His resume includes a racially confused rapper, a Kazakh journalist, an Austrian fashion reporter and a fictional dictator. But Sacha Baron Cohen's cavalcade of colourful characters doesn't stop there. In Grimsby, the man also known as Ali G, Borat and Brüno becomes a welfare-receiving, soccer-mad, booze-guzzling father of nine from England's north, in the first of his films not to bear the name of its protagonist. Taking its title from a place rather than a person doesn't demonstrate the movie's broader range, though. Instead, it indicates the film's mostly muddled nature, with gross-out jokes Cohen's main concern. In the eponymous Lincolnshire town, Nobby Butcher (Baron Cohen) satisfies his sexually voracious girlfriend (Rebel Wilson), oversees his brood of kids, and parties at the local pub, all while pining for his long-lost brother. Discovering that his sibling has been spotted after a 28-year absence, he heads to London, but instead of a happy reunion with secret service agent Sebastian (Mark Strong), he foils a top-secret mission. When Sebastian is branded a rogue operative in the fallout, Nobby pledges to help him. First, they hide out in Grimsby, before hopping from South Africa to Chile to stop a terrorist attack. With Grimsby, Baron Cohen attempts once again to dissect ignorance and prejudice – in this case, his target is class and prevailing attitudes about the less wealthy. Yet the slyness that typically surrounds his silly satire has been dialled several notches down. While he's never laughing at the people he's depicting – even adding a blatant late celebration of so-called scum (his words) into the mix – he's more often focusing his attention on bodily functions and primal urges. Genitals, placing items in places they're not meant to go, fatal illnesses, and fornication of the human and animal kind all ramp up the crudeness, though the humour is hysterical one minute and stretched the next. Indeed, even when the chuckles flow freely, Grimsby struggles with consistency. As an actor, Baron Cohen is clearly committed to his well-meaning clown of a character, as is Strong playing the more serious side of their odd couple double. Sadly, fellow cast members including Wilson, Isla Fisher and Penélope Cruz are given little to do. As one of the film's co-writers, Cohen flits busily between topics, targets and pop culture references with a scattergun approach. The same chaos extends to the feature's action-comedy claims. Spy spoofs just keep coming to screens, making Grimsby's espionage genre parody fall flat in the wake of Spy and Kingsman: The Secret Service. The well-shot first-person-shooter-style segments are effective, but they're awkwardly shoehorned in. Dumped in the middle of the movie's exaggerated absurdity, they're enough to give you whiplash. Yes, you'll laugh during Grimsby, but you'll also spend much of its brief 83-minute running time adjusting to its patchiness.
Nature documentaries rarely simply spy the earth's wonders, point cameras that way and let the planet itself do the talking. Instead, films such as 2017's The Ancient Woods are by far the exception rather than the rule. And yet, the best footage within any movie about our pale blue dot makes viewers wish that more favoured the "a picture is worth a thousand words" approach. Take The Giants, for instance. When it includes talk, which is often, it's no lesser a feature. The conversation and commentary offered is illuminating, in fact. But when it wanders through Tasmania's colossal foliage within the Styx Valley, Southern Forests and the Tarkine, which is also regularly, it feels like it barely needs to utter a single thing. This isn't merely a factual affair about flora, with environmental campaigner and pioneering former Greens senator Bob Brown firmly at its core, but The Giants knows that paying tribute to both is best done by staring at leafy surroundings as much as it can. It's no everyday feat to get a movie-watching audience admiring the natural world while peering at a screen, even if the frequency with which David Attenborough's docos arrive has helped everyone both think and expect otherwise. Indeed, notching up that achievement is a mammoth accomplishment on the part of The Giants' filmmakers Laurence Billiet (Freeman) and Rachel Antony, plus cinematographer Sherwin Akbarzadeh (Carbon — The Unauthorised Biography). Crucially, it assists what was always going to be a fascinating ode to bloom as much as any plant that it waters with attention. When you're crafting a documentary that intertwines a love letter to Australia's ancient native forests and their ecosystems with a powerful portrait of a hefty figure who has devoted much of his life to fighting for them, showing all the green splendour it possibly can is equally a must and a masterstroke. A doctor who turned politician after first establishing roots in Tasmania's environmental movement in the 70s, Brown has spent many of his years either around or battling for The Giants' woody namesakes. The film tells that tale, plus more before it, deploying the familiar birth-to-now doco format. Thanks to its human subject, aka the movie's other giant, it's a greatly inspiring story — one that on its own, assembling the usual archival photos, news clips, home videos and talking heads, is a hearty piece of motivation to follow in Brown's activist footsteps. As an interviewee, he adds insights about his experiences, dreams and goals, and the way that Australia's lavish landscape has been treated. Among those joining him: his twin sister Jan, partner Paul Thomas, successor as Greens leader Christine Milne and current Greens Senator Sarah Hanson-Young. Brown was born to a family of police officers, but enforcing the law wasn't his calling, as The Giants steps through. His closeness with his mother also earns the spotlight, as does the way that nature provided solace and excitement from his early years onwards. The decision to study medicine, his struggles with his homosexuality, his shift to Australia's southernmost state, the first sprouts of his passionate crusading and his move into politics are all covered, as are his stint fasting on top of Mt Wellington to protest the nuclear-powered USS Enterprise sailing into Hobart, the jump to the federal level and interrupting US President George W Bush's 2003 speech to Australian parliament. There's no surprise that the film needs 112 minutes to fit all of the above in and more, like Brown's status as the first out gay man in parliament, and also to highlight the breathtaking beauty that's been Australia's for millennia. On-screen as in away from the cinema, don't ever underestimate the impact that trees can and do make. Here, in a picture that starts with 100-metre-tall eucalypts regnans that dwarf dinosaurs, and similarly heroes Huon pines and Tasmanian myrtle beech, majestic rainforests and the gargantuan plants within them make a rousing and riveting documentary even better. The arresting imagery would bring to mind Peter Dombrovskis' famous photography of the Apple Isle's Franklin River — specifically Rock Island Bend, as captured in a snap that's widely credited with saving the waterway — even if it wasn't given a shoutout. Courtesy of the University of Tasmania's Terra Luma research project, 3D forest scans dazzle as well, as turned into surreal and striking cloud animation by Alex Le Guillou. As much as roving one's eyes over the wilderness speaks for itself, The Giants gets chatting to deepen viewers' understanding of nature's marvels. Accordingly, an appreciation of algae and mushrooms also springs — 2023 is the unofficial year of the fungus on screens big and small, after all, given that it's a year that's seen both The Last of Us and The Super Mario Bros Movie become hits. Regardless of how popular spore-producing organisms are in pop culture right now, knowledge about their pivotal function is a call to act within Billiet and Antony's film. The Giants also gleans that explaining what's threatened by logging, damming and climate change, especially while showing it in intricate and impressive detail, is a stirring way to encourage viewers to do their part for the cause. It's one thing to ask people to make an effort to make a difference when the movie stops rolling, whatever their personal version of facing deforestation, bulldozers, expansive mining operations and the like is. It's another to demonstrate that playing a part for the planet can and does bring about change, as Brown's life story epitomises. He has the right words to stress the case as well, whether he's noting that "there is nothing a small group of people can't do when the idea they're espousing's time has come" or championing civil disobedience as obedience to nature — and, yes, aiding with justifying why the film isn't solely gorgeous shots of tremendous trees. The Giants has the right overview of his five-decade impact to go with it, alongside all that wondrous forest footage that says everything, including that the living world in the 21st century always needs all the help that it can make blossom.
Belles Hot Chicken has flirted with all sorts of chook-centric creations over the years, and now it's teaming up with Shin Ramyun to bring back its super-popular fried chicken ramen. For the collab with the Korean instant noodle brand, Belles Head Chef and Co-Founder Morgan McGlone has created an easy-to-finish-at-home fried chicken ramen that you can pick up from the Darling Square, Tramsheds and Barangaroo stores. Available to order for $14 via Bopple, the limited-edition pack comes with Nongshim Shin Red Ramyun, an ultimate chicken thigh fillet (pre-cooked), braised greens with Spam, fried garlic and nori powder. McGlone has also posted a video (below) on how you can easily create the ramen at home. If you have an egg at home, he suggests you add one of those, too, but it's not essential. To celebrate the launch of the take home pack, the fried chicken institution will be hosting a series of launch events at Barangaroo on Wednesday, August 5; at Tramsheds on Friday, August 7; and at Darling Square on Saturday, August 8. Tickets for the event will set you back $25, which includes ramen and a paired cocktail. You can snag yours here. https://www.youtube.com/watch?v=2-8-UxELMJQ&fbclid=IwAR0jf6mckKVZbtII8_1iQS7McP3OSbTFP2DhZAU60MrI4UXh6P7k0un-c4E Belles x Shin Ramyun take home packs are available to order via Bopple and pick up from the Barangaroo, Darling Square and Tramsheds stores.
