If laughter is the best medicine then you'll never find a better time to fall ill. From Monday, April 18, over 200 local and international comedians will descend upon the harbour city for the 12th annual Sydney Comedy Festival, ready to fill your prescription of chuckles, giggles and guffaws. Stretching across more than four weeks at venues all around Sydney from the Opera House to Parramatta, it's just what the doctor ordered. Of course, comedy is a notoriously hit-and-miss form of entertainment, so picking the right shows is key. Fortunately, the organisers at this year's festival have knocked the program out of the park. International stars including David O'Doherty, Ross Noble, Paul Foot and Sarah Callaghan will join local legends like Anne Edmonds, Demi Lardner, Michael Workman and Lawrence Leung. Alternatively, you could go and watch a bunch of people reading erotic fan fiction. The choice is entirely yours.
Located in Paddington, Fleur de Lys Medispa offers an array of luxe packages for singles, couples and even groups, ranging from standard spa treatments to the more indulgent pampering and beauty services. Above all else, Fleur de Lys staff are experts in skin, leading the way in revitalising and rejuvenating one's complexion through the latest skin scanning technology to tailor the experience specifically to your needs.
Following an extensive renovation, Manly's Wharf Bar reopened at the end of last year, with a new cocktail bar The Tropic attached. Come the Easter long weekend, The Tropic will be hosting a roaming oyster cart for four days from Sydney rock oyster producer East 33. Northern beaches residents can head down to Wharf Bar for harbourside oysters from Friday through to Monday, with two luxurious options available. Patrons can choose between half a dozen oysters accompanied by two glasses of Veuve Clicquot Yellow Label for $65, or go all out with a bottle of champagne and a full dozen oysters for $180. The Tropic's regular Sunday live music session is also returning with the Big Wheels Duo performing live from 3pm at the bar. Wharf Bar is also hosting a special lineup of DJs for Easter Sunday including Australia's beloved Daft Punk tribute act Discovery.
Speedsters of Australia, it's time to don your best red cap, slide into a pair of overalls and jump behind the wheel. If you want to take part in Mushroom Racing, the outfit isn't optional — although, if that's not your style, you could pick a green hat or a dinosaur costume instead. Not content with zipping through the streets of Tokyo and causing quite a stir, a real-life version of Mario Kart is headed to Sydney. On five Sundays between September and December, participants will dress up as their favourite character, get cosy in a go-kart, race till their heart's content and collect stars to win prizes. While Tokyo's MariCar lets racers zoom along the city's actual roadways (yes, really) that won't be what will happen here — while the location is still a secret, the organisers stress that it won't be on the street. We're certain that throwing shells or bananas at your opponents won't be happening either. Sure, that's all well and fun when you're mashing buttons and trying not to fall off the Rainbow Road while you're playing one of Nintendo's many console versions (or counting down the days until the first Mario Kart smartphone game is released), but it's definitely not cool in real life. Tickets are $85 and include your zooming, costume hire, a snack and transport to and from the CBD. It's all happening on Sundays in September, October and November, with five sessions running each day. Do note that the drop-off and pick-up times are four hours apart, so it'll be a half-day activity. Organisers are calling it "the rally of a lifetime", and while that's definitely overstating the significance of driving around pretending you're Mario, Luigi, Yoshi, Wario or whichever other character you like, you know you're eager to give the novelty a go. And, let's face it, it's not quite as ridiculous as human bowling.
