a sit-down restaurant named The Grill. In its entirety, the multi-faceted waterfront destination has space for a whopping 400, boasting a foliage-heavy coastal-style fit-out by award-winning studio Luchetti Krelle. Expect a super lush setting befitting the name, including some pretty special collaborative efforts from illustrator Beci Orpin and the greenery experts at The Plant Room. Downstairs, The Greenhouse is your go-to for casual eats at any time of day. The menu's got a modern Italian bent, starring pizzas done in the woodfire ovem, and pasta dishes like pappardelle with slow-cooked brisket. Other bites might include the likes of crab bruschetta, a bone-in grass-fed Riverina sirloin, and mushroom and provolone arancini served with garlic aioli. The cocktail lineup's another nod to Italy, starring classics like the negroni, an Aperol spritz and the Cafe Frizzante, a blend of sparkling water, cold brew, vermouth and Campari. A sprawling selection of Aussie wines sits alongside a few key Italian varietals, and two Hope Brewhouse collaborations headline a crafty list of beers. One level up, The Grill's food offering will be guided by the kitchen's charcoal grill, matched with a largely natural wine lineup curated by Lo-Fi Wines co-founder James Audas. And the icing on this cake is the rooftop, where panoramic ocean views and a healthy dose of greenery prove a breezy backdrop for signature cocktails, toasted sandwiches and an edit of bar snacks from the menu downstairs. Looks like the Steyne has some competition. The first stage of Manly Greenhouse is now open at 36-38 South Steyne, Manly. The ground floor will open from 11.30am daily, while the rooftop will be open from 3pm. We'll let you know when The Grill has an opening date. Updated: October 2, 2018.
Surry Hills was a very different place in 1985. The grime was starting to wash away and a shiny new cosmopolitan suburb was taking shape. A young Brett Whiteley purchased a humble warehouse just off Crown Street and converted it into a studio, where he lived and worked until his death in 1992. Two decades on, the Brett Whiteley Studio continues to be a much-loved part of Sydney’s art scene. Alongside exhibitions that showcase the artist’s best work, the preservation of his studio and living area provides fascinating insights into his personal and professional life. In celebration of Whiteley’s long legacy, a major open day will be held on Saturday, February 21. The event will feature a handful of talks, including Wendy Whiteley in conversation with Wayne Tunnicliffe, head curator at the Art Gallery of NSW. Publisher and writer Lou Klepac will discuss the importance of drawing in Whiteley’s practice, and artist Ben Quilty will speak about the Brett Whiteley Travelling Art Scholarship (of which he is a former winner).
Capitalism has had a bit of a bad rap lately. Its current problem goes something like this: capitalism means growth, and for economies to grow people must buy things, and for people to buy things they have to need things. If they don’t need things, someone has to convince them they do. Paying for these new desires costs money, and if there’s no money someone has to supply credit. And when regular schmos have easy access to credit, along comes a housing bust and two global financial crises: when governments act strangely socialist, and start buying banks. Up until that point it was semi-sensible to argue that capitalism was a meritorious system where gains and losses alike are borne by those taking the risks. Fair’s fair. Nowadays the argument is slightly more nuanced: individuals can lose, but banks can’t. Even before the days of such curious economic shenanigans, Arthur Miller saw the capitalist dream for what it was; a dream. The notion that taking a risk, working hard and thinking positively will lead to great success, otherwise known as the American Dream, turns out to be a great way of making poor people hate themselves for failing to lift themselves up out of their station in life. Willie Loman is one such poor man, who tries his hardest to believe but is unable to reconcile himself to his fate. He has worked hard, worked honestly, been loyal to the company and yet he can’t pay his bills. Death of a Salesman is not losing relevance any time soon. Australia may be weathering the economic storm better than other developed countries, but the feeling of being let down by the system is still present. It makes sense then to set the tale in contemporary Australia, as Simon Stone has done in this excellent production at the Belvoir St Upstairs. The only shortcoming of this approach is that the actors sometimes struggle to make Miller’s wonderful American vernacular flow in their native Australian accents and references to American time and place are out of joint. It’s a bit of a having and eating of cake situation, but is preferable to a complete Aussie rewrite. The strength of this production is its simplicity. The design team including Ralph Myers (set), Stefen Gregory (sound) and Alice Babidge (costume) have exercised restraint so that the actors can tell the story clearly. And tell it they do. The performances are consistently engaging, with Patrick Brammall giving us a particularly tender and broken Biff. Colin Friels has outdone himself in this production - he’s brittle, humorous and horrifyingly mortal. Pip Miller’s warm, no-nonsense characterisation of Willie’s neighbour Charley serves to highlight the stubborn pride and delusion that are Willie’s downfall. There’s a strong sense of ensemble in the cast, with some fabulous transitions between present and past. A masterpiece like Death of a Salesman can withstand all sorts of treatment, and thankfully this production is sensible enough to let it stand on its own. Death of a Salesman's Belvoir season, running until August 19, has sold out. The show will return for an encore season from October 23 to November 3 at the Theatre Royal on King Street, Sydney. Tickets are now on sale here.
Wrecking by Dan Giovannoni is a local tale about local woes. Sydney is a city of two worlds, where the seedy and gentrified live side by side in many parts. Woolloomooloo, the setting of Wrecking, is home to a wealthy elite seeking proximity to the harbour as well as the homeless taking shelter at Talbot Place, a stone's throw from one of Sydney's best theatres, the Old Fitz. This new work from Giovannoni is inspired by a true event. In 2003 a group of men dressed in long black coats attacked a number of homeless people at Talbot Place. Giovannoni has distilled this horrific moment into the story of five characters' lives leading up to the event. Wealthy couple Alana (Kimberley Hews) and Miles (Matt Hopkins) exist in parallel to the street kid duo of Lexie (Amanda McGregor) and Ned (Paul Blenheim). Bodyguard Van (Peter Maple) bridges both worlds. Ned has an obsession with the ocean, and in between prostituting himself and passing out on the pavement, he goes swimming in the harbour. The ocean acts as a leveller in this story — the wealthy may own the houses, but Ned can still go swimming. Indeed, his moments of freedom all revolve around water. A sequence in which he stands in the rain, face upturned is a moving moment from Blenheim. He dreams of sharks and leaves fish at the end of the street, much to property developer Alana's consternation. Some of Giovannoni's characters are slightly simple; in particular, Alana is a bit of a cartoon version of a rich harpy, lacking a single redeeming feature. Miles is also the epitome of a melancholy uptight dentist. On the other hand, pregnant Lexie is a more believable character and McGregor brings her to life with full force. Gin Savage's direction is clean and simple, leaving the actors to themselves and Owen Phillips's sparse set assists. Nate Edmondson's sound design is powerful and used sparingly to great effect. One has only to walk along Cathedral and Bourke Streets, past the homeless of Woolloomooloo, down to the harbour full of speedboats to see that this city is a contradiction. Kudos to production company Fat Boy Dancing for bringing this to light. Even if the play makes too neat a distinction between the devious rich and the pious poor, it's a hefty story that has this bleeding-heart theatregoer looking for a worthy charity.