Not for the first time, the eyes have it, but then they always have with Tammy Faye Bakker. Not one but two films called The Eyes of Tammy Faye have told the 70s and 80s televangelist's tale — first a 2000 documentary and now this new Jessica Chastain-starring dramatisation — and both take their monikers from one of the real-life American figure's best-known attributes. In the opening to the latest movie, the spidery eyelashes that adorn Tammy Faye's peepers are dubbed her trademark by the woman herself. They're given ample focus in this biopic, as OTT and instantly eye-grabbing as they they are, but their prominence isn't just about aesthetics and recognition. This version of The Eyes of Tammy Faye hones in on perspective, resolutely sticking to its namesake's, even when it'd be a better film if it pondered what she truly saw, or didn't. In the path leading to her celebrity heyday and the time she was a TV mainstay, Tammy Faye's life saw plenty. It began with an unhappy childhood stained by her stern mother Rachel's (Cherry Jones, Succession) refusal to be linked to her at church, lest it remind their god-fearing Minnesotan townsfolk about the latter's sinful divorce. But young Tammy Faye (Chandler Head, The Right Stuff) still finds solace in religion, the attention that speaking in tongues mid-service brings and also the puppets she starts using as a girl. Come 1960, at bible college, her fervour and quirkiness attract fellow student Jim Bakker (Andrew Garfield, Tick, Tick… Boom!), with the pair soon married even though it gets them kicked out of school. Unperturbed, she keeps seeing their calling to the lord as their way forward, first with a travelling ministry — puppets included — and then with television shows and their own Praise the Lord network. From her mid 20s through until her late 40s, when multiple scandals spelled their downfall — involving Jim's alleged sexual assaults, as well as the misuse of funds donated to Praise the Lord by its loyal viewers — much of Tammy Faye's life was lived in the public eye, too. That gives both Chastain (The 355) and director Michael Showalter (The Big Sick) copious materials to draw upon beyond the original The Eyes of Tammy Faye, and also turns their film into a glossy recreation. There's no shortage of details to convey, but that's primarily what Abe Sylvia's (Dead to Me) script is content with. Depiction doesn't equal interrogation here, and does skew closer to endorsement; Tammy Faye's outsized appearance, her makeup and outfits getting gaudier as the Bakkers' fame keeps growing, can border on parody — it's camp at the very least — but that isn't the same as asking probing questions about the movie's central figure. Chastain serves up a performance that seems primed to delve deeper. With the exceptional Scenes From a Marriage star leading the show, the eyes don't just have it, or the hair that just keeps getting bigger, or the ostentatious clothing. In the twice Oscar-nominated actor's hands — with a third nod likely for this very portrayal — there's heart and soul behind Tammy Faye's larger-than-life persona, thoughtfully and sympathetically so. As she was with The 355, Chastain is also one of The Eyes of Tammy Faye's producers, and her investment in the part is apparent in every aspect of her portrayal. The film was clearly built around her work, which is excellent, but the picture plays like that's its whole point. Indeed, when it comes to seeing past the blatant, already-known and openly endorsed about its subject, and to genuinely unpacking her role in the prosperity gospel her husband promoted, the movie conspicuously stops short. The Eyes of Tammy Faye nonetheless gives its protagonist far more depth than decades of joking about her have afforded. It also keenly draws attention to the ways she masterminded her and Jim's success, pushed to be seen as an equal in male-dominated evangelical circles and broke with right-wing doctrine to promote god's love for all. In one of the feature's best scenes, the film shows her refusing to merely sit and gossip with the other wives as Jim hobnobs with religious media moguls Pat Robertson (Gabriel Olds, Amazing Stories) and Jerry Falwell (Vincent D'Onofrio, The Unforgivable). In another, it recreates Tammy Faye's emotional TV interview with AIDS-positive Christian pastor Steve Pieters (Randy Havens, The Suicide Squad). Still, it never escapes notice that Showalter and Sylvia choose not to connect more than a few dots, or to ponder if they should be. In their retelling, their point of focus is smart, astute and dedicated, but has the scantest of links with Praise the Lord's demise. As a result, there's too often a Wikipedia-meets-cinema air to The Eyes of Tammy Faye. While that's helpful for newcomers to the Bakkers, and there are fascinating titbits to cover — such as Heritage USA, their Christian theme park, which came third in patronage only to Disney World and Disneyland at its height — it's also the marker of a tame and standard film. Of course, the movie is unsurprisingly scathing towards Jim's clutched-to belief that god wants them to be wealthy, the tactics used to fleece his followers to put the idea into action and his preaching that faith is the path to riches, as it should be. (That's a line of thinking still trotted out in theology today, abhorrently so.) If only the rest of the feature had that bite, or more, as it luxuriates in its era-appropriate costuming and decor, and in its leading lady's compelling work. Early in the picture, in one of its displays of childhood dejection, Rachel demands that Tammy Faye "stop performing". Those words loom large over The Eyes of Tammy Faye, even with Chastain's performance its best element (and with Garfield turning in a fine effort as well). Frequently, the movie resembles as much of an act as Tammy Faye's take on femininity does — staging the minutiae for the world to see, but too rarely daring to peer past the caked-on surface. It ensures that its eponymous figure is embraced for more than her makeup, yet still stays skin-deep regarding the bulk of her complexities and contradictions. That doesn't make this a terrible movie, but it does spark a straightforward and simplistic biopic that prays for more gumption, bombast, pluck and verve.
UPDATE, May 14, 2021: American Utopia is available to stream via Amazon Prime Video, Google Play, YouTube Movies, iTunes and Amazon Video. There may be no catchier lyric in music history than "same as it ever was", the five words repeated in Talking Heads' 1981 single 'Once in a Lifetime'. As uttered again and again by the band's inimitable frontman David Byrne, it's a looping phrase that burrows into your skull and never leaves. It's a line that, apropos of nothing, starts echoing through your brain at random moments as well. It's also the type of lyric that, when the above situation happens, no one protests. So when American Utopia opens with the musician sat at a table holding a brain and talking about what its various parts do, it feels as if Byrne is acknowledging what everyone already knows in the deepest recesses of their consciousness: that Byrne long ago got cosy in our craniums and has been nattering away to us ever since. As he stares at grey matter while wearing a grey suit — a perfectly fitting one, unlike the famed big number he wore in iconic 1984 Talking Heads concert film Stop Making Sense — Byrne has something else on his mind, though. American Utopia starts with the part of our bodies where we all mentally reside, but slowly and smartly evolves from the cerebral to the communal. It segues from one man alone on a stage lost in his own thoughts to 12 people singing, dancing, playing instruments and connecting, and also pondering the state of the world and how to better it in the process. And it takes its titular concept seriously along the way, confronting America's political and social divisions in Byrne's witty, wise and impassioned between-song chats, but never satirising the idea that the US could be improved to the benefit of everyone. American Utopia is a concert film like its predecessor; however, as that masterpiece proved, the whole notion means more to Byrne than merely standing in front of a camera and busting out well-known hits. From the sublimely soothing 'This Must Be the Place (Naive Melody)' to the punchier 'Burning Down the House', plenty of Byrne's best-known songs do grace American Utopia. 'Once in a Lifetime' is among them, of course, as are 'Road to Nowhere' and 'Everybody's Coming to My House', with the film's playlist spanning his career with Talking Heads and solo. Across a range of styles and tempos, each track is a wonder, and not just in the way that fans already know. As should be obvious from the fastidious fashion in which Byrne has conceptualised this stage performance — which he toured in 2018, then adapted for Broadway in 2019, and has now turned into this standout movie directed by Spike Lee — this is a meticulously crafted work. Basking in the glory of Byrne and his band is inevitable and would happen regardless, but soaking in everything that American Utopia does is another marvel entirely. It shouldn't be so striking to notice that Byrne and his colleagues are doing their thing completely untethered, for instance. The stage they stand on is bare except for a shimmering grey chainmail curtain that wraps around three sides, and their instruments and microphones are powered by packs so there are no pesky cords all over the place. Even percussion instruments are strapped to the folks playing them, with absolutely nothing touching the floor other than dancing (and in Byrne's case, bare) feet. It's freeing, not just for Byrne and his band, but to watch. Every move made is immaculately choreographed, but without all the wires and big equipment that's usually part of every concert experience, the performers can simply interact. And as they do, the audience engages on a deeper lever as well. Stop Making Sense devotees, which should include everyone given that it's the best concert movie ever made, will spot that Byrne has reversed his strategy from that earlier film. There, he walked onto the stage with a tape deck, pressed play, grabbed the microphone and kicked off by singing 'Psycho Killer'. When it came time for the next song, another bandmate joined him with their instrument of choice. The cycle repeated with the next track, and the next as well. It was a playful and also probing approach to the genre that made viewers confront its literally staged nature, which American Utopia achieves in the opposite manner and with broader aims — because, other than Byrne's presence, nothing is the same as it ever was here. Before Byrne forces you to do so, you probably won't have realised how enlivening, wondrous and cathartic it is to see the act of connecting so firmly thrust to the fore. It takes an incredible amount of work to make something so tightly constructed seem so loose and natural, and that's just one of the reasons that American Utopia is yet another of the star's masterpieces. The other sizeable factor: Lee, who is on quite the hot streak via BlacKkKlansman, Da 5 Bloods and now this. Like Byrne, he doesn't just want to plonk the performers in front of a lens, with his energetic directorial choices designed to complement the show and make the audience feel as if they're in the room. American Utopia, the stage production, already celebrates intimacy. At its core, it features a dozen people turning a semi-enclosed cube into an inviting space for collaboration and togetherness. Sometimes peering down on the action from above, sometimes weaving between band members, Lee and his 11 camera operators find the exact right shot for the exact right moment in every instance — and prove inventive and creative as they're doing so, too. Although it comes early in the film, when Byrne sings "home is where I want to be", another of his earworm lyrics, everything about what's easily the most joyous cinematic experience of the year instantly makes you feel that he's talking about exactly where he's standing at that very second. https://www.youtube.com/watch?v=97nnV0fNd30&feature=youtu.be
This Christmas, all you need is love — plus a festive little cabaret that showcases all of the hit tunes from Love Actually. It's the way to celebrate the season when you're not just leaving the seasonal favourite flick on repeat at home. Yep, that's Christmas Actually. Created by the folks behind Rumour Has It and Lady Beatle, and starring Libby O'Donovan, Christmas Actually features all of the tracks that've become synonymous with this merry time of year — including Mariah Carey's 'All I Want for Christmas Is You', naturally. Songs by Joni Mitchell, Norah Jones, Eva Cassidy, The Beach Boys and The Beatles are all on the bill as well — and, to help belt them out, O'Donovan will be joined by Joshua Robson, Stefanie Caccamo, Mat Verevis, Damian Sim, Scott French and more. There'll even be more than one nativity lobster, plus a jolly mood and a whole room full of festive cheer. That room is The Studio at Sydney Opera House, where Christmas Actually plays from Wednesday, December 14–Saturday, December 17. Get excited by revisiting Love Actually's trailer below. 'Tis the season, after all.