One of the many 80s comedies on Tom Hanks' resume, Turner & Hooch has already been remade in 2021 as a low-stakes streaming series with nothing worth wagging one's tail about to show for it. Still, it gains a big-screen spiritual successor in Dog, Channing Tatum's return to cinemas after a five-year absence (other than a brief cameo in Free Guy, plus voice-acting work in Smallfoot and The Lego Movie 2: The Second Part). Sub out a police investigator saddled with a canine witness for an Army Ranger transporting a dead colleague's ex-working dog; swap Hanks' uptight everyman for Tatum's usual goofy meathead persona, obviously; and shoehorn in a portrait of America today that aims to appeal to absolutely everyone. The result: a good boy of a movie that Tatum co-directs, isn't without its likeable and affecting moments, but is also a dog's breakfast tonally. Like pouring kibble into a bowl for a hungry pooch each morning, Dog is dutiful with the basics: a man, a mutt, an odd-couple arrangement between seeming opposites with more in common than the human among them first thinks, and an emotional journey. Comedic hijinks ensue along the way, naturally, although Turner & Hooch didn't involve anyone getting cock-blocked from having a threesome with two tantric sex gurus by its four-legged scamp. Given that Tatum's Jackson Briggs needs to take Belgian Malinois Lulu 1500 miles from Montana to Arizona by car — she won't fly — Dog is also a road-trip film, complete with episodic antics involving weed farmers and fancy hotels at its pitstops. That's all so standard that it may as well be cinema's best friend, but this flick also reckons with combat-induced post-traumatic stress disorder of both the human and animal kind, and ideas of masculinity and strength attached to military service. When Dog introduces Briggs, he's working in fast food by necessity — think Breaking Bad's fate for Saul Goodman, with Tatum even channelling the same stoic demeanour — as he waits to get redeployed. All he wants is to head back on active duty, but his higher-ups need convincing after the brain injury he received on his last tour. But his direct superior (Luke Forbes, SWAT) throws him a bone: if Briggs escorts Lulu to their former squad member's funeral, after he drove himself into a tree at 120 miles per hour, he'll sign off on his re-enlistment. Lulu has also been changed by her service, so much so that this'll be her last hurrah; afterwards, Briggs is to return her to the nearest base where she'll be euthanised. Given that Dog is exactly the movie it seems to be, its ending is never in doubt. Accordingly, fretting about Lulu is pointless. The journey is the story, of course, so Tatum and co-director/screenwriter Reid Carolin — also making his helming debut, and reteaming with the former after penning Magic Mike and Magic Mike XXL (and the upcoming Magic Mike's Last Dance) — endeavour to make the small moments matter. That's a line of thinking on par with Briggs' readjustment to civilian life, and similarly howling through his burgeoning bond with Lulu past simply playing chauffeur. Yes, Dog is that obvious. An emotional throughline doesn't need to be novel to strike a chord, though, and this film yaps the message loud and clear. That said, it also trades more in concepts than in fleshed-out characters, making an already-broad story even broader. Some films see the universal in the specific (see: 2008's also pooch-centric masterpiece Wendy and Lucy starring Michelle Williams), but Dog isn't one of them — it's too eager to please, and widely. So, when it attempts to rove beyond a feel-good person-and-pupper road-trip heartwarmer, it still goes broad and blatant. Here, caricatures of Portland women sneer at Briggs for his service, military camaraderie and purpose is his be all and end all, and dialogue riffs about "getting our murder on" on deployment. The armed forces are adamant about checking the boxes required for Briggs' return, but care little about his post-war life otherwise — and see Lulu as expendable. And, this is a feature where a gag involving Briggs pretending to be a person who is blind segues into an attack on a Middle Eastern man, as Lulu was once trained to do, which sparks congrats from a racist cop and Briggs' horror. Dog presents rather than significantly interrogates most of the above, however, proving jumbled in both mood and meaning. Tatum, Carolin and co-screenwriter — and former soldier — Brett Rodriguez are far more careful with depicting the effects of war on Briggs and Lulu. Sharing a 14-year history with the subject dating back to 2008's Stop-Loss, which Tatum acted in, Carolin helped produce and Rodriguez worked on as a military consultant, the trio have been building to Dog; they also collaborated on 2017 documentary War Dog: A Soldier's Best Friend, too. Perhaps that's why, even playing a character with plenty of complications but little texture, Tatum still makes Briggs feel lived-in. He's long been great at unpacking and softening engrained notions of machismo — the Magic Mike films dazzle for exactly that reason — and he's as charismatic and graceful at it here as he's ever been. Tatum also conveys the simmering desperation driving Briggs, who only knows how to fight, and the leap it takes to see open himself up to his new barking bestie. Affable, thoughtful, sometimes muddled, a bit adrift: they all describe Dog, and apply to Briggs and Lulu as well. Indeed, it'd be half the movie it is without Tatum, and benefits from a fine supporting turn by Ethan Suplee (The Hunt) as another veteran and dog handler — plus the always-welcome Jane Adams (She Dies Tomorrow) and ex-wrestler Kevin Nash (a fellow Magic Mike and Magic Mike XXL alum) as the aforementioned pot-growing duo — as well as never-overplayed canine acting. A familiar but still poignant score from Thomas Newman (The Little Things) also does its part, and the expectedly scenic yet nonetheless vivid cinematography by Newton Thomas Sigel (Da 5 Bloods) with it. Dog mightn't convincingly teach its underlying formula new tricks, doesn't always have much bite and rarely knows what to stop shaking its tail at; however, even just for its 101 minutes, it's an easy-enough movie to sit and stay with.