The Sea Project by Elise Hearst is part of Griffin's independent season, and the latest from director Paige Rattray's theatre company, Arthur (Dirtyland, Cut Snake). In this fable about migration, Eva (Meredith Penman) washes up on an Australian shore with an Eastern European accent and a trail of seaborne debris providing clues to her past. She is taken in by laconic carpenter, Bob, an archetypal Aussie bloke played with restraint and gravity by Iain Sinclair. When former lover and stage partner Maciek (played by the charismatic Justin Cotta) arrives on the scene, Eva is forced to remember submerged aspects of her past. The setting of time and place is intriguing. Hearst notes in the program that this timeless narrative of displacement is "just another boat story". Setting it in present-day Australia necessarily evokes current boat people, who are more likely to be from the Middle East than Eastern Europe. This is not a problem of fidelity so much as a contrast that provokes the uncomfortable question: how would we behave as a country if today's asylum seekers were European? The Griffin stage is a bit of a shrunken head of a theatre, and it's exciting to see how each new production solves the tiny size and kooky angles. In this production, designer David Fleischer's striking solution is to deck the stage with a dark, reflective material, which suggests a depth at once evocative of the sea and the darkness of Eva’s story. The impression of vastness is redolent of Richard Wilson's 1987 installation work, 20:50, involving a room half flooded with black sump oil. The dark, reflective surface enhances the story's undulations between reality, memory and fantasy. Hearst's writing is enigmatic. In a similar manner to Caryl Churchill, she manages to hide more of the story than she reveals, leaving empty spaces of narrative to the audience to solve. However, the character of Samuel, a happy young surfer type, is twee and his function in the play, other than finding Eva's washed-up possessions, is unclear. Travis Cardona playing him also seems a bit unsure as to what he's doing there. In contrast, Penman's performance as Eva is straight-up electrifying as she surges between the need to know her identity, and the opposing imperative to deny it in order to get by, embodied by Mephisto incarnate Maciek and steadfast Bob respectively. The piece holds fast to its fairytale structure, with any moments of happiness or reprieve serving only as stops on the way to, or from, some kind of horror, with the closing scene planting the seed of a lie. This is cryptic and satisfying theatre. Concrete Playground has two double passes to The Sea Project to give away. To be in the running, make sure you're subscribed to the mailing list then email hello@concreteplayground.com.au with your name and address. Photo by John Feely.
Don’t Take your Love to Town is one of the simplest shows of the year, and one of the most powerful. Leah Purcell and Eamon Flack have adapted Ruby Langford-Ginibi’s book by the same title into a one woman show, with guitar accompaniment, written by Nardi Simpson. They have whittled the book down to a kind of poetry interwoven with music. Purcell guides us through the difficult and colourful life of Ruby: a smart, funny Aboriginal woman who gave up the chance of going to teachers college in order to support her family. The story that follows is one of determination, tragedy and good humour. She describes her life at one point as the no-man’s land between mainstream white culture and traditional Aboriginal life. The audience sighed collectively when she explained how she gave up working with Charles Perkins at the Aboriginal Progress Association because her then partner told her she should be at home looking after the children. She was clearly an admirable woman and Purcell dignifies her life with humour, charm and gravity. Purcell has a beautiful singing voice and the soulful, old-time duets between her and Simpson give the play a sense of time as it travels through the decades up to 2011. Seeing theatre planed down to its most basic form is incredibly gratifying. It’s a bold undertaking on the part of Purcell, as she commands the space at downstairs Belvoir with nothing more than a little basic lighting, a guitar and a few paintings she places on the walls. I like German-inspired hipster theatre as much as the next person, but no amount of fluorescence, nudity and chinos can beat a moving story told candidly. Much like Steve Rodgers’ Food, that was also at downstairs Belvoir, this show opts for warmth and generosity over intellectual cool. On the evening that I saw the show, Purcell and Simpson were met with a standing ovation. The performance wasn’t schmick, it wasn’t perfect – there were a few times she forgot a line and had to be prompted and at one point she told a gentleman on his phone that it was “really annoying”, but the standing ovation was fitting – this is moving, honest theatre at its rawest. Photo of Nardi Simpson & Leah Purcell by Brett Boardman.
The Sydney opera scene is dynamic, with our world-famous Opera House considered the home of opera, but it's not the only place to catch an epic opera in the city. No, some of the most impressive and enchanting performances happen across the water at Mrs Macquaries Point. And it's there that next month you'll find Handa Opera on Sydney Harbour, an outdoor waterfront performance with room for additional extravagance. For the company's next title, it's bringing back a classic show that dates back to the early 20th century, Madama Butterfly. The story is that of Cio-Cio-San, a Geisha living in Japan who falls for a visiting American named Pinkerton. The two have a whirlwind romance that flies to great heights — but crashes and burns as quickly as its takeoff. It's described as an intimate ode to unrequited love, where devotion is met with disregard and disappointment. All this plays out on a stunning waterfront set, where costume changes, musical numbers and other delights of stagecraft add a new level to an already impressive production. To elevate one of Australia's most memorable outdoor events into a memorable outdoor evening, you can make use of pop-up bars and eateries that will be dotted along the shoreline of Mrs Macquaries Point and the Fleet Steps. There you can find exclusive and themed menus, VIP dining and a drink selection worthy of the opera. Illuminated by the lights of the harbour, the stage and a final dazzling fireworks display, it will make for a spectacular experience. Madama Butterfly comes to Handa Opera on Sydney Harbour on Friday, March 24 and plays nightly, 7.30-10.30pm until Sunday, April 23. For more information and to book tickets, visit the website.
Kit Brookman’s Small and Tired is a gentle consideration of the Oresteia. Orestes (Luke Mullins) returns home for the funeral of his father, Agamemnon, to find his sister Electra (Susan Prior) has moved to the suburbs and his mother Clytemnestra (Sandy Gore) is cold as ever. In a current day Australian suburb, the blows of the ancient tragedy are meted out softly. In both his writing and direction, Brookman renders the epic quotidian, which makes the whole palaver all the more ruinous. Instead of grand gestures, fidelities and obligations simply erode between characters. Just as the play reaches a particularly suffocating moment, Orestes describes to Clytemnestra how as a child he had imagined breaking out into the sky flying in a train — the tension here between desire and reality is almost unbearable. Brookman’s script uses the train as metaphor for the long, chugging thing that is life and the cadence of his script echoes that of a train. Brookman’s words patter downwards, just as footsteps have worn paths in Mel Page's set of dried out lawn. Tom Hogan's sound design is irritatingly soft, which only enhances the sense that these people exist in a vacuum, where fate was decided long ago and everyone is indeed small and tired. Lighting designer Verity Hampson and set designer Page have captured the airlessness of an Australian summer, but here there are no big blue skies, only a low, dark horizon and a feeling of claustrophobia that Orestes very understandably tries to escape. Electra's histrionic crisis midway through the piece initially seems to be an unprepared dramatic climax until we realise that this is but one moment in a long line of disappointments. Gore playing Clytemnestra delivers a devastating glance of casual disdain towards her daughter in this scene. Gore has an amazing face — her performance is upright and brazen. Mullins' performance as Orestes is exquisite, and he and Conroy achieve a moving, humorous depiction of love. The only odd note is Electra’s hapless Aussie husband, Jim (Paul Gleeson), a keen gardener and hopeless bore. The character provides some comic relief and makes Electra more believable as a stir-crazy suburban housewife, but for the most part he sits outside the narrative. Brookman and the rest of the team have created something delicate and true to life. Small and Tired is one long exhalation that will leave you gasping for air, in a good, cathartic kind of way.