There are few things in this world more appealing than the little creatures, epic adventures and magical universes created by the god of anime, Hayao Miyazaki (Spirited Away, Howl’s Moving Castle). His latest film follows the story of a young goldfish on her quest to become human, through the challenges of metamorphosis, morality, young love, a tsunami and a grumpy old woman.The childlike playfulness of Ponyo is reminiscent of Miyazaki’s earlier film My Neighbour Totoro, while this time he uses the sea, rather than the forest, as the mysterious world within which the story unfolds. The plot, characters and visuals also surprise with moments of unexpected humour and sophistication that will keep all ages in the audience hooked.The English version features the voices of Noah Cyrus (daughter of Billy Ray and sister to Miley), Frankie Jonas (younger brother to the Jonas Brothers) and Cate Blanchett, though purists may prefer to see the film in the subtitled format - which will also enjoy a limited release here. That said, the strength of Ponyo is in its stunning hand-drawn animation, making it a definite one to catch on the big screen.Email your name, number and address to hello@concreteplayground.com.au to win one of ten double passes.https://youtube.com/watch?v=5mE_UZ87jZ0
On stage is an ambitious and faithful replica of a country pub, replete with old black-and-white photos of the Sligo weir (where the faeries live) and locals of yore, along with real, live beer pulling — a kind of thirsty torture to watch. The small-town kitsch of the set befits Conor McPherson's folkloric memory play The Weir, which leads us through the supernatural reflections of three older gentlemen trying to impress the younger newcomer in town, Valerie (Amanda Stephens Lee). She has sought solace in the country after her daughter's death and is still reeling at having received a phone call from beyond the grave. She takes comfort in this impromptu meeting of Mystics Anonymous. The 'other world' is treated with sincerity by McPherson and is not without its own humour: Finbar (Patrick Connolly) talks of communing with the dead via a 'Luigi board' and none can stand the German faerie tourists who invade the town during holiday season. The problem is that unless one has a proclivity for the mystical, there's not much else to pay attention to. This would be a lovely play to enjoy on a rainy day, coddled in a fleecy jumper with one's 50th birthday firmly in the past. The performances are uniformly honest and charming, with a particularly excellent performance from Barry French as the reclusive bachelor Jim, who sports what is clearly one of the finest examples of Ken Done-inspired, late-'90s Irish knitting. Alice Livingstone's direction is clear and strong but hindered by McPherson's dramatic structure, a sequence of monologues bridged together via comedic dialogue, which doesn't allow for a dramatic arc or any forward-moving tension. Peter McAllum's final monologue of romantic regret is up there with the best room-clearing drunken rambles, and indeed, it clears the bar and ends the play. The one possibility for drama, the nascent romance between barman Brendan (Lynden Jones) and Valerie, is left to our imaginations to fulfil (on a particularly cold night at the bar after one requisite 'small one' too many). The Weir is a ponderous retrospective piece with some endearing characters and much warmth but not a huge amount to ponder.
Summer is well and truly upon us and that means one thing: it's boat party season. Whether you're a seasoned sailor or a nautical novice, packing for a boat trip can be a surprisingly tricky task. As space on board is limited, you'll want to make sure you pack the perfect mix of practical and pleasurable items to elevate your time on the high seas. To make things a little easier, we've teamed up with our friends at Jim Beam to bring you three essential items that'll upgrade your day, from covetable coverage to an impressive drink to make for the whole crew. UPGRADE YOUR SPF TO THIS CHIC THREE-IN-ONE Since the 80s, Sid the Seagull has been encouraging us to slip, slop and slap, and you best believe that includes during boat trips. With the sun's rays reflected off the water, your chance of getting sunburn increases — so you'll want to bring a seriously good sunscreen to protect you from those harmful UV rays. Level up your sun protection with Aussie brand Ultra Violette and its Supreme Screen SPF 50+ Hydrating Facial Sunscreen ($45). It's a moisturiser, sunscreen and primer all in one. This lightweight all-rounder is the perfect size to slip into your beach bag and it has super-cute packaging sure to make you appear sun-smart and chic all at once. BRING THE PARTY VIBES WITH FUN INFLATABLES The best thing about a boat trip is being able to oscillate between the wet and the dry so freely. And, for the party-starters among us, you can have the best of both worlds with inflatables. Thankfully, the team at Sunnylife has your back with Rosie, a rose gold inflatable flamingo ($79.95), that gives you a vibrant, show-stopping seat on which to soak up the summertime gladness and look the part for all those boat party snaps. It's perfect if you want to stay mostly dry while still getting your feet wet, so long as your mates don't dunk you into the drink. SWAP BEERS FOR A ROUND OF HIGHBALLS Speaking of drink, a day on the water is thirsty work. If you want to impress your mates with something other than beer or wine on your next outing, pack a bottle of Jim Beam and some cordials to make this no-fuss highball for everyone aboard. To make the drink, simply pour 15ml of lemon cordial (like this one by Bickford's), 5ml of lime cordial and 30ml of Jim Beam into a cup. Add ice and top with soda water. Easy! It's a refreshing beverage that is guaranteed to go down a treat among your friends this summer. Top image: Angelo Pantazis via Unsplash
Jimmy Hurlston, the burger fiend you know and love from Jimmy's Burgers and Melbourne's famous tramcar nosh spot Easey's, is poised to take down Sydney and win hearts with his burgers. Hurlston has just opened his newest burger joint Guilty on Palmer Street in Darlinghurst, not far from two other recently opened burger joints, B L Burgers and Burgers Anonymous. As well as bringing his Insta-famous burgs with him, Hurlston's new eatery, located in the Republic 2 complex, will also be serving up poutine-like tater tots, Pop Tart ice cream sandwiches and banana splits. Guilty will be repping its hometown and showing off a range of Melbourne brewed beers on tap, including Melbourne Bitter. Unfortunately there's no genuine Melbourne tramcar set up though. A photo posted by Guilty (@guiltysydney) on Apr 24, 2016 at 12:18am PDT Sydney, you better ready yourself because Hurlston has some ambitious ideas about burgers. An Easey's speciality, for the uninitiated, is the addition of creamy mac and cheese to an already towering burger. And the vegetarian option? Forget eggplant and grilled giant mushrooms, your burger pattie will be replaced with a crunchy potato cake. Jimmy Hurlston's burger creations are not for the weak of heart. Guilty is located at 248 Palmer Street, Darlinghurst and is open 11am to midnight Monday to Saturday and 11am to 10pm on Sundays. For more info, check their Instagram. Image: Easey's.
Why is a hard-up theatre director standing in Ballina airport thinking about Bertolt Brecht? The reasons form the basis of Michael Gow’s new play of ideas, Once in Royal David’s City, currently playing on Belvoir’s main stage. Will’s mother is dying, he doesn’t have much money and a friend has just asked him to teach a class on Brecht at a private high school even though ‘the class war is over’. It's a provocation that only fortifies his socialist beliefs. Director Eamon Flack (Angels in America) has taken his cue from Brecht with a pared-back production, and Nick Schlieper’s simple design of a circular hospital curtain is functional and elegant. Brendan Cowell playing Will leads a team of capable actors who provide both the chorus and joyous Christmas choir. Lech Mackiewicz as the doctor is the strongest of the bunch, socking it to Will with the news that his mother is dying, offering the meagre consolation, “sorry news is grim.” But he’s not sorry and it’s great. Will may be questioning capitalism and his place in the system, but Cowell doesn't have to end each of his sentences as a question. His response to the news of his mother’s illness is a plaintiff ‘No?’ and this vocal pattern persists until his riveting final address to the school students. Here, he powers forward with Gow’s answer to Dylan Thomas’s Do not go gentle into that good night. This fantastic ending will have you eschewing your consumer lifestyle for at least a day or two after the production. My problem with the play is the whiff of condescension towards the ‘common’ middle classes. The high school drama teacher (Tara Morice) giggles to Will that the final scene of The Caucasian Chalk Circle is quite moving, even though Brecht "doesn’t want us to feel". That Brecht’s theatre of alienation espouses critical engagement rather than detachment is no revelation and yet Gow presents it as an intellectual triumph at the expense of the drama teacher (a profession Will thinks is beneath him). This characterisation of teachers as dowdy child minders would no doubt get the ire up of drama teacher and theatre critic Jane Simmonds over at SOYP. Sure, the life of an artist is gloriously sacrificial in comparison to that of the bourgeoisie, but the aggrandisement of the solo male intellect here is a bit on the nose. That said, it’s heartening to see a play about ideas cut through our cultural cringe and present stimulating ideas in a charmingly daggy, Australian way. Image by Ellis Parrinder.