The shock of unkempt hair, the Irish brogue, the misanthropic attitude: there's no mistaking Dylan Moran for anyone else. It was true in beloved British sitcom Black Books, when his on-screen alter ego abhorred mornings, ate coasters and claimed that his oven could cook anything (even belts). And it's definitely true of the comedian's acerbically hilarious live shows. Moran is no stranger to Australia, but if you haven't guffawed at his bleak wit live, he's coming back to Sydney — to the State Theatre, in fact — in 2023 to give you another chance. As always, expect the kind of deadpan gags, wine-soaked insights and blisteringly sharp one-liners that've kept him in the spotlight since 1996, when he became the youngest-ever winner of the Edinburgh Fringe's Perrier Award. On Thursday, May 11 and Monday, May 15, Moran will roll out his latest show We Got This, bringing his grumpily lyrical musings on love, politics, misery and the everyday absurdities of life to the Harbour City. This marks his first full standup show since 2019's Dr Cosmos, which also came our way — and was available to stream earlier in the pandemic, too. Given this tour's title, it's hardly surprising that Moran will be reflecting upon these chaotic times. That might sound like a standard comedy gig these days, but nothing about Moran's comedy is ever standard.
Art Month returns for a fourth year of art, and this time around it's rocking some alternative credentials. Art performance duo Penelope Benton and Alexandra Clapham — best known for their papery, dinner party concoctions — have gone from side dish to chef, co-artistically directing this year's extravaganza of art, performance, and exploration. It's a long table of artistic talent that they've laid out, running from returning favourites Art at Night and Two-Wheeled Tours to new-addition adventures west and behind-the-scenes at local art schools. Not to mention all the galleries running shows on the side. It's a big, broad, and city-spanning program. Sampling the whole menu could be the business of a month in itself, so to help you out, we've compiled 10 of the tastiest morsels for you to sink your teeth into.
UPDATE: March 10, 2022 — Due to recent flooding in northern NSW, North Coast Festival of Flavour has been postponed. We will update you when new dates have been confirmed. Perched within World Heritage-listed rainforest at the base of Wollumbin (Mount Warning) in the Tweed Valley, you'll find the picturesque Mavis' Kitchen and Cabins. The sustainable and holistic venue contains a much-loved restaurant, an organic kitchen garden and eco-friendly cabins surrounded by 25 acres of stunning farmland. And, it's hosting an immersive food and art experience as part of the North Coast Festival of Flavour in March. On Saturday, March 26, Mavis Kitchen and Cabins will transform into an immersive dining destination bringing food, nature and art together at Mavis' & The Night Garden. Wander through the sparkling forest and explore a myriad of colours and art across the grounds including luminous light sculptures courtesy of artist Kit Webster. As you explore the grounds you can enjoy delicious canapés and cocktails concocted by the brains at Byron Bay Bees. Then, indulge in a three-course fire-cooked dinner. And, if one food- and art-filled event isn't enough, consider planning a whole weekend loaded with tasty eats and visual treats throughout the Tweed Valley. Mavis and the Night Garden will take place on Saturday, March 26, as part of the North Coast Festival of Flavour. For more information and to book your ticket, visit the website.