Dance Better at Parties is a play about loneliness, intimacy and tango. As the piece is directed by Chunky Move's Gideon Obarzanek, I expected an experiment in form; a contrast between dance and drama. But Dance Better at Parties is simply a play with lots of dancing in it. Its premise is plain — middle-aged dad Dave (Steve Rodgers) has signed up for his free introductory dance class, at an unspecified suburban studio with dance instructor Rachel (Elizabeth Nabben). After some hesitation and effective salesmanship from Rachel, he signs up for his 12-week course, "tailored" to his dance needs, which is to dance better at parties. Despite his simple request, he becomes pretty adept at flamenco and busts out some fierce Latin jazz. Obarzanek devised the piece with his two actors, and it is disarmingly uncomplicated. We're invited in to the fairly banal world of a dance studio, where we enjoy the pair's flirtations and spats in a homely, comfortable setting. Designer Renee Mulder's unadorned set evokes suburban isolation but also a feeling of privacy. Lighting designer Benjamin Cisterne has opted to leave the house lights on at the start of the show, which makes it feel more like hanging out in a rehearsal room than going to a play. The entire piece feels a bit like watching a rehearsal process. There is merit in this sort of simplicity, but it would seem to lend itself more to dance, where gesture and words can float around in the abstract. This is not a dance piece though; it is a drama with a 'real-life' narrative and the simplicity reads as incompleteness. The story also has a number of red herrings in it, such as Rachel's seemingly ominous request for Dave's bank details and a moment in the dark where Rachel appears to be terrified of him. Devising a piece is surely as much about editing as adding and the show would benefit from the omission of these deviations. The picture of an uncoordinated, lonely man dancing is powerful enough. Steve Rodgers would be captivating reading the proverbial phone book and he certainly makes the show; in fact, its success as a piece of entertainment relies on him. He is a natural clown and has a capacity for pathos that is remarkable. The closing sequence in which he artlessly stares at us in a moment of dejection is acting at its finest. His performance is a joy to watch, but directorially the piece is slightly weak.
Joining the mish-mash of psychedelic vintage and art books that is Surry Hills on the first Saturday of the month, and the furniture and jewellery delights of Rozelle, and the deeply incredible things you can buy to eat at the Orange Grove Markets — smart money plays Sonoma, fruit and veg bargains and the green olives stuffed with almonds — and the sporadic record fair that happens near the Broadway shops, new(ish) kid on the market roster is the Young Australian Designers Market, a second and third Saturdays of the month affair at Paddington Town Hall. More markets! Yes! This one's 'thing' is fairly evident from its name: it is a market, at which young Australians sell things that they've designed; things that you can wear, or at least carry. It's a fashion and accessories for boys and girls kind of a deal, predominantly new stuff but with some curated vintage and a growing focus on things for those even younger than these young designers, so you can distract yourself by looking at teeny-tiny baby clothes and wonder exactly where the ethical line lies in dressing a child, because you probably shouldn't put them in costumes all the time, right, but, on the other hand, babies in costumes! Anyhow, it is official that I know about fashion because the shirt that I am wearing right now used to belong to a friend of mine who used to be a model and now hangs out in New York doing art and being amazing, so I bring to be bear upon this topic of a fashion market my weighty fashion opinion that you have a good chance of getting fashionable fashion bargains at this particular fashion market.
Ever wondered if Fernando Frisoni would be awkward shooting you for the Urban Style section if you were wearing something from his eponymous label? Found a design manifesto truly unironically enlightening? Broken down and cried in Incu or Pretty Dog? Justified why someone might pay $100 for a cotton tank with reeeeally well-shaped arm-holes? Admitted to any of the above? This sale will make you feel better. It's also handy for those who don't necessarily have borderline social dysfunctions on the topic of outfits but do like to wear things that are awesome. Life After Fashion present four days of up to 70 percent off excellent and innovative local designers, with sample pieces and things from previous collections up for grabs. They're the kind of clothes that'll stand up well to being in a gallery: basics that have magical powers of making you look totally relaxed but a shape you never realised you were, design statements encoded in critical theory, and seams and fabrics that come out of a magic technology future. Labels showing include sQ, Chronicles of Never, sixpack, myPetsQuare, Mogil and illionaire.
Spice Temple's coveted mud crabs are back — but only until the end of June. If you've been dreaming of this share-focused special's return or simply have been seeking out a mud crab dish to get in on the hype, here's your chance. Due to popular demand, the top-shelf in-season crustacean has made its way back onto the menu for a limited time, and is prepared to order for $99. Until Sunday, June 30, you'll be able to order a hefty mud crab that's steamed, then tossed in a flavour-packed mixture sure to warm up bellies and accompanied by your choice of XO, ginger and shallot, or black bean and salted chilli sauces. With chef Andy Evans at the helm, the venue's ethos remains at the forefront of its menu, with only the best mud crabs selected and dished up. Image credit: Jason Loucas.
The Powerhouse Museum has plenty of weird and wonderful on offer during daylight hours. But things get even more adventurous with MAASive Lates, a monthly after-hours series featuring circus acts, extreme sideshows, go-go dancing, body art, catering by Black Star Pastry and more. The first event, titled 'Circus Follies', is happening on January 15. It's promising a circus extravaganza, set within the Powerhouse's Circus Factory exhibition. There'll be left-of-field circus performances from Phantasia, fire shows by Circaholics Anonymous, live music and a one hundred-year-old carousel that you can actually ride. And if you've been contemplating getting in touch with your inner circus, your participation is welcomed with opportunities to make articulated circus characters and dress up in provided costumes. The second MAASive Late, scheduled for February 26, and dubbed 'Queer Bigtop', is all about embracing Mardi Gras — with a circus-inspired approach. Heading up proceedings will be Sydney's legendary drag queen Prada Clutch, acting as ringmistress, while the soundtrack will be delivered by DJ Kitty Glitter, official DJ for the 2015 Sydney Gay and Lesbian Mardi Gras Festival. By way of visual feast, there'll be outrageous tricks and extraordinary treats from Belladonna Brabazon and go-go dancing from the Go-Gettes. You're invited to get in on the action, with a drop-in go-go class running all night, and a game of drag queen bingo hosted by Conchita Grande. The third in the series, set for March 26 and named 'Undressed', heads away from the circus theme and towards, well, underwear. It'll be hosted within the Museum’s new exhibition, Undressed: 350 Years of Underwear in Fashion. Expect pole dancing, burlesque performances, live body art and a showcase from local lingerie designers. And, if you're keen to get creative, you'll be able to join the Museum’s lace experts for hands-on lace-making workshops. "In 2014, we presented a hugely successful Late Night at the Museum as part of the Sydney Design Festival, attended by over 600 people and attracting new audiences to the Museum whose interests were piqued at the after-hours antics on offer. In 2015, we're looking forward to making late nights part of our regular program," said Janson Hews, partnerships and festivals manager at the Museum of Arts and Applied Sciences. "MAASive Lates are specifically programmed with 18-35 year olds in mind, and we're thrilled to be partnering with some of Australia's finest live performers who will help bring our exhibitions to life after dark." MAASive Lates will be happening between 6pm and 9pm on January 15, February 26 and March 26 at Powerhouse Museum, 500 Harris Street, Ultimo. Tickets are $30 at door and $25 online. Combine Circus Follies and Queer Bigtop for $40.