Material Rites is a group show that fills MOP Projects with objects that seem to have pushed their way in from the wider world to perch in the gallery space. It's a mixed bag of works that seem to take their inspiration from mountains, organisms and its neighbouring den of construction. The juxtaposition Sophie Clague and Tom Mason's work by the front door makes the space feel like a bit of a construction zone. A feeling not entirely out of place as the construction of the former brewery site finishes up across the road. Sophie Clague's origami'd hazard signs feel like a hive of building sites have escaped their bounds to push into the gallery space. They decorate the walls with triangular, orange geometries and flower-like, casual blossoming, seeming to flit between the two and three dimensional like some of the motive drawings in the film Mirrormask. Opposite, Tom Mason's chunks of stoneware gas cans complement the building site vibe nicely, staining the floor with white dust. Lisa Sammut's for all the other elevations suspends a blue disc above a field of craggy mountain cutouts. Suspended on a pendulum from a balsa wood platform, the motion and dominant blue colour give a sense of endless, calm, cool days in the alpine sun. Two other moving alpine art pieces sit on the wall behind it. Nearby, Angela Welyczko's four photos are low key portraits of waiting rooms. Tiny details of motion, the washed out light and empty seats, endlessly staring, capture all the right interminable details of the boredom and importance at play in a doctor's office. Jack Stahel keeps up his habit of taking the fantastic from nature, as strange creatures — bulbous and alert — emerge from the branches, wire and wood of their materials. Meanwhile, in Gilliam Lavery's Fuel, a loom is ready for action, but holds only a cloth with rows of long stitches. MOP Projects is open Thursday to Sunday, 1-6pm. Image: still from Imaginary Exhibit 1 by Jack Stahel.
If going big on New Year's Eve isn't your style and you'd rather relish in the sunlight over a boozy lunch as the rest of the world is sheepishly rolling out of bed, head down to Bondi Beach — Icebergs is bringing back its annual New Years Day party. The collaboration between restaurateur Maurice Terzini and Sneaky Sound System sees the beachside venue offering up a decedent lunch, free-flowing cocktails, a cabaret show and stunning ocean views for a luxurious start to 2021. Access to the event doesn't come cheap though, with bookings starting at $1000 a head and tables available for groups of six and above. The indulgent menu includes Oscietra caviar, coral trout tartare, local lobster spaghetti and fresh fruit with strawberry gum syrup. Accompanying the food will be Perrier-Jouët champagne, a selection of two fruity Kettle One cocktails, Tanqueray gin, Don Julio tequila and beer. "It's not a VIP experience it's a luxurious experience open for everyone ... once you're in the door everyone is special regardless of who you are and where you come from," Terzini said of the $1000 event. Reservations are available via Icebergs.
The world’s first global film festival is kicking into gear for 2010. The brainchild of Aussie expat filmmaker Nicholas Mason, the Manhattan Short puts 10 short film finalists to a 100,000-strong world vote across 200 cities, on six continents. Once again, an Australian filmmaker has made the final cut, with Mairi Cameron’s Push Bike screening alongside films from Europe, the UK, Canada and Mexico. Sydneysiders can look forward to entertainment and drinks after the screening, plus a sneaky after party at Kings Cross’ Beach Haus. Then, after a week of worldwide screenings, you can check to see how the voting panned out, with the winner announced online on October 6.
How does Murray Bell have a moment to even look at design? For the past 15 years, he's been the head of Semi Permanent, the global design platform that he founded in 2002, curating live design events all over the country. The next of these events to hit Sydney was been announced today, and is the celebration of 15 big years of Semi Permanent. As if last year's lineup wasn't noteworthy enough, Bell has moved things into a different kind of topical territory this year, embracing the official theme 'Design for Change'. Semi Permanent's 2017 event will take over Carriageworks from Thursday, May 25 to Saturday, May 27 and features a cast of players so influential in the modern design game that while this event's in motion, the world will become a very desolate and tacky place. The headlining speaker is Oliver Stone, the Academy Award winning director behind such influential films as Scarface, Midnight Express, Platoon, Wall Street, Natural Born Killers, JFK, Nixon, and The Doors. Other speakers include Museum of Contemporary Art Australia director Elizabeth Ann Macgregor, Katherine Keating publisher VICE Impact, Nike design director Meirion Pritchard and Nike EMEA brand director Gary Horton, Jacqueline Bourke from Getty Images, animation studio Moth Collective, Design Studio's Paul Stafford, Frog Design and Australian designers David Caon, Henry Wilson and architect Kelvin Ho. The program also includes the Future State panels, a series of talks about the how the design world, and the world as a whole, is growing and changing. The themes for the panels will cover Artificial Intelligence and machine learning, immersive storytelling, and redesigning cities. Appearing on these panels will be representatives of Google, Netflix, Pixar, and Amazon. Plus, Google and Semi Permanent are launching an immersive experience with Tilt Brush in collaboration with contemporary artists. Murray Bell and Semi Permanent are not only collectors and sharers of good design, they aim to be influencers who enable the design community to improve and grow. The idea behind the project is to create a global platform of creating, networking, and sharing, and to bring top-notch original content to readers of their site. Semi Permanent's 15th birthday is part the Vivid Sydney program. Semi Permanent runs May 25-27 at Carriageworks. General one-day tickets are $340, two-day $544 and three-day $765. Premium one-day tickets are $540, two-day $864 and three-day $1215. Student tickets available too. Check semipermanent.com for more details. Images: Semi Permanent.
In January 2007, Joe Klein wrote a fascinating Time piece on Hilary Clinton, noting: “she is prohibitively rational and unclouded by undue emotionality….She doesn't feel your pain; she understands it. Rationality breeds caution, and caution breeds a lack of spontaneity which can make her seem cold and calculating.” Given Clinton was on the cusp of becoming the first viable female candidate for President it’s more than likely a few people read Klein’s piece and found his characterisation eerily reminiscent of the famously phlegmatic Margaret Thatcher – perhaps the most divisive (and derided) western political figure of the modern age. ‘Cold and calculating’ is a sadly familiar description of women in higher political office, just as it’s a characteristic unfairly applied since the same quality in men is so often deemed ‘Presidential’. For screenwriter Abi Morgan, however, such unsentimental obstinacy represented the ideal cornerstone for her Thatcher biopic, The Iron Lady. The key scene occurs about an hour into the movie. Here we find an elderly Thatcher chiding her physician for simply asking her how she feels, saying: “One of the great problems of our age is that we are governed by people who care more about feelings than they do about thoughts and ideas.” Such is the Thatcher that Morgan chose to present: stubborn, principled and proudly unsentimental. Indeed, the film’s title takes its name from the sobriquet given to Thatcher by the Soviet media due to her unwavering opposition to communism, and director Phyllida Lloyd (Mama Mia) gleefully indulges. Thatcher was a thinker, not a feeler, and her eleven-year tenure as Prime Minister wholly reflected that. Meryl Streep is quite simply phenomenal in the lead, with her dual portrayal of Thatcher, both as a grandmother slipping into Alzheimer’s and as her younger self entering (then commanding) parliament, utterly captivating. Her performance certainly outshines the film on a whole, which sadly only presents a broad strokes review of Thatcher’s life rather than focusing on just a few key moments and exploring them more rigorously. It’s a sort of ‘Thatcher sans Thatcherism’ approach that regrettably robs audiences of the kind of in-depth character analysis they might have been hoping for. In particular, Lloyd provides only scant mention of the infamous miner’s strike that forever soured Thatcher’s image for millions of Britons, and almost all of her defining moments are presented in a distinctly feminist light such that even the Falklands War somehow comes across as a story about an audacious women taking on the status quo. Despite its failings, The Iron Lady remains a fascinating film about an extraordinary woman (regardless of one’s feelings towards her) and offers a sublime showcase of Meryl Streep’s astonishing abilities that already have her odds-on favourite for the 2012 Academy Award.
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It was a sad day in the history of Sydney live music when the Lansdowne Hotel announced that they were shutting their doors for a final time. After years of giving a leg up to the lesser-known local acts and providing a stage for massive home grown artists like The Living End or You Am I, the Lansdowne Hotel called it quits for good. And then two years later, the team behind Mary's swooped in to resurrect the iconic pub. In some of the best news all year, the Lansdowne has thrown its doors open again and stretched its welcoming arms to draw everyone in for a warm hug of pub grub, cheap beer and good music. Image: Jack Steel.
Considered Brisbane's Banksy by many, famed Australian artist Anthony Lister is at it again. This time, he's launching a ten-year anniversary show in Kings Cross from Wednesday, July 17 — and it's free to the public. Culture is Over pays homage to the bygone era of Kings Cross as the thriving cultural hub of our city. The exhibition marks ten years since Lister's pop-up event No Win Sitch — which took place in the now-closed Porky's Nite Spot strip club, and helped the artist gain international recognition. Fittingly, Culture is Over will also take over the old Porky's digs with an exploration of just how much Sydney has changed in the past ten years. This latest installation is inspired by Lister's iconic artwork Moloch of Luna Park, which depicts the unidentified horned man that is said to have terrorised theme park guests back in 1979. Expect paranormal and mythical themes in a mix of painting, sculpture and video installation — all of which track how, according to Lister, our city has "lost its soul", thanks to the lockout laws. Opening night will take place on July 17 from 7–9pm. The free exhibition will then run for one week until July 24, with opening hours from Monday– Friday between 11am–3pm. For serious collectors (and serious fans with some cash to splash), some of Lister's artwork will be available to purchase, too. Images: Yasmin Suteja.