Never forget that the first American version of Godzilla thwarted the titular behemoth by using "an internet". That's the ridiculously awful 1998 film's legacy (well, that and fruitlessly trying to follow in Jurassic Park's footsteps more than its own Japanese predecessors). Deploying the same logic, Reddit should probably be the saviour in Godzilla: King of the Monsters. It isn't, but that might've proven more interesting. Continuing the new US-made series that began with 2014's Godzilla and will link up with Kong: Skull Island once next year's Godzilla vs Kong comes around, this 'MonsterVerse' sequel actually does take a few cues from its late-90s American counterpart — more than any movie should, and not to its benefit. Some come through in the story, including a routine finale in a sporting arena. Others are evident at the human level, corralling yet another array of dull, feuding characters scrambling all over the place. But the main similarity is something that all US Godzilla reboots have struggled with: not knowing what to do with its hulking star. It's unsurprisingly strange to watch people quaking in the famous kaiju's shadow, whether in awe, fear or both, while the film they're in focuses on their reactions instead of the towering figure. King of the Monsters ups the creature factor considerably, giving Godzilla friends (Mothra), frenemies (Rodan) and foes (King Ghidorah) amongst a 17-strong cohort of havoc-wreaking 'titans'. At a narrative level, it doesn't just lean into the idea that more of these giant, city-levelling critters exist — it makes that very notion its premise. Alas, the film prefers to explain that supersized lizards, insects, pterodactyls, mammoths and three-headed dragons are frightening via clunky dialogue and pained faces, rather than offer much monster-on-monster action. Taking over from Godzilla's Gareth Edwards, writer-director Michael Dougherty has a background in horror thanks to Trick 'r' Treat and Krampus, but misappropriates one of that genre's key elements. Watching scared folks react to mysterious bumps and jumps in the night works a treat, all thanks to the powers of suggestion and imagination, however the same isn't true when your whole movie screams "Aaaaaaah! Fucking huge monsters! And so many of them!" Five years after Godzilla emerged from the earth's depths to battle a massive unidentified terrestrial organism, humans are basically yelling the aforementioned line. The government wants to know how many titans exist so that it can exterminate them. Shadowy outfit Monarch, led by scientists Ishirō Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins), plead that people and Godzilla can live together, and that maybe good ol' Zilly could even save us all. Also working for Monarch in a Chinese facility, paleobiologist Emma Russell (Vera Farmiga) appears to feel the same way, creating a bioacoustics system that can communicate with the creatures. When she's kidnapped, along with her technological breakthrough and her teenage daughter Madison (Millie Bobby Brown), another group enters the fray. Overseen by British soldier turned eco-terrorist Alan Jonah (Charles Dance, because every movie has to feature someone from Game of Thrones), their aim is to let all of the titans loose, watch as they do their worst and hope that the ravaged planet is reborn in the aftermath. Thanos would be proud. Also popping up is Emma's kaiju-hating ex-husband Mark (Kyle Chandler), who once worked at Monarch, has a bone to pick with Godzilla and loves yelling about it while trying to rescue his daughter. And so everyone fights over what to do, with the shouting getting louder as Jonah keeps awakening more and more titans. Human noise isn't what anyone wants from King of the Monsters, though. And if someone does want to watch people squabble in the face of literally existence-shattering critters, the last live-action Japanese Godzilla, 2016's Shin Godzilla, delivered just that in a smart, thoughtful and engaging way. Here, the paper-thin, consistently cliched story doesn't justify so much chatter. Indeed, it feels as if it's been written to slot in beside the big beasty battles, then hurriedly padded out and over-extended when those massive monster melees didn't turn out as planned. Godzilla and Ghidorah do go head-to-head, more than once. Mothra and Rodan get to flap their wings, and brief clips of other creatures are glimpsed as well. King of the Monsters doesn't completely shy away from its prehistoric giants, but they're never the main attraction — or even much of an attraction at all. There's welcome reverence and respect directed Godzilla's way, however the movie barely acknowledges the character's metaphorical significance, preferring to show its love via a few impressive wide shots instead. And while simply pairing it with its fellow iconic figures in the same picture is inherently exciting, King of the Monsters essentially rests there. When it comes to the film's frays, they arrive packaged in dim, dark, Game of Thrones-esque lighting, blighted by ugly special effects and hardly serving up a spectacle. In fact, the battles feel rushed, busy, and never as fun and lively as you'd expect given the whole titan-versus-titan situation. Hollywood is never going to admit that it just doesn't quite get Godzilla, but perhaps it should. Or, maybe it should stop trying to style American Godzilla flicks after whatever else happens to be popular recently — Jurassic World: Fallen Kingdom is a clear influence on King of the Monsters, as is the Marvel Cinematic Universe, and it isn't a coincidence that the film taps Stranger Things' Brown for her big-screen debut. 65 years after the enormous lizard-style gargantuan made its initial appearance in the first Japanese Godzilla, it deserves better than by-the-numbers franchise-extending entries. The kaiju genre deserves better too, but at least it has Guillermo del Toro's great Pacific Rim. The fact that King of the Monsters delivers its most thrilling aspect in its credits — the sounds of the original, exceptional, still rousing Godzilla theme, not the obligatory post-reel stinger — screams louder than the movie's humans, and than Godzilla's own roars as well. https://www.youtube.com/watch?v=UW3xYYJ6NoE