It's no secret that the film industry isn't the most inclusive, accessible or safe space for women, one of the matters that the #MeToo and #TimesUp campaigns have been addressing over the past six months. It's also a subject that Frances McDormand highlighted in her rousing best actress acceptance speech at this year's Oscars, when she had the whole world scrambling to look up two words: inclusion rider. The industry's gender imbalance not only encompasses the treatment of women involved in filmmaking in front of and behind the lens, however, but also the field of film criticism. Take Rotten Tomatoes, for example. If it's your go-to review aggregator, then you've probably noticed that the bulk of critics listed are men. Indeed, according to a 2016 study by the Center for the Study of Women in Television and Film, men outnumber women on the site by 73 percent to 27 percent. It's a topic that everyone from Jessica Chastain to Meryl Streep to Reese Witherspoon has drawn attention to in recent years, and now a new initiative is aiming to offer an alternative. That'd be CherryPicks, which will exclusively focus on female film critics. Expected to launch later this year, it'll provide "perspectives on film, tv, music, and more with reviews, ratings and high quality original content, all though a female lens," as its website explains. "This is where you can find out what women like, and what they don't," the site continues, in an aim to more accurately represent the full spectrum of critical voices. The project spearheaded by director, producer, actor and distributor Miranda Bailey and author, producer and entrepreneur Rebecca Odes. Speaking to IndieWire, Bailey noted the need for the film industry to not only change to "include more minorities and females on both sides of the camera", but to "change the perceived desires of consumers" as well. "How can we possibly change what consumers consider good and worthy content if the majority of critics who tell them what to want are predominately older white males?" she asked. CherryPicks will rate films on its own scale, ranging from a 'Bowl of Cherries' to 'The Pits', while also analysing each title's representation of women and considerations appropriate to women according to its own 'Cherry Check' system. In addition, it'll feature newsletters, podcasts, lists, articles and more, and spotlight women — critics, filmmakers, actors, writers and other creatives — working across the movie business. Via IndieWire.
For nearly a century, the Capitol Theatre has stood on Melbourne's Swanston Street — initially playing host to silent films that were preceded by live theatre productions before each screening, and also accompanied by Australia's first large Wurlitzer organ. First opening in 1924, it's a crucial part of the city's entertainment history; however since 2014, the space has remained closed. Owner RMIT is eager to change that, launching a crowdfunding campaign to restore the theatre and put it back into use. With $20 million in restoration and improvement works mooted, the university is seeking to supplement the Victorian Government's pledged $2.5 million with $2 million in public funding — with every dollar donated to be matched by RMIT. And, for folks who give $250 or more, their name will be featured on the building's wall. Running since late 2017, the campaign aims to "give Melbourne a spectacular and world famous space to house festivals, film premieres and screenings, concerts and conferences" — according to the appeal's website — plus learning spaces for RMIT students. It's the latest chapter in the theatre's eventful lifespan, which has seen it closed in the 60s, renovated to turn its stalls-level seating into the Capitol Arcade, and then remodelled again when RMIT took over in 1999. If you've ever stepped inside the space — which was used as a venue for the Melbourne International Film Festival as recently as 2014 — you will have noticed the decor. Designed by architects Walter Burley Griffin and Marion Mahony Griffin, who also designed the city of Canberra, its striking, geometric-shaped, light-filled ceiling attracts as much attention as anything on the venue's stage or screen. The entire structure, aka Capitol House, has been on the Victorian Heritage Register since 1989 — with the Capitol Theatre pre-dating both the nearby Forum and Regent Theatre. For more information, visit the Capitol Theatre campaign website. For images of the site, visit the campaign blog. Images: Michelleyesf / Stephen Bain / Adam Carr.
Matt Moran's Woollahra venue Chiswick is welcoming the warmer weather and its new Head Chef Taylor Cullen by throwing a series of picnics on the lawn of its lush green outdoor space. The picnics are taking place over four dates between Saturday, November 27 and Saturday, December 11 and will offer Sydneysiders the opportunity to sample Chiswick's new spring menu as well as Bombay Sapphire gin cocktails in the sun. "Our spring menu is bursting with flavour and life, and we're really excited for the community to come in and try it," says Cullen. On offer at the picnics will be a spread of Chiswick small plates including woodfired flatbread, Vannella burrata with heirloom tomatoes and olive tapenade, Milawa camembert and strawberry and passionfruit trifle. Tickets are $139 per person and can be booked in groups of four to six. Included in the ticket price is all of the day's food, picnic gear for the day supplied by To Dine For Picnics, and a cocktail on arrival. [caption id="attachment_832887" align="alignnone" width="1920"] Chiswick's spring menu, Steven Woodburn[/caption]
Pier One's harbourfront igloos are back. And, this time, one of them has its very own hot tub. Yes, a hot tub. So if you've been hankering after wintry waterside drinks — but aren't quite willing to brave the cold — this should be a very viable option. In case you're wondering, the igloos aren't made of snow and ice. They're transparent dome-shaped structures that you can hire for yourself and up to 15 mates, as long as you're willing to indulge in a few cocktails, glasses of Champagne and snacks from the Igloos on the Pier menu (you have to spend $150 for one hour in the tub or $300 for three hours. The hire comes with fluffy robes, slippers and a change room, and regular non-hot tub igloos are available too. During Vivid, the igloos are lighting up in blues, red and pinks. Plus, there's an installation inspired by the native Australian honey bee, which hopes to raise awareness of the creature's precarity.
Writers' festivals are getting more and more 'with it' these days. People wear shirts with hashtags on them, you're encouraged to live-tweet questions for authors on panels, and the events are no longer held at local library reading rooms, but cool back-alley warehouse spaces. The kind of place where everyone's wearing black-rimmed glasses and talking about Tao Lin. All this is old news now however, as the Emerging Writers' Festival has just announced the creation of the world's first exclusively online writers' festival to take place in February 2014. While writers' festivals once lamented the damning effects of the internet and digital technology on the written word, the Digital Writers' Festival will be a 12-day celebration of it. Digital publishing, eBooks, alt lit, fan fic, webcams and Twitterbots — the publishing industry and the nature of writing itself has transformed dramatically in even the past few years, and DWF is going to be a dedicated space in which to examine it. This also has a huge impact on accessibility. Do you live in the Northern Territory and always feel jealous when you see pictures of the Melbourne Writers' Festival? Maybe you live in Melbourne, but never felt quite cool enough to head along to the events. Perhaps you tried, but got lost looking for the event down a laneway? The DWF will be the first truly accessible festival for a vast array of people all over country, and more than that, the world. Read our Twitterview with DWF director Connor Tomas O'Brien here. Update 29 January: The full program for the Digital Writers' Festival is now up on the site.