Since November 2013, the Darlinghurst Theatre Company has staged a number of engaging productions from its home at the Eternity Playhouse. Inside a 129-year-old heritage-listed building, the design project between the company and the City of Sydney allowed artistic director Glenn Terry and his team to take their productions to the next level. With a focus on telling stories from diverse voices, which explore and challenge the world today, the company accepts pitches from professional artists and works collaboratively to take the artists' visions to the stage. In 2019, the Darlinghurst Theatre Company has expanded its creative offering, adding dance, comedy, cabaret, music and public forums to its usual theatrical program. Explore the 2019 season here, for productions such as the Sydney debut of acclaimed Broadway musical Once, Jane Harrison's Menzies era story about a First Nations family Rainbow's End, and the world premiere of Victoria Midwinter Pitt's equality manifesto I'm With Her. Image: Once by Robert Catto.
No nation did Beatlemania quite like we did. Perhaps that's because we had just one chance to express our adoration. The Fab Fours' only tour of Australia started with 1,000 fans, 100 journalists and a rainstorm at Sydney's Kingsford Smith Airport on the morning of June 11, 1964 and finished up with John Lennon's summation, "It was good", on July 1. For two weeks, the country demonstrated a never-before-seen capacity for obsession (with the possible exception, of course, of 60s "egg man" Bob Katter). Fifty years later, we're invited to relive the fervour via the Beatles in Australia exhibition. Both Sydney's Powerhouse Museum and Melbourne's Art Centre are to be transformed into sites of Beatlemania. There'll be rare objects sourced from fans, collectors and museums; newsreels; television footage; radio excerpts and press clippings, exploring the before, during and after of the visit that, according to some, altered the Australian cultural landscape forever.
Let's face it — you don't normally expect to walk out of a bar feeling smarter. But global initiative Raising the Bar looks to do just that, pulling education out of classrooms and injecting it into unexpected locations. Hailing from New York, Raising the Bar is heading to Aussie shores, in partnership with the University of Sydney, to take over Sydney bars for one night only. Ten Sydney haunts — including Della Hyde, Since I Left You, Mojo Record Bar and The Taphouse —are getting involved in this free event, with each venue hosting talks at 6.30pm and 8pm. The bars will be open for business, too, so you can grab a beer to sip on while you try to memorise some new facts to share at parties. Some of Sydney's brightest minds will come together to discuss their research. And the conversation topics are about as varied as you can get — from heatwaves to happiness to the bioethics of human tissue. Registration for each individual event is a must, so head over here to check out the full program and nab your free ticket.
You can never have too many food trucks and chicken wings, and King of the Wings is hoping that the poultry-loving people of Sydney agree. After slinging their spicy pieces around Brisbane since 2014 — and proving one of the first purveyors of meals-on-wheels in southeast Queensland, in fact — they're heading south to bring their tasty morsels to a whole new batch of hungry customers. Come May, King of the Wings will pop up at The Observer Hotel in The Rocks for what they've dubbed 'Wing Week', serving up tender, tasty chicken galore. The full details of the event yet to be revealed; however, just running your eyes over their menu should be enough to motivate you to be there. It's about quality over quantity here, with the self-proclaimed wing kings specialising in five flavours: their signature Southern-style herb and spice rub, a sweet chilli-infused honey sesame sauce, traditional American barbecue, the extra hot 'Chillogy' and a Portuguese crumb. The Sydney pop-up comes hot on the heels of King of the Wings adding a second, split-level design truck to their fleet, as well as competing in last year's New York Wingfest — where they took out the best new vendor field, and came second in the best wing sauce category. Sydneysiders, if you want to find out why, you'll just have to head along. King of the Wings will pop up at The Observer Hotel in The Rocks, Sydney in May. For more information, keep an eye on their Facebook page.
On Saturday, February 16 and Sunday, February 17, 2019, the Royal Botanic Garden will be hosting its annual Tomato Festival for the sixth consecutive year. As well as eating tomatoes — obviously — it'll feature an abundance of cooking demonstrations, talks, tips and tricks that are guaranteed to inspire your creations in the kitchen. If cooking doesn't suit your weekend relaxing plans, take part in the Longest Tomato Lunch, a dining table that stretches 70 metres long on the Garden's foreshore lawn. No surprising for guessing the main ingredient on the menu — yes, you'll indulge in an Italian and tomato-inspired meal, with award-winning chef Luca Ciano putting together the menu. The 2019 fest promises more stalls, more food and beverage offerings and more places to sit — and, as usual, highlights include pop-up bar and cafes, a mandala made out of tomatoes, a produce market filled with some of Sydney's highest quality produce, and taste testing a-plenty. Tomatoes will be judged on their colour and smell, and you'll be able to witness some of the best in show, from the best local and homegrown farmers. Just don't wear white. Images: Royal Botanic Gardens Sydney.
The bond between Italians and their food and wine is a sacred one, and with the Sydney Italian Wine + Food Festival, Sydneysiders are invited to partake in this holy combination. Get ready to abandon any carbless aspirations and embrace gloriously hearty nosh as this festival returns to Sydney. With it comes the promise of produce that will dance upon your tastebuds in a merry cheese and basil-infused tarantella. This year, they're setting up shop for the day at the Barangaroo Reserve for the first time and they're bringing along some of the best names in Italian cuisine. Cooking demonstrations and talks will be on all day. Want to see mozzarella being freshly made? You can. Want to watch fettuccine be churned out from scratch? Go for it. As well as watching the creation of Italian food, you can also, of course, eat some. There will be fresh produce to purchase, with everything from gelato to coffee, pasta to pizza on offer. The marketplace will host pop-up restaurants from some of Australia's best chefs, including Sydney's Popolo and Balla, Brisbane's Otto Ristorante and Melbourne's 400 Gradi. Pair that with over 200 of Italy's finest wines and you've got yourself a damn good feast. Not to mention a casual Negroni Bar. Once you've eaten yourself silly, you can loll around in a semi-food coma in the wine garden while enjoying some live Italian jazz. As the day transitions into night, expect a full DJ set of Italian vinyl and European tracks until 9pm.
With a towering collection of contemporary art, Artbank is the leader in art leasing in Australia. Established by the government in 1980, it serves a broad range of domestic and corporate clients, spending up to $1 million per year on new and diverse acquisitions. Now Artbank are moving out of their Rosebery headquarters and into the thick of things. The new purpose-designed space is adjacent to the Danks Street Gallery Precinct in Waterloo. And the inaugural exhibition, Loose Canon, is the perfect opportunity to get a glimpse into a frequently off-limits collection. Opening on Saturday, August 23, this show will present an updated and alternative version of Australia’s cream of the crop. Featured artists include Billy Kenda Tjampitjinpa, Vivienne Binns, Peter Maloney, Todd McMillan, Katthy Cavaliere, and many more. You’ll definitely want to stick around on Saturday for Artbank Social Club. This extended opening ceremony will be packed with performance artists, DJs, food and drinks. The Loose Canon exhibition continues until November, when all featured works are available for lease. Image: The Rights and Wrongs of Women by Katherine Hattam.
Sydney's very own fine-dining Willy Wonka, chef extraordinaire Nelly Robinson, has carved out a singular niche in the city's culinary scene with his whimsical degustations inspired by all manner of surprising muses from Disney movies to Colonel Sanders. His latest gastronomic magic show celebrates the cuisine of Great Britain and in classic Robinson style, the 11-course menu is a feast for all the senses. At NEL — Robinson's Surry Hills restaurant — theatricality and storytelling are as integral to a meal as the food itself. Take, for example, a dish from the Great British menu titled A Monarch at Rest, conceived as a touching tribute to the late Queen Elizabeth II via a reimagining of one of her favourite meals — salmon with asparagus. Combining a lightly spiced confit salmon served with a warm asparagus and leek soup and topped with smoked salmon roe and puffed barley, the dish is completed with an elegant garland of edible flowers, echoing a funeral wreath. Other dishes are more playful, such as a chicken tikka tart, nodding to the UK's obsession with Indian curry. The flavours of the classic chicken tikka masala — a dish supposedly invented in Glasgow in the 1970s, especially for British palates — are captured in a turmeric-spiced rye tart filled with tikka-marinated chicken thigh and puffed wild rice, finished with a refreshing burst of smoked mint yoghurt at its centre. The timeless summer dessert of Eton Mess gets a gourmet glow up with the usual smash of meringue, cream and strawberries brought into refined order. This delicate confection combines meringue shards, toasted marshmallow, strawberry nectar, melon herb and lemon balm with such artful grace, diners will be left with an ironic conundrum over whether to mess up such a beautiful plate. This is Robinson's second epicurean romp through the UK's culinary history, following last year's Great British Memories menu which included spins on gammon and eggs, beef wellington, fish and chips and even Paddington Bear's favourite snack, marmalade sandwiches. Other British crowd-pleasers getting the Nel treatment in this latest British-inspired menu include fish-finger sandwiches; the humble leftovers dish bubble and squeak; and the afternoon tea staple, the eccles cake. "By incorporating modern techniques and high-quality native ingredients, we've created a dining experience that respects tradition while offering something fresh and exciting," Robinson says. "The Great British menu is a heartfelt homage to the culinary staples that have defined British cuisine." The 11-course menu costs $165 per person with matched wines and themed signature cocktails for an additional $155.