There are plenty of ways to throw your support behind important cancer research, but come Saturday, April 6, there's one that's set to really stand out. Your pals at Sydney burger institution Mary's and Newtown brewery Young Henrys are once again teaming up with Cure Cancer, to host their annual fundraising barbie, BarbeCURE. Taking over Young Henrys' inner west digs from noon, the event will be a rollicking session of great eats, drinks and company — all for an excellent cause. The brewery will be slinging its legendary range of craft beer, cider and Noble Cut gin, while burgers, fries and a few surprise barbecue treats come courtesy of the Mary's crew. Last year, there was a jerked chicken burger, so expect something equally tasty. All food and drink proceeds will head to support the work of those innovative researchers at Cure Cancer — and you can help raise a few more much-needed dollars by snapping up one of Young Henrys' limited-edition Cure Cancer t-shirts on the day. BarbeCURE will run from midday–7pm.
The Act of Killing is one of those movies that in its very form is something new. While filming survivors of the 1965-66 Sumatran massacre, Joshua Oppenheimer discovered that the perpetrators, now elder statesmen, remain openly proud of their crimes — and eager for fame. So he takes the project in a new direction (the survivors, for good reason, weren't keen to appear on camera anyway). Oppenheimer has the perpetrators join the film, scripting and starring in re-enactments of their murders. They jump at the chance; they're fans of American movies. The Act of Killing then becomes a documentary with fictionalised elements that, by virtue of what they reveal about their subjects, are a mode of deep-digging documentary in themselves. It's chilling but also achieves a surprising effect, leading Werner Herzog to say "I have not seen a film as powerful, surreal, and frightening in at least a decade...it is unprecedented in the history of cinema." He signed on to executive produce, along with documentary king Errol Morris. No synopsis can quite convey how extraordinary this all is. We in Australia, Indonesia's closest neighbours, have barely any memory of the genocide that took 1 million lives. The current Indonesian government still has links to the militias of 50 years ago, and in a speech by a senior politician, we see him further the ideology of the 'gangster', a libertarian delusion that alleviates the war criminals' consciences. They're welcomed on a daytime TV show as if they were pop stars, while the cheery host recognises their achievements in finding "a new, more efficient system for killing Communists". There are so many of these extraordinary scenes — too many, probably. It's hard to figure out what could have been cut, but there is a point in the middle at which it becomes a catalogue of bewilderment rather than a purposeful trajectory — and the running time is 159 minutes, so. US-born, Copenhagan-based Oppenheimer's real strength is his knowledge of Indonesia — he's spent a lot of time there, speaks the language without an interpreter and was able to really relate to his subjects as human beings. They're comfortable and candid around him, without his having to trick them into participating. He's also proved to have a great eye for character, as his main focus, Anwar Congo, is both charismatic and very easy to empathise with. Those spotlighted around him, too, serve to elucidate other sides of his character. It's challenging. We're made to wonder, who is more evil, the murderer who is an ostentatious true believer in the cause? The pragmatist quietly living out his days in great wealth? Ultimately, it's hard to believe there are evil people at all — just crazy, heightened situations with patterns that repeat all over the world. The Act of Killing is deeply humanist that way. There's no point dwelling on some minor drawbacks; The Act of Killing is the film of the year, if not the decade, if not documentary history. Just go see it already. It's simultaneously being disseminated in Indonesia via private screenings and sparking, you can imagine, a big conversation. Proof that sometimes, art changes everything. Read our interview with director Joshua Oppenheimer here. https://youtube.com/watch?v=zJ5_JAgoZ5Q
A Johnny Cash show, to be held inside Parramatta Gaol, is on the bill for the 2015 Sydney Festival's Parramatta program. Aussie rocker Tex Perkins will take on the role of the legendary singer-songwriter, recreating his groundbreaking 1968 Folsom Prison shows, framed by looming, razor-wired limestone walls in what was once the jail's exercise yard. The 19th-century jail is now out of commission but will make a suitably moody backdrop for Perkins' Far From Folsom, which also involves The Tennessee Four and Rachael Tidd doing the the vocals of June Carter. The one-night only spectacle is but one of five world premieres to which Western Sydney audiences will be treated. At the Parramatta Opening Party (POP), scheduled for January 9, Paul Kelly will bring his new collaboration, The Merri Soul Sessions, to the stage for the first time ever, for which he’ll be joined by a bunch of our best local soul performers, including Dan Sultan, Clairy Browne, Kira Puru and Vika and Linda Bull. The free event, which kicks off from 6pm at Parramatta Town Hall, will also feature Radical Son, Christine Salem, New York City DJ, $mall ¢hange, the Waratah Drumcorps and 'Uptown' Brown. Elsewhere in Parramatta, there’ll be a rooftop performance from the Stiff Gins and a block party hosted by the fine Soul of Sydney folk.