It's the movie that was always going to be made, the re-enacted version of one of the most heartbreaking small-town murder mysteries and biggest miscarriages of justice the United States has seen. It's also the movie that never should have been made, for the devastating true tale as told in four documentaries now — the Paradise Lost trilogy, and West of Memphis — can't be embellished, fictionalised or bested. Yet exist Devil's Knot does, a cinematic facsimile of the originals, albeit with an ample dose of star power. Though the potency of the facts remains, the sensationalist and the sentimental combine in an attempt to craft a cautionary case of tragedy crippling a community not just in its initial appearance but in the way it is then handled. Two trios drive the story: eight-year-old schoolboys who meet a gruesome fate, and teen outsiders marked for their difference. In the wake of the crime that rocked Arkansas, panicked locals start braying for the blood of Damien Echols (James Hamrick), Jason Baldwin (Seth Meriwether) and Jessie Misskelley Jr (Kristopher Higgins). For private investigator Ron Lax (Colin Firth), discrepancies complicate the reported information. As grief-stricken mother Pamela Hobbs (Reese Witherspoon) watches on, the untimely demise of her son becomes a circus fuelled by a determination to convict and a disregard for competing theories. Alas, though dead children, blamed adolescents and bureaucratic bungling make for strong material, Devil's Knot places its emphasis on Lax and Hobbs, unconvincing figures of focus rendered as observers, not participants. Their sympathetic access point isn't needed given the strength of what lies beneath, nor are Firth and Witherspoon's overplayed performances. Another issue plagues the adaptation of Mara Leveritt's 2002 text of the same name: only relating part of the puzzle. Many real-life developments occurred after the book's publication; that the outcome is relegated to the film's endnotes robs it of its conclusion. With a wealth of data to draw upon, something had to give, and the problem of recreating oft-seen scenes was always going to be difficult to overcome. Director Atom Egoyan and his writers — Deliver Us From Evil duo Paul Harris Boardman and Scott Derrickson — just can't strike the right balance, indulgent in what they include and troubled by what remains absent. What emerges in Devil's Knot is an unfortunate example of the right pedigree and intentions making the wrong moves, on a subject so scrutinised that any missteps would always stand out. With an auteur's eye on an inflammatory case, and with well-known actors wringing importance from the situation, the film wants to exemplify the kind of haunting deliberation of complexity the story demands, but its lingering gaze — narratively, emotionally and aesthetically — remains superfluously tied to its surface. https://youtube.com/watch?v=Ofkn4zYrF5U
The only logo to rival 'I Heart NY' on the t-shirts of hip kids worldwide is that of DFA: a lightning bolt with three capital letters in the middle, which looks a little bit like your 5 year-old brother might have drawn it. This is the visual aesthetic of DFA records. Raw, energetic, direct and potent, a symmetrical reflection of their intelligent, analog audio. The one responsible for this is Michael Vadino, a New York-based artist, who began by designing a DFA party invite and soon was art directing the whole shebang. Vadino is also responsible for this exhibition in a more direct way - namely, 'digging around in closets' to collect the artworks. The exhibition includes the original sketch of the infamous logo, DFA tour posters, invites and artwork, and a selection of James Murphy's own pieces. There will also be an emphasis on legendary music-makers LCD Soundsystem, to coincide with their final album, This Is Happening, and tour. Whether or not you managed to hunt down tickets to the Sydney show this week, make certain you don't miss this. Here is a sneak preview of some of the work on display. Image: courtesy of Michael Vadino, DFA Records and EMI Records
Splendour might be done and dusted, but that doesn't mean you have to pack away your rainbow wellies until summer shows its face. Rekorderlig, ever keen to demonstrate that we Aussies should be tackling winter with a tad more brio than a pack of grizzlies, has just announced the headliner for free upcoming music event Sounds in the Snow. On September 13, just as the flakes start to melt and smack bang in the middle of the Toyota One Hit Wonder Mountain Festival, Sydney synth pop boys Panama will appear in Thredbo to deliver their so-called hopeful house music live. Fronted by Perth-born songwriter and classically-trained pianist Jarrah McCleary, the trio are currently touring Europe and the United States on the back of sophomore EP Always. The only thing we can't tell you is where in the Alps you'll find them, as Rekorderlig is keeping the venue top secret — for now at least. To be among the first to find out, join the Rekorderlig Facebook page. Sounds in the Snow is just one of the many excuses that Rekorderlig's giving you to head to the snow this season. Afternoon sessions are happening at the Thredbo Alpine Hotel every Thursday, Friday and Saturday between 3pm and 6pm; fire pits are burning; the Rekorderlig Hot Pool is providing serious apres-ski relaxation; and their tasty cinnamon and vanilla-fused Winter Cider is at the top of the drinks menu. https://youtube.com/watch?v=UylPrMcurB8
A four-week festival is taking over Sydney's inner-east throughout October. Eastside Unlocked will see 80 different events pop up across 35 venues, spanning the likes of Potts Point, Surry Hills, Darlinghurst and Woolloomooloo. "Eastside Sydney has so much to offer when it comes to culture, live performance, food, drink and more," says the festival's manager Lorraine Lock. "We're inviting Sydney to rediscover Eastside's world-class restaurants, art galleries, cosy cocktail bars and iconic nightlife venues." So, what's on the program? Rosie Campbell's is hosting a Caribbean Festival, you can head to Ching-a-Lings for a life drawing class, Bitter Phew will be taken over by a natural beer festival, Ezra will be hosting a night of fashion and feasting, and The Winery is sticking true to its name and serving up a rosé festival. [caption id="attachment_536727" align="alignnone" width="1280"] Rosie Campbell's[/caption] There's also a range of Halloween-themed events to celebrate spooky season, including an immersive horror experience at Hotel Hollywood. Soda Factory is running a series devoted to Halloween hijinx and you can settle in for a spooky drag brunch at Bar Nina. And if you've been looking for an excuse to don your cowboy hat all year, Shady Pines will also be celebrating with a Halloween honky tonk. Other participating venues include The Strand, Eternity Playhouse, Brix Distillers, Darlo Bar and Kings Cross Hotel, just to name a few. You can check out the full program and plan out your next four weeks of eastside activities at the Eastside website. [caption id="attachment_751542" align="alignnone" width="1920"] Bitter Phew[/caption] Top image: The Winery by Letícia Almeida
If you've found yourself eating your way around London at some stage in the past few years, you're probably familiar with legendary 24-hour Brick Lane bakery Beigel Bake. Now, you can get your hands on a close rendition of its signature house-made, carbo-loaded treats — without the 23-hour plane flight. Yes, a crew by the name of Salt Beef Beigel has hit Aussie shores and it's channelling the beloved Jewish-style 'beigels' (the word 'bagel' is thought to be an Americanisation of the word 'beigel', which is used throughout England). After popping up at Enmore's Sly Fox in 2019, the team is back for a new kitchen takeover at Stanley's in Darlinghurst. From Friday, June 19–Sunday, June 21, Salt Beef Beigel will be plating up two pillowy bagel creations: the OG Salt Beef Beigel ($10), with slow-cooked beef, mustard and pickles; and a cream cheese number ($5). Both will come on the team's signature boiled-then-baked beigel. To drink, you'll find a lineup of five different cocktails ($18–20) as colourful as Stanley's itself. Pick from the likes of the Flamingo Run (with watermelon, pomegranate and vodka), Popcorn Piña Colada (rum, popcorn and pineapple juice) and Everything's Peachy (Aperol, peach liqueur and prosecco). Salt Beef Beigel pop-up will be open from 5–8pm each night.
When a restaurant proves so popular that it has to open up a second site, everybody wins. In China Diner's case, fans of the Bondi favourite get a second place to get their share-style Chinese cuisine fix, while those in the vicinity of Double Bay get a new Asian eatery. Setting up shop on Kiora Lane, China Diner's new venue still boasts the dumplings, duck pancakes and other dishes that have already made it such a hit; however, there's more than just tried-and-tested tastiness on the menu here. In a move reminiscent of executive chef Jack James Steer's approach to Cantonese cooking, the Double Bay digs blends the traditional and the modern courtesy of a few fresh selections. Existing fans can savour another serving of crispy pork bao with apple and carrot kimchi, or chicken and sesame 'chiko' spring rolls with blood plum sauce, while newcomers can try the new concoction that is Steer's chicken and sweet corn soup topped with truffle foam. Drinks-wise, China Diner Double Bay serves up a creative cocktail list that similarly aims to showcase the restaurant's love for its chosen cuisine, and Asian food in general — think the lemongrass and coconut sour (with lemongrass-infused Wyborowa vodka, citrus and coconut foam), as well as share jugs of samurai Pimms (with Kirei sake, Pimms, mint, strawberry, orange and dry ginger ale). Throw in decor that mixes cocktail stools, open tables and booths, as inspired by the American diner vibe, and the scene is set for a relaxed, playful and delicious Chinese dining experience. Find China Diner Double Bay at 16 Kiaora Lane, Double Bay, or visit the restaurant's website for further details.
If seasonal change has left you in a dizzy headspin of new colours and fabrics and prints and jackets — or if, y'know, you just like some fancy new clothes now and then — you'll be pretty pleased to know that the Big Fashion Sale is back. Usually, it's a physical affair that takes place in Sydney and Melbourne; however like plenty of other events at the moment, the shopping extravaganza is going online — and national — for its next outing. The name pretty much says it all. This thing is big. You'll find a hefty array of lush items from past collections, samples and one-offs from a huge lineup of cult Australian and international designers, both well-known and emerging — including Romance Was Born, Alexander McQueen, Isabel Marant, The Row, Dries Van Noten and more. With discounts of up to 80-percent off, this is one way to up your count of designer threads while leaving your bank balance sitting pretty, too — whether you're keen on clothes, shoes, swimwear or accessories. The Big Fashion Sale's online edition kicks off at 9am on Monday, May 18 on the event's website — and you can register in advance to be notified when it kicks off.