As an Annandale local, I can avow that Parramatta Road is a deeply depressing commute. Walking to the Johnston Street bus stop opposite shuttered shopfronts and treeless footpaths makes me feel like I have no life. But Leichhardt mayor and potential hero Darcy Byrne hopes to correct this sad situation, with his exciting proposal to transform the ugly blight of Parramatta Road from Sydney University to Lewisham into a hub of live music and nightlife, not unlike the venue-lined thoroughfares of New Orleans or New York's Broadway. Think music venues, comedy clubs and intimate bars open into the small hours. The proposal comes in the wake of the regrettable passing of the iconic and beloved Annandale Hotel, which went into receivership this summer after a slew of legal battles with neighbouring residents over noise levels. Now Byrne is taking measures to ensure other venues in the area don't share the Annandale's fate. These measures include the Good Neighbour policy, allowing for higher levels of noise and much later trading hours, and a plan to rezone Parramatta Road as Sydney's first dedicated live music and cultural precinct. If you think about it, the strip's current attributes lend itself perfectly to this proposal: near to the CBD but not overly residential, Parramatta Road offers easy public transport access and has a pre-existing community of musical instrument retailers and recording studios. If the plan goes ahead, Byrne could "transform this roadway into rock-and-roll central", a development that could do great things for both homegrown musicians and the young 'uns of the inner west alike. Image of New Orleans by benswing.
Billed as an “inter-faith minibus tour (with a sonic and visual dreamscape)”, The Calling will take you on a tour of religious architecture and sacred music in Western Sydney. Created for the Sydney Festival by the always cool Information and Cultural Exchange (ICE), The Calling is a different and experimental way to visit new places and cultures — via the aural journey in your ears and the real interactions waiting at each stop. You'll have to be an early riser, however. Beginning at the crack of dawn with the Adhan (the Islamic call to prayer), you will explore selected mosques, temples and churches throughout Auburn, Granville and Parramatta. Also thrown into the mix is a delish traditional Lebanese breakfast. "This is not an anthropological or theatrical spectacle," says ICE executive director and project curator John Kirkman. "Rather, it is a discreet opportunity to move between and within the built and aural realities and ritual of worship and community faith."
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Did your New Year's resolution involve eating more of the things you love? Do cheese, charcuterie and pretzels fall into that category? If so, The Bavarian has an all-you-can-eat special that'll tempt your tastebuds — because a bottomless feast is on the menu. Throughout January and February, the German-themed chain is serving up all-you-can-eat meat and cheese boards. They come stacked with German cheeses, Prager ham, schinkenspeck, lyoner, berliner, liverwurst, pretzels, gherkins, Kühne mustard and remoulade — and once you've finished your board, you'll get a new serving. You have 90 minutes to eat as much as you'd like, and it'll cost you $25 per person. There is a two-person minimum, so you'll need to take your fellow meat- and cheese-loving partner or pal along with you. You'll find The Bavarian at Charlestown, Rouse Hill, Castle Hill, Shellharbour, Tuggerah, Manly, Penrith, Miranda, Macarthur, Green Hills, Entertainment Quarter, York Street, Wetherill Park and Chatswood in New South Wales. And if you want to pair your boards with German brews — which is understandable — you'll pay extra for the drinks.
There is a high chance you've already heard of Chet Faker, along with his soulful, trip-hop offerings and his mega-babin' beard. The Melbourne-based artist started making waves online with his cover of Blackstreet's 'No Diggity', which spread across the blogosphere like wildfire, making him an internet superstar in a very short period of time. One EP later — Thinking in Textures — and he's already toured around globally, including stellar sets at Austin's SXSW, the UK's Great Escape Festival and our very own Splendour in the Grass. Indulge in what will surely be a night of swooning, grooving and singing to the soulful sounds of Chet Faker and his band, as he digs deep to deliver some of the most heart-melting tunes and stories of love. https://youtube.com/watch?v=P9r7KJJYkYY
Not only is The Rocks Sydney's oldest part of town — with some of the oldest watering holes — but it's also got some classic Sydney views to boot. Directly across the water from Bennelong Point, the area is perfectly positioned for uninterrupted vistas of the Opera House, Circular Quay and the harbour. So now that Vivid Sydney is officially in full swing, it's time to take advantage of those sprawling views. What's even better, you can take in these sights at some primo dining spots. Here are five eateries in The Rocks where you can catch some significant doses of Vivid light shows — pre-, post- or during dinner. SAKE Wearing its prestigious chef's hat for six years running, this restaurant is the perfect pause from the Vivid hubbub with its inventive sushi and over 40 sakes. Through the faux traditional Japanese entrance and down the long walk into the main room, you're removed from the bustle and guided to a cavern-like space divided between tables, booths and shoes-off and bum-on-floor tatami dining. Kick off your shoes, dig into some house specialties like the nori crips with tuna, kingfish green onion, togarashi and sesame dressing, and the Glacier 51 toothfish with miso butter, cooked in bamboo leaves, then head back out onto the illuminated streets refreshed and ready yourself for a game of LED hopscotch through The Rocks. THE ROCKS NIGHT MARKETS If you'd rather have a stroll through the Vivid sights with some tasty takeaway, instead of committing to a sit down meal, The Rocks Night Markets on Fridays and Saturdays (plus the Sunday of the Queen's Birthday long weekend) have you sorted. Before you set out through the lighted laneways, take some time to wander the stalls now set up on Playfair and Atherden Streets. Sample handmade, dried, baked, whipped and roasted products from all over the city and further afield. You name it, you'll get your hands on it — from BBQ skewers to cupcakes, gozleme and handmade chocolates. You'll also find new comers like Saké Jr serving up Japanese fried rice, and Fratelli Fresh dishing out authentic Italian eats from their pasta and gelato bar. And as a bonus, there'll also be live music. Sights, eats and tunes, sorted. The Rocks Night Markets are held Fridays and Saturdays, plus the Sunday of the Queen's Birthday long weekend during Vivid from 6–10.30pm. ALTITUDE RESTAURANT The Shangri-La's Altitude Restaurant offers the epitome of dazzling views. That's because it's on the 36th floor of the hotel, and it's fitted with floor-to-ceiling windows overlooking the harbour, all the way out to the heads. While you're working through your tempura soft shell crab with saffron risotto, foie gras brûlée with squid ink puree, cocoa nib and hazelnuts, Macleay Valley pork loin, and white chocolate and pear sorbet to finish, gaze out over the city's panoramas flickering and flashing with Vivid colours below. THE DINING ROOM AT PARK HYATT What Altitude offers in dizzying heights, The Dining Room at Park Hyatt offers in its spectacular proximity to the water and juxtaposition to the Opera House — a table here is about as close to the harbour as you can get without jumping on a ferry. Plus, the four-metre, floor-to-ceiling windows make for unreal views of Vivid right from your table and away from the crowds. Like Altitude, The Dining Room is for fine dining, but for tighter budgets — the tasting menu presents a reasonably-priced four courses of Sydney rock oysters, albacore tuna crudo, Tassie salmon with carrot declination, kaffir lime and coconut foam, slow-cooked, 'Bourguignon-style' wagyu beef cheek, plus a decadent chocolate bar with popcorn ice cream and salty caramel sauce. Pair it all with wines presented by the sommelier, and you're still paying less than $150 per person, for top-notch cuisine with a million dollar view. FINE FOOD STORE If there's one cafe in The Rocks that locals have frequented for over a decade, it's this one. The Fine Food Store pours Sydney's legendary Coffee Alchemy — plus blends up the famed Golden Gaytime shake — from its clandestine location on the corner of Mill and Kendall Lanes. And during Vivid this local favourite is keeping the lights on late on Fridays and Saturdays with homestyle Northern Italian eats served from their pasta pop-up. The regular cafe menu will also be on offer until 9pm — which includes some pretty tasty cocktails. So, dig into some fresh pasta, wash it down with a barrel aged negroni or deconstructed old fashioned, then check out the many light installations just around the corner. Top Image: Destination NSW
For three weeks, Darlinghurst Theatre Company is transforming from a CBD hub for theatre, arts and cabaret into a live music haven, hosting a series of performances from some of the country's most exciting queer and gender-diverse musicians. Heading up the roster of boundary-pushing talent on opening night is local rapper JamarzOnMarz who made headlines in 2020 for speaking out against the policing of Black hairstyles in Australian school uniform codes. Also on the lineup: Charli XCX collaborator Banoffee and a slew of local talents including imbi, Okenyo and Huck Hastings, who will be launching his debut album as part of the program. Each night of the Darlo Sessions will feature a 7pm and a 9pm session. Tickets start at $35, but if you're looking for a jam-packed night of live music, you can purchase a double bill ticket to see both sessions for the reduced price of $76.50. Four tickets from each session are also reserved as part of a 'pay what you can' system for those who may face social barriers to attending. To complete the night, make sure make time to enjoy theatre company's summer menu courtesy of Two Trout Restaurant, featuring a selection of snacks and cheese, as well as ocean trout rillette and barbecue smoked chorizo. You can find the full lineup and purchase tickets via the Darlinghurst Theatre Company's website. [caption id="attachment_800805" align="alignnone" width="1920"] imbi by Rene Vaile[/caption] Top image: Robert Catto
A winter festival is popping up for two weeks in Darling Harbour's Tumbalong Park with live music, food stalls, fireworks and pop-up igloos. Spanning eight days across a two-week period, the winter wonderland will take over the waterfront park from Thursday to Sunday on the weeks of August 11 and August 21. There's plenty to unpack in the program, starting with the igloos. These dreamy winter retreats can be booked out by groups of up to six people for $65 an hour and includes a round of mulled wine or hot chocolate. Once you're settled inside, you and your friends or your date can order from the igloo's drinks menu. Plus, the festival is giving away a private igloo experience for one lucky group of six. As for the live music, Tumbalong Park will be soundtracked by an eclectic lineup of bands headlined by Furnace & the Fundamentals, Hot Potato Band and Soul Movers — the new project of Lizzy Mack and ex-Wiggle Murray Cook. You can head to the Darling Harbour website to browse the live music program in full. If Darling Harbour's wide array of restaurants and bars weren't already enough, the festival's food and drink stalls will feature appearances from the likes of Burgerhead, Firepop, Gelatissimo, Toastiesmith and Bubble Nini alongside a handful of pop-up bars serving craft beers and mulled wine. And, each Friday and Saturday throughout the festival there will be an 8.30pm fireworks display which will light up the skies over Cockle Bay. To explore everything that's happening at the festival, head to Darling Harbour's website.