Gene and Brian Sherman are putting their personal collection before public eyes for the first time in an exhibition titled Go East. Sprawling across both the Art Gallery of New South Wales and the Sherman Contemporary Art Foundation, the show features pieces from China, India, Indonesia, Japan, the Philippines, Taiwan, Thailand, Tibet and Vietnam. At SCAF, you'll be able to read into 20th-century Chinese history as experienced personally, thanks to Yang Zhichao's epic installation Chinese Bible (2009), which is made up of 3,000 actual diaries. Meanwhile, the AGNSW entrance court will be filled with bone-shaped letters, communicating the speech that Gandhi's delivered the night before his legendary Salt March in 1930. It's the creation of Jitish Kallat and is titled Public Notice 2 (2007). Ai Weiwei, Alfredo and Isabel Aquilizan, Daido Moriyama, Bharti Kher, Shigeyuki Kihara, Lin Tianmiao, Dinh Q. Le, along with eight other artists will also feature. Plus, there'll be talks, forums and literary events — at both the AGNSW's Art After Hours, held on Wednesday nights, and SCAF.
If you thought those cult favourite Hokkaido Baked Cheese Tarts were a one-hit wonder, think again. The masterminds behind the famed sweet treats are also responsible for another Japanese dessert craze, PAFU. The apple pastry puffs loaded with fuji apple and warm custard have seen perpetual queues since their launch in the Melbourne's QV Centre last December. Now, they're coming for you, Sydney. PAFU's first NSW store opening in North Ryde's Macquarie Centre this Saturday, June 16. And you can expect some pretty grand opening celebrations, with free PAFU pastries going to the first 100 customers through the doors, from 12pm on the day. There'll also be plenty of 2-for-1 cards and merch up for grabs, and if your selfie game is strong, you could even be in with a shot at winning free PAFU for a whole year — make the most of the signature PAFU glasses and PAFU selfie frame while you're in store.
In Disney's non-stop quest to not only remake its animated hits, but to make them look as lifelike as possible, the Mouse House has already brought Dumbo, Aladdin and The Lion King back to our screens so far this year alone. But it's not done yet, with the company's new streaming platform set to welcome another high-profile do-over before the end 2019: a live-action version of Lady and the Tramp. To answer the question you've all been wondering, yes, it'll feature real spaghetti and meatballs. In all seriousness, the film does actually star real dogs — not photo-realistic canines cooked up by a special-effects team. The adorable pooches will still be given human voices, of course, with Tessa Thompson lending her tones to everyone's favourite pampered pupper and Justin Theroux doing the honours for her street-smart love interest. Playing an American cocker spaniel and a schnauzer, Thompson and Theroux aren't the only big-name talents going to the dogs. A Star Is Born's Sam Elliott will get gravelly as a bloodhound, Catastrophe's Ashley Jensen is a Scottish terrier, Avengers: Endgame's Benedict Wong voices a bulldog and Janelle Monae pops up as a pekingese. They'll be joined by a few cast members who'll stick with their two-legged forms, including Hearts Beat Loud's Kiersey Clemons, Me and Earl and the Dying Girl's Thomas Mann, and Community co-stars Yvette Nicole Brown and Ken Jeong. Story-wise, the film will wag the same tale, as the upper middle-class Lady crosses paths with — and then eats pasta with — a downtown stray called Tramp. Directed by The Lego Ninjago Movie's Charlie Bean and co-written by US indie filmmaker Andrew Bujalski (Computer Chess, Results, Support the Girls), Lady and the Tramp will sport a few changes when it drops on Disney+ upon the service's November launch, however. Monae is reworking 'The Siamese Cat Song' to remove the original's offensive connotations, and will also perform two new tunes for the soundtrack. Check out the trailer below: https://www.youtube.com/watch?v=A2ZDDU34gYw The live-action Lady and the Tramp remake will be available on Disney+ when it launches Down Under on November 19.
We've all at some point been in a relationship that we thought was epic and world-ending. For Marion (Silvia Colloca) and Michael (Matt Zeremes), it's truer than for most, as the sexual tension between them is manifesting a Minotaur that cloven-footed paces the halls of their workplace. Or a Minotaur is manifesting sexual tension between them. Either way, they can't resist the beast. He's the married history museum publications officer, and she's the "practically married" artist-in-residence, so their briefly indulged affair is fated to crash and burn. "The king of media releases didn't even leave me a note." Fortunately, The Bull, the Moon and the Coronet of Stars does not end there; this heartbreak is, as in life, only the end of part one. Marion, hair cropped and dress tented, absconds to a determinedly sexless life by the sea, teaching a group of septuagenarian women to draw. And in that place, she finds forgiveness, healing and a surprise romance, via hotel sommelier Mark (Zeremes, transformed by cabana-appropriate costume and oafish manner). Playwright Van Badham has described her new work as a feminist take on the romcom, and while it is that, the first impression is actually of a fun, funny, intellectual Mills & Boon novel. The actors narrate their characters' journeys through words that are lush, breathy and often pretty sexy. They're not limited to speaking in their characters' voices but have an omniscient voice, which is playfully melodramatic while shot through with wry sagacity. And of course, there's the woven mythology references, of which the wandering Minotaur is only the tip of the iceberg. (I can attest that having zilch classics knowledge is no obstacle at all to enjoying The Bull.) The second impression given by the play is that this is a beautiful, generous thing to pull from the ruins of a relationship (a trauma Badham attributes as fuel for the piece in her candid writer's note) and to give to others. It's truly heartfelt, and the originality of the telling makes new all the old cliches about time healing wounds, fish being plentiful and opposites having the same effect on humans as magnets. The romcom signposts are well met. Considering this is a play whose actions are spun by the characters' words, it's great to see it matched by a set (by designer Anna Tregloan) that provides but a foundation for the audience's imagination. Its modular wood frames conjure aisles and cabinets in the museum and bungalows at the beach, as well as casting some evocative shadows from time to time (thanks to complex lighting from Verity Hampson). Perhaps not since Silent Disco has director Lee Lewis worked with such a malleable script (and perhaps not even then; The Bull has almost no stage directions to heed or twist), and both her creativity and control of the piece shine here. The movement of the actors on stage rarely overwhelms the movement of the characters drawn by their words, and instead the two play nicely off each other, creating extra tension and some memorable imagery. The Bull, the Moon and the Coronet of Stars is a one-of-a-kind, magic-spinning, very enjoyable night at the theatre. And it ends with one of the best last lines in a play ever. Read our interview with Van Badham.
Winter may be almost over, but there's still plenty of time to hit the slopes at Thredbo. With over 30cms of snow falling in the last 24 hours, Ullr - the god of the white stuff - is showing no signs of letting anytime soon. Like the snow, the parties aren't stopping either. Whether it's dancing or chilled out drinks in the Piano Bar you're after, the Thredbo Alpine Hotel's got it covered. There's the Rekorderlig Poolside Après Bar, the only one of its kind in Australia, where you can take a dip in their heated pool, warm up by the fire pits, drink hot Rekorderlig cider and listen to DJ BMO, DJ Solebeats and DJ Kaiser spinning hits. If you're feeling tropical and other-worldly, check out the Smirnoff Snow Dome parties, inspired by their latest Honey and Coconut creations. There'll be ice sculptures, UV bubbles, projections and snow graffiti taking the party to a whole new level. There's also the live music at Schuss Bar, you can hit the Lounge Bar for some post-snow cocktails, nightclub Keller Bar for dance music, or the brand-new Cantina Bar if you feel like some Mexican food and Coronas.
If you see an unusual number of fictional characters roaming the streets this May 4, you're not crazy, but you are missing out: it's Free Comic Book Day. Every year on the first Saturday in May (this year it coincides with Star Wars Day, so expect a lot of Jedi robes and Princess Leia buns), comic book stores around the world give away free comics to anyone who walks in. Free Comic Book Day started in America, but it's been picked up by stores in Australia as well. Aiming to "reach out to those individuals unfamiliar with the comic book specialty market", Free Comic Book Day sees many publishers ship specially printed comic books, often previews of upcoming titles, to participating stores around the world. It's not just about the free stuff, though — most stores will have special events going on like artist signings, dress-up competitions and giveaways. The website also has a handy store locator, so you can see what stores are participating near you. In Sydney, it means heading to the city and storming Kinokuniya, Kings Comics and Comic Kingdom.
Remember show and tell in primary school? The Maker Faire is a bit like a grown-up version of that, except it’s less about Disneyland vacation photos and more about science experiments and arts and crafts. Founded by the US-based Make magazine, the Maker movement is all about celebrating the DIY ethic, resourcefulness, innovation and imagination, and it’s coming to Australia in the form of the Mini Maker Faire. The first event will be in Sydney at the Powerhouse Museum later this month, before heading to Melbourne and Adelaide next year. The first Maker Faire was held eight years ago in San Mateo, California. Since then, the Maker movement has spread all over the world, with events in Detroit, New York, Newcastle (UK), Rome and Tokyo, and over 200,000 attendees worldwide. Whether you’re a scientist, artist or foodie, there’ll be something for you at the Maker Faire. Knitted iPhone covers shaped like whale sharks, 3D-printed robots, space opera video games and a button that tells you when it’s Hammer Time (because this is completely vital information, right?) are just a few of the inventions that’ll be on display.
Keen to get off the mainland for an immersive cultural experience that'll be sure to ignite your senses? Then make tracks to the East Coast Harvest Odyssey (ECHO Festival) happening in Tasmania this autumn. The 18+ event will be held from Friday, April 8 till Sunday, April 10 at Redbanks Farm near Swansea. Here, you and your mates can celebrate the rich cultural and culinary offerings that this region has to offer through a range of activities including grape stomping, morning mediations, inspiring talks and more. Love food? There'll be loads of tasty treats on offer from Cake & Honey Espresso, Tasmanian Oyster Company, Zen Gelato and more. Another highlight will be the Beaker Street Science Bar, a cosy yurt that's part-lab, part-cocktail lounge where you can sip on a cocktail while chatting with local scientists about Tasmania's giant (and disappearing) kelp forests, and the work being done to restore these treasured ecosystems. There'll also be a wine trail to explore, live music from the likes of Hayley Mary (The Jezabels) and Jem Cassar-Daly, kelp basket-making workshops and the immersive Womb Room — a pastel pink sensory space designed for wakening the senses of smell, sound and touch. Ready to explore a festival like no other? ECHO Festival will run from Friday, April 8 till Sunday, April 10 and tickets start from $125. To check out the full program and to grab tickets, visit the website.
Do you remember the first time you complained, "I hate Christmas?" If you've never said it, can you pinpoint precisely when the build-up and family politics began to give you mild panic attacks? At the very least, carol fatigue syndrome? Chances are you weren't 10 years old. When you're 10, you're still in love with the Day itself (as well as counting down the days leading up to it). You've started to suspect that Santa Claus isn't really the red-suited sky ranger that you once thought, and realised that there are undeniable logistical problems with flying reindeer, pixies and elves. You may vaguely comprehend that the magic isn't in the man who drinks milk and eats cookies, it's in the spirit of togetherness. But you're still stubbornly clinging to the childish certainty that on the 25th of December, nobody fights, nothing goes wrong, and everyone is happy. For 10-year old Freya (an effervescent Holly Austin), her dad's casual announcement that he may spend Christmas working on an offshore oil rig is devastating. It steels her determination that the limited number of days they do have together be extra perfect. Freya's family is pretty fractured — her Mum is dead, her widowed Nan is sweet but totally out of tune with the needs of a young girl, and her best friend Poppy is just a tad unadventurous. Life gets pretty boring in the Tasmanian seaside town of Rainwood for Freya — it's no wonder Christmas is a big deal. She even feigns joy when her dad gives her a vintage air rifle. But then her Dad and Nan start fighting, and a body washes up on the shore. The set design of Boxing Day is simple and the stage is beautifully used. Co-presented by the Tamarama Rock Surfers, it is the first major work by Sydney-based Tin Shed Theatre Company, which writer Phil Spencer formed with the director, Scarlet McGlynn. It's hard to say too much about this coming-of-age story without giving away the ending. Suffice to say, there's a reason that it's called Boxing Day. Freya has a Christmas to remember — just not in the picture-perfect way she planned. https://youtube.com/watch?v=s2u0XDzL5ks
Gang, pronounced 'gung', is a creative network of artists from Sydney and Java. Taking their name from a variety of references — mostly the vernacular of both countries, such as the word for 'laneway' in Indonesian and closer to home 'gung-ho' (as in, gung-ho about Java!) — Gang are a fluid, free-loving group of artists doing their thing. They get together, they manage festivals, they talk and they rig. What was that? Yes, they rig. The newest incarnation of Gang includes their commercial enterprise: rigging for the arts industry. It is an interesting aside — an arts collaborative attempting to seek financial sustainability through the provision of services — perhaps not so gung-ho hippy after all. Unfortunately, this element of their team sits rather uncomfortably as it inhabits such a large presence throughout the exhibition at Gaffa. With a screen dedicated to stills of their rigging work, as well as business cards strewn throughout the galleries, we end up feeling like the whole exercise is just that — a marketing exercise. I don't wish to be totally dismissive of this decision as I was thoroughly impressed to find artists stretching the limits of that age-old struggle of how-to-make-a-living, but I don't necessarily want to have it stare me down amongst the glare of the white walls of a gallery. And yes, I am well aware of the stupidity of the above tirade because what is an exhibition but a marketing exercise for the artist? And secondly, of course the artist and art in general is totally dependent on the capitalist market. Oh, money. Us artists generally don’t like to talk about it, just count it in our bedrooms at night. In the dark. Anyway, if you haven't been down to the towering four-storey 19th century police station that is the product of the hard work of the ambitious crew at Gaffa, then make time during your lunch break today. With a wonderful street-side cafe, a fresh location for the in-house jewellery store and The Arcade Project shops opening to new vendors, it is just the right time to catch a glimpse of the vision that can be achieved when artists sit down to dream.
The spookiest time of the year is here, which means different things to different people. Perhaps you think you're never too old to don a costume and go trick-or-treating. Maybe you just like the excuse to eat plenty of lollies. Or, you could enjoy diving headfirst into as much horror viewing as you can manage. For folks in the latter category — and those who like dressing up, too — the Georges River Council is hosting the type of event you'll want to add to your calendar. On Saturday, October 30, it's celebrating Halloween by bringing back its Frightful 80s Drive-In Cinema, which'll be free to attend at Donnelly Park in Connells Point. As for what you'll be watching, this pop-up drive-in is screening 80s vampire classic The Lost Boys. Get ready for a blonde-haired Kiefer Sutherland, not one but two Coreys (Haim and Feldman), and a tale of teenagers and the undead set in a Californian beach town. Entry opens at 5pm, with the film kicking off at 7.30pm. There are no bookings or tickets, so arriving early to nab a spot is recommended. Also, if you deck out your car in a costume — yes, you read that correctly — and you can win a prize for the best-dressed vehicle. Top image: Elder.