Back in January, the City of Sydney ran a four-week festival that saw it shut down inner-city streets for al fresco dining pop-ups. The Summer Streets saw waves of Sydneysiders soak in some sun and support local businesses on bustling streets across Redfern, Glebe, Surry Hills, Darlinghurst and Pyrmont. With spring currently in full swing, the minds behind Summer Streets have brought the program back for a six-week run throughout October and the start of November. Now labelled Sydney Streets, the run of street parties are popping up on busy thoroughfares across Surry Hills, Pyrmont, Redfern, Haymarket, Glebe, Potts Point and the Sydney CBD from Saturday, October 1 — with the first event taking over Surry Hills' Crown Street. From there, a different City of Sydney suburb will be given the street party experience each Saturday until the program finishes up with a blockbuster event spread across Darlinghurst Road and Macleay Street in Potts Point. Also getting involved in the festival: Harris Street, Stanley Street, Redfern Street and Glebe Point Road. Each weekend's event will see these spots trade traffic for outdoor dining, shopping and live entertainment from 11am until 10pm. The City of Sydney hopes this initiative will help businesses to continue to bounce back after an extremely tough couple of COVID- and rain-affected years. Following this upcoming spring edition, another run of Sydney Streets will be taking place at the beginning of 2023 between January and April. [caption id="attachment_648852" align="alignnone" width="1920"] Leticia Almeida.[/caption] SUMMER STREETS DATES Crown Street, Surry Hills — Saturday, October 1 Harris Street, Pyrmont — Saturday, October 8 Stanley Street, Darlinghurst — Saturday, October 15 Redfern Street, Redfern — Saturday, October 22 Haymarket — Saturday, October 29 Glebe Point Road, Glebe — Saturday, November 5 Darlinghurst Road and Macleay Street, Potts Point — Saturday, November 12 Top image: Stanley Street, Destination NSW
Firedoor Fireshop is a collaboration between Surry Hills diner Firedoor and the legends at OzHarvest. Firedoor is delivering weekly at-home meals in order to keep Firedoor's suppliers in business throughout lockdown, raise money for OzHarvest to provide Aussies with meals and brighten Fridays for Sydneysiders. Each meal requires some assembling and heating, in order to ensure you get to enjoy your order fresh and hot. Cooking instructions are included and the process is promised to be simple even for the most kitchen-challenged among us. There are different menus on offer each week. Ahana's Indian Feast on August 13 is one highlight, featuring bharli vangi, chicken reshmi kebab, chola'r dal, raita, pulao rice and banana sheera for dessert. Or there's Lennox Hastie and Jason White's Dinner Box on August 20, which comes with grilled octopus, roasted onion focaccia, dry-aged lamb chop with mint sauce, charred greens and lemon meringue pudding. The Friday meals will set you back $140 and need to be ordered in advance. [caption id="attachment_641664" align="alignnone" width="1920"] Nikki To[/caption]
Some of the world's best pastry chefs have joined forces with the Australian Red Cross to launch Desserts 4 Difference: a global bake sale raising money for Australia's bushfire relief. Fundraising events will pop-up around the globe on Saturday, February 8 — and Sydney's will be hosted at Gelato Messina's Rosebery HQ. Pastry chefs from across the city will come together to bake sweet and savoury desserts just for the day — including Yves Scherrer (from Clovelly's newly opened Madame & Yves) and Andy Bowdy (from Saga and Saga Lyte). Plus, Gelato Messina, Textbook Patisserie, Port Macquarie's Urban Grain Bakery and Stix catering will all involved, with more to be announced in the lead up, too. The event will run from 10am–3pm (or until sold out) and 100 percent of the proceeds will go toward the Australian Red Cross. [caption id="attachment_710059" align="alignnone" width="1920"] Textbook Patisserie[/caption] A whole heap of other Sydney businesses are hosting Desserts 4 Difference fundraisers, too, including Pepe Saya, all 12 Bourke Street Bakery stores and Filipino dessert truck Mix Mix Co — which will set up shop at The Rocks' Saturday market from 10am–9pm. The full list of events and participating pastry chefs can be found on the fundraiser website and Instagram. If you miss out on February 8, you can also donate directly via the Desserts 4 Difference website. Sydney's Desserts 4 Difference runs from 10am–3pm (or until sold out). Top image: Saga by Kimberley Low
Darlinghurst's beloved laneway bar Love, Tilly Devine is celebrating the chilly season and longest night of year with a wine-filled winter solstice party. Imbibo — an acclaimed Melbourne wine importer — is arriving at the Crown Lane venue to pour top-quality drops from eight of its favourite winemakers. There will be a full spread of white, red, skin-contact and bubbles served across the night, paired with roasted Tathra Place porchetta rolls from Chef Tom Bromwich. Highlights from the roster of wines include a sweet, citrusy and bubbly Western Australian chenin blanc; a chardonnay from Little Reddie of Macedon Ranges; and a 170-day Mildura skin contact. There will be a range of snacks including Sydney rock oysters or spiced pea and paneer croquettes, but the star will be the porchetta rolls, topped with hot sauce, mayo and apple coleslaw. The Tuesday-night event will kick off at 7pm and is a walk-in-only affair, meaning you'll want to get in early to ensure you can nab a spot. Images: Bruno Stefani for Buffet Digital
Finnish design house Marimekko has been brightening up homes and wardrobes around the world for over 60 years. The focus of the brand is about putting the 'fun' in functional; products are expertly crafted to last, with textiles printed at the company's own factory in Helsinki. Its Sydney store is one of over a hundred around the world. It carries Marimekko's timeless and bold designs that are brought to life via textiles, clothing, accessories, handbags and homewares, including the now iconic red 'unikko' poppy print. The store fit-out, by Japanese design firm IMA, is a mostly black, white and timber affair, but the products more than make up the colour quota. Visit to feast on the designs and pick up a few unique pieces.
It's a problem that everyone can relate to: your thirst needs quenching, but your tastebuds are craving two completely different things. You could make the hard choice and pick between them — or, if you happen to be hankering for dessert and beer (and getting your fill of dumplings, too), you could make a beeline to Harajuku Gyoza. From Thursday, December 10, the Australian gyoza chain is serving up a two new tap beers that taste like Japanese desserts. Obviously, they don't literally combine desserts with beer, but they're meant to taste that way. Come for the black sesame ice cream variety, which has been sweetened with lactose, takes its nutty flavour from black sesame seeds and features chocolate as well — and stay for the matcha ice cream version, which also uses lactose, plus matcha powder for a herbal green tea taste. Given that Harajuku Gyoza has already turned dumplings into dessert — via its salted caramel and Nutella varieties — pouring dessert-flavoured beers seems the logical next step. The brews come courtesy of Yoyogi Brewing Co, and use Japanese brewing techniques as well as Japanese-inspired ingredients. If you fancy pairing the new beers with two of Harajuku Gyoza's old favourites — cheeseburger gyoza, which is stuffed with burger pieces, aged cheddar, onion, pickles, mustard and tomato sauce; and mozzarella gyoza, which is filled with the obvious, then deep-fried and sprinkled with Twisties salt — that's up to you. Usually the chain's special additions to its menu are only available for a limited time, so you might want to get in quickly. Harajuku Gyoza's Japanese dessert-inspired beers will be available at all Australian stores — at Darling Harbour in Sydney; at South Bank and the CBD in Brisbane; and in Broadbeach on the Gold Coast — from Thursday, December 10.
Plenty of sun. A little shade. Icy, refreshing beverages. Proximity to a body of water. On a hot summer's day, that's exactly what you want from a bar. Thankfully, Sydney currently has six bars that tick all of those boxes — and, they're only around for a short time. Yep, they've only popped up for the hotter months. You'll find a beach-themed oasis in Darlinghurst, a vodka-fuelled pop-up in Bondi, one hidden in The Rocks serving up $6 espresso martinis and even a bar with a pour-your-own frosé station. Check BOM, round up your mates, head out for an arvo at one of these extremely summery pop-up bars before they disappear
If you missed last month's Guinness & Oyster Festival in The Rocks, you're in luck. The first annual Treehouse Guinness, Oyster and Whisky Festival is heading to the North Shore on Saturday, September 23. Inspired by the famous annual Galway International Oyster Festival back in the motherland, The Treehouse Hotel in North Sydney is hosting a day celebrating Irish culture, led by its general manager and Irishman Colm O'Neill. The festival is split into two parts. The day part goes from 12–4pm and entry is free. Tokens can be purchased on the day to redeem for food and drinks. Doors open and the live music begins at 12pm. Punters can peruse pop-up bars serving Guinness, award-winning Waterford Irish Whisky (among other standout whisky brands), Howard Park sparkling wine and Sydney Rock oysters from East 33. Stick around for the oyster shucking and Guinness pouring competitions, with prizes up for grabs. There will be a traditional Irish dancing performance courtesy of the Dwyer-Whelan Academy of Irish Dance, face-painting, hurling (a traditional Irish sport) and a whole roast pig if you get peckish and oysters aren't your thing. For those wanting to kick on and support a good cause, the second part of the festival will kick off from 6pm with an Irish-inspired feast. The dinner begins with oysters (of course). This will be followed by your choice of prawn cocktail (made with Queensland tiger prawns), seared scallops with traditional black pudding from The Irish Butcher or creamy chicken vol-au-vents. For mains, guests can enjoy beef cheeks braised in Guinness for 18 hours or king salmon glazed with Waterford Irish Whisky. To finish the feast, diners can choose between a dark chocolate and Guinness cake or a classic Irish dessert: baked apple crumble pie with cinnamon anglaise and vanilla ice cream. Drinks will include beer, wine, Guinness and Waterford Irish Whisky. Punters will also enjoy live music from special guests Rebecca Harkin and Marcus Holden, premiering their new show, Celtic Grá (grá translates to love). Tickets to the fundraising dinner are $130pp, with proceeds going towards the Irish Support Agency. This not-for-profit organisation supports the extended Irish community in NSW with regular community events, health services information, employment help, and accommodation crises. Entry to the day festival is free. Reserve your spot on the website now. Tickets to the fundraising dinner are $130pp and include a four-course meal and a beverage package. Buy your tickets for the dinner on the website. All proceeds go towards the Irish Support Agency.
In just one year, Odd Culture has cemented itself as one of King Street's most exciting and popular bars. Its extensive wine list, next-level bar snacks and immaculate vibe have had Inner Westies flocking to the Newtown venue. To celebrate the success of its first 12 months, the bar is throwing an old-fashioned birthday party. As part of the first birthday celebrations, the Odd Culture team will be spotlighting a range of their culinary favourites. Head Chef Jesse Warkentin has compiled a retrospective menu that features highlights that have emerged from the Odd Culture kitchen throughout the year, alongside a few new surprise dishes. And, what's a good party without a keg? The bar will be tapping a range of Belgian kegs from the likes of Brasserie Fantôme, De Ranke, and Brasserie de Blaugies to complement the impressive selection of wines on offer through the night. Said wines will come in the range of magnums from respected producers ranging from Australian natural wine trailblazer Lucy M to cult-favourite Gut Oggau. Odd Culture's Head Sommelier Darcy Ellis will be in attendance, roaming the venue throughout the night to help guide guests through the drops they're tasting. Plus, the tunes will bring big birthday energy, with DJ Charlie Chux hitting the decks. Entry to this celebratory shindig is free, and while reservations are recommended, walk-ins will also be welcome.
In late 2018, an Italian restaurant with olive trees, woodfired breads and next-level pasta opened inside Bondi pub The Royal. Called Totti's, it was an instant hit in the eastern suburbs. And now, it's heading to the city. Come Wednesday, January 15, you'll find Bar Totti's inside Merivale's CBD Ivy Precinct. Like its beachside sister, it has woodfired bread alongside an extended menu of antipasto plates and snacks — spanning twenty different plates, with sardines, scallop crudo, burrata, anchovies, 'nduja, octopus and baked tomino cheese all on the list — but, unlike its sibling, it's also promising high-energy party vibes. A horseshoe-shaped bar sits at the centre of the space, where the focus is on favourite Italian drops, including spritzes, digestifs and minimal-intervention wines. Sit at high top tables and listen to DJs from Wednesday–Sunday nights — or grab a seat next to the large windows overlooking George Street. [caption id="attachment_757524" align="alignnone" width="1920"] Nikki To[/caption] As well as the aforementioned antipasto, Totti's Head Chef Mike Eggert together with Chef Jake Ahrens (Ash St Cellar, Uccello) are serving up grilled king prawns with chilli and fennel, haloumi, honey and rosemary chicken wings and grilled garfish. For dessert, expect Totti's signature tiramisu and neapolitan ice-cream sandwiches. Bar Totti's joins 1920s Paris-inspired cocktail bar Little Felix in the Ivy Precinct and two more eateries are still to come: a Lebanese restaurant headed by ex-Rockpool Chef Simon Zallou and a Mexican bar. It's the first phase of Merivale's 'Ivy 2.0', which will see the site entirely redeveloped — but that won't come into play for many years to come. These openings coincide with the end of the lockout laws on January 14, the big Light Rail reveal and the City of Sydney's newly approved late-night trading plan, all of which are hoping to help revive Sydney's CBD. Find Bar Totti's inside the Ivy Precinct at Shop 4/330 George Street, Sydney from Wednesday, January 15. It'll open from noon until late seven days per week. Images: Nikki To
They're the sticky cinnamon scrolls that come drenched in glaze, and are famous all across the USA. And at the end of last year, they finally became available Down Under, with Seattle-born chain Cinnabon opening its first Australian store in Brisbane — and then following it up with a second venue this year. While Cinnabon's arrival in Queensland has been great news for Brisbanites, that's hardly the case for scroll-loving folks everywhere else in the country. Thankfully, if you're a Sydney resident keen to get your fix, the company is now delivering across New South Wales. That's a handy option in one particular way, as it means that you won't have to queue at a busy store. In Brisbane, Cinnabon's first location still regularly had a lengthy line months after it opened. As for what NSW pastry-lovers can order, you have a choice between several different packs and three types of 'megabon' — the chain's version of a cake. In you're keen to eat your way through four regular-sized scrolls ($19–21) or nine of its smaller 'minibons' ($27–30), you can choose between the classic cream cheese cinnamon roll, the popular chocolate-drizzled Chocobon and very extra Caramel Pecanbon. The same flavours apply to its super-sized sweets ($15–20), too. If you're yet to get acquainted with the decadent dessert creations, prepare yourself for aromatic, cinnamon-spiked dough made to a long-held recipe, which are notoriously tough to replicate. One thing that's different for Sydneysiders, though, is the frosting. While Cinnabon's scrolls usually come decked out with stacks of signature cream cheese icing, its NSW deliveries include the frosting separately in self-frosting packs — complete with instructions — so that you can slather it on top yourself. And, if you particularly love that icing, you can buy extra tubs ($5–9) as well. Cinnabon is now delivering across Sydney and New South Wales. To place an order, visit the brand's website.
The new program for The Moonlight Cinema kicks off with Sam Taylor Wood’s John Lennon biopic Nowhere Boy. This beautifully constructed film steps behind the legend to reveal a young man torn between two mothers. Another masterful biopic sees the delightful Audrey Tatuou seamlessly embodying the modest beginnings of the fashion icon in Coco Avant Chanel, while Emily Blunt transforms the dour Queen Victoria into a beautiful and vibrant vision in Jean-Marc Vallee’s The Young Victoria.Other new releases include Spike Jonze’s much-anticipated adaptation of the childhood classic Where The Wild Things Are, James Cameron’s virtual odyssey Avatar, as well as Wes Anderson’s take on Roald Dahl’s wonderful Fantastic Mr. Fox. For all the closet Twi-hards out there both Twilight and the sequel New Moon are screening, while on the other end of the literary spectrum are Peter Jackson’s ghostly Lovely Bones and Guy Ritchie digging into London’s crime roots with Sherlock Holmes. 
Australian cinema will also shine in the moonlight with screenings of Scott Hick’s look at single fatherhood The Boys Are Back (starring Clive Owen), Jane Campion’s portrait of romantic poet par excellence John Keats in Bright Star and Bruce Beresford’s graceful Mao’s Last Dancer. Geoffrey Rush and Australian Idol winner Jessica Mauboy will bust a move as well in Rachel Perkin’s youthful romp around Broome in the summer of 1969, Bran Nue Dae.
For those seeking a blast from the past, the timeless Breakfast at Tiffany’s is on offer, as well as Monty Python’s The Life of Brian, Ferris Bueller’s Day Off, Top Gun, Pulp Fiction and even The Godfather. More recent classics screening include Christopher Nolan’s superlative The Dark Knight, Danny Boyle’s Oscar winning Slumdog Millionaire and Hayao Miyazaki’s fantastical fable Ponyo. There are many more films besides, so be sure to check out the full program before packing your picnic basket and staking out your cinematic spot under the stars.https://youtube.com/watch?v=w8Xs4GfFrM8 https://youtube.com/watch?v=n2igjYFojUo https://youtube.com/watch?v=dyDQoXEBkGw https://youtube.com/watch?v=myJEh0fUalc
There once was a time a brother-sister duo known as Angus & Julia Stone rose to fame and cast their spell upon the nation, and on countries far and wide. Then came the amicable split that saw the siblings go their separate ways to pursue solo projects – albeit still holding on tight to the Angus & Julia Stone success. The question on everyone's lips was: Will they be as magical solo as they are in a duo? Two albums later, and Julia Stone has blast down those concerns. Her sweet, fragile and childish voice coupled with her whimsical melodies and stories have proven that she is just as powerful as a solo singer/songwriter. Her latest offering, By The Horns, features some of those gems including Let's Forget All The Things That We Say and It's All Okay. Prepare to get wooed by Ms Stone, who will be touring off the back of her second record, with support from The Trouble With Templeton. https://youtube.com/watch?v=zQbRzn0ypio