If it's been a while between Chardonnays with you and Orange, or if you've never actually ventured to the regional foodie hub of New South Wales, now's your time to make amends. On Thursday, September 22 and Friday, September 23, Sydneysiders can take in the best of Orange's food and wine right in the heart of the CBD, at the annual Taste Orange @ Sydney festival in Martin Place. Taste your way through NSW's 'food basket' with 19 of the regions best wineries offering tastings, including Phillip Shaw, Dindima, Logan, Ross Hill, Tamburlaine and more. Seriously, if you haven't tasted a Phillip Shaw Chardonnay, get amongst it. The festival will run from 11.30am till 2.30pm with food, wine tastings, entertainment and talks, while after-work drinks are made for the After Dark Pop-Up Wine Bar, open 5pm to 8pm both nights. But you're going to want some high quality, Orange-grown nibbles with that vino. Taste's lunch and dinner offerings include food from the incredibly Orange-proud teams at Agrestic Grocer, Chateau de Chocolate, The Second Mouse Cheese Factory and Franklin Road Kitchen. The Stinking Bishops crew will also be plating up cheese and charcuterie boards made exclusively with product from the region. Entry to the festival is free, but you'll have to purchase all food and wine once you're in. It's $5 for a wine glass and and then you can choose between $8 per full glass of wine (120 ml) or $4 per half glass of wine (60 ml) for the tastings. If you don't want to wait in line, you can purchase a $40 tasting pack online before you head in, which gets you ten tokens for either five glasses or ten half glasses.
We all know there are items we shouldn't be stockpiling right now, but when we're all spending more time at home than usual it's probably a wise idea to stock up on some creature comforts — whether that's making a long list of shows we're planning to binge watch or stocking up the cellar with our favourite wines. Online cellar door Naked Wines launched in 2012 with the aim of connecting at-home wine drinkers with winemakers across Australia and New Zealand. Since then it's grown to include more than 53 winemakers and more than 100,000 'wine angels' — people who pay $40 a month to their Naked Wines account to use as credit to support the wineries they like and to receive discounts on bottles of vino. And those winemakers include the likes of Enfant Terrible from Adelaide Hills, Le Petit Mort from Queensland's Granite Belt and Hilltops, NSW, plus Blindside from Margaret River. You can order cases of six, 12 or 15 bottles. If you're based in Sydney, Melbourne or Perth, Naked Wines could be winging their way to you by the next working day. For Adelaide, Brisbane and Canberra, delivery is within two-to-four business days. It's also free delivery for members if you're in Melbourne, Sydney and Perth, however there are delivery costs of up to $20 outside of those cities. And, as we're all in need of a little comfort right now, we've partnered with our friends at Naked Wines to offer first-time Naked Wines customers over 18 a $100-voucher to spend on your next case of wine. Simply head to this link to make your purchase and double-check the conditions below. To use the voucher you must be 18 years or older. The voucher entitles first-time Naked Wines customers to $100 off their first order of 12 bottles. All orders are a minimum of 12 bottles, and a minimum spend of $155.88. Not to be used in conjunction with any other offer or promotion. *Next day delivery is available to Sydney, Melbourne and Perth metro areas for orders placed before 3pm. Naked Wines does not ship to Northern Territory. Delivery not included. Offer is subject to change. See website for full Terms and Conditions. This story includes affiliate links, which means Concrete Playground may receive a small commission if a reader clicks through and makes a purchase. This does not influence our editorial recommendations or content. For more info, see Concrete Playground's editorial policy.
The One Day crew just keep hitting their stride. A far cry from their humble 2013 pub beginnings as One Day Sundays, Sydney's favourite hip hop crew are getting bigger and bigger crowds with every event, throwing over 50 events across Australia in the last two years and blowing the roof of their monthly Factory mini-festivals. Now, they're ready to throw their biggest Sydney day party yet — One Day Only. Locked in for Saturday, November 21, One Day Only will take over three levels of Manning House — which has already proved its festival ability with years of Sydney Uni gigs and the recently moved-in OutsideIn festival. Building on the tried and true formula of the One Day Sundays parties, the event will see 3000 punters enjoying hip hop, future beats, neo-soul, R&B and electronica across three stages (full lineup announcement coming September 14). “The parties have exploded since we started back in 2013 and we felt now is the time to step things up”, said Nick Lupi of One Day. “One Day Only will build on the same party vibe that Sydneysiders have come to know and love, but we’re turning it up a few notches. The bigger lineup and extra stages will incorporate live acts and a wider mix of genres, plus we’ll be decking out Manning House like you’ve never seen it before.” Of course, music's not the only creative element running the One Day parties, so expect live graffiti art curated by international spraypaint brand Ironlak, and a cornucopia of Sydney's finest food trucks. Apparently the crew are taking cues from the most unlikely of hip hop places for the party's 'theming': the social revolutions of 18th century Europe. “The party will combine classical opulence and beauty with a slightly anarchic undertone” said One Day’s Raph Lauren. “We’re taking over the mansion to turn up and share the spoils with the people. This is a renaissance. A party for the ages.” One Day Only is hitting Manning House on Saturday, November 21 from 1-11pm. Tickets are $45/55 +BF, available from here. Full lineup released Monday, September 14.
South Australia is coming for you in a big way, Sydney. A whopping 30 Adelaide Hills wineries are headed to Surry Hills for a four-and-a-half hour session of wine and food. Hills Heist will take over GoGo Bar and Chii Town on Tuesday, May 7 from 5–9.30pm. Expect a massive 60 wines on offer, giving punters a seriously wide ranging taste of the region's best drops. The wine region spans 70 kilometres and is known for its diversity, from sparkling to shiraz to pinot noir, along with gruner veltliner — an Austrian variety that the Adelaide Hills have become known for. Among the standout winemakers in attendance is Charlotte Hardy of Charlotte Dalton Wines, which won last year's Hot 100 Wines for its Eliza Pinot Noir. She's accompanied by Fox Gordon's Rachel Atkins and Shaw + Smith's David Le Mire MW, to name just a couple. After an hour-and-a-half of tasting at GoGo Bar, a shared Chin Chin menu will go down in Chii Town, featuring the eatery's well-known dishes such as kingfish sashimi, Thai fried chicken, chargrilled swordfish and roast duck — all with matched vino. Tickets are priced at $120, which includes plenty of wine and food. Image: Simon Peel.
Redfern's much-loved neighbourhood bar is turning two, and to celebrate it's throwing a month-long party. Swing by Misfits any evening in September and you'll find food, booze and good times aplenty. Between 5pm and 7pm every single day, you can feast on $2 oysters and enjoy a two-for-$10 deal on Young Henrys beers. On top of that, there'll be brand new two-for-$20 birthday cocktails, inspired by famous pairs: Batman and Robin, Yoko Ono and John Lennon, Simon and Garfunkel and Sonny and Cher. A new duo will be released each week, giving you good reason to get to the party more than once. Celebrating your birthday in September, too? Show your ID and Misfits will treat you to a shot — on the house. Plus, if you're planning a Tinder date, make it a Thursday, when shared platters will be two-for-one. In addition to all this merriment, the usual plethora of events will continue, including the free Misfits x Pirate Life music sessions. On September 5, catch gospel and R&B singer Jeremy Gregory live, while sampling Pirate Life's new Port Local Lager for just $5 a schooner. To make sure you don't miss out on the birthday action, book yourself a table now.