Minimalist Aussie clothing designer Assembly Label opened up a permanent surplus store in Beaconsfield earlier last year where you can nab discounted threads on the reg. Thankfully, it still hosts regular warehouse sales there, too, and its next one is happening just in time to stock up on threads for spring. The four-day warehouse sale is running this weekend, from Thursday, August 22 through to Sunday, August 25. This means the warehouse's samples and pieces from past seasons will be going at up to 70 percent off. That includes much needed swimwear, dresses and basic tees for the coming warm months, plus denim, shorts, jackets and accessories in both men's and women's designs. The label is known for its linen basics and relaxed coastal vibes that makes up the wardrobe of many a Sydneysider. Once the sale is finished, the surplus store will return to its daily trade of discounted signature basics and seasonal releases, with styles restocked weekly. The warehouse sale will be open on Thursday 8am–9pm, Friday 9am–7pm, Saturday 9am–5pm and Sunday 10am–5pm.
At some point in the 1800s, a group of convicts escaped Port Arthur. For nearly one hundred years, they survived in a wild, remote part of Tasmania, completely isolated from the island's growing European presence, until, in 1939, they were found. This isn't just the basis of Louis Nowra's The Golden Age. It's a true story. Drawing on a blend of history and folklore, Nowra imagines the culture — and dialect — that this group might have developed. His play depicts their attempted re-entrance into European society, plagued not only by their decades in exile, but also the physical debilitation of old age. The Golden Age first hit Australian stages in Melbourne in 1985, then premiered in Sydney the following year, under Neil Armfield's direction. This time, it's the STC's resident director Kip Williams (Suddenly, Last Summer) who'll be taking charge, alongside a cast starring Sarah Peirse (Switzerland), Ursula Yovich (Love and Information) and Brandon McClelland (The Present).
Growing up in a tiny town on NZ's North Island, the Popstrangers made "the music [they] wanted to make, without thinking too much about who was going to hear it." Fortunately, their psych pop reached the ears of the decision makers at Carpark Records and last month saw the US release of their debut LP, Antipodes. Popstrangers are not the only Antipodean musicians making waves on the international scene right now. With new EP Over Easy set to drop on April 19, Bearhug is soon to jet to Austin to play the SXSW Festival. Even though they continue to describe themselves as "pathetic as ever", the good people at Spunk Records have certainly found something in the group's airy indie pop that's worthy of global promotion. Meanwhile, Cooperative Music is anything but bored by Bored Nothing's emotive compositions and lo-fi production, and will release the group's new EP internationally in April. Before they hit the big time, catch all three acts, all on one night, when they share a triple headline bill at Goodgod on March 7. https://youtube.com/watch?v=UQs6rGE_1cc
For 19 days next January, a giant inflatable labyrinth will take over Darling Harbour's Tumbalong Park— and Sydneysiders can wander through it for free. Featuring towering domes and lengthy corridors, the hefty pop-up comes courtesy of Nottingham's Architects of Air, who are bringing their multi-coloured Dodecalis Luminarium to town for Sydney Festival. Heading our way after a recent visit to Melbourne, as well as an upcoming stop at Mona Foma, it's understandably one of the huge arts event's big highlights. Unveiling its full lineup for 2020, Sydney Festival boasts plenty more standout shows, performances, installations and gigs on its bill, too. When you're not getting lost in a maze on purpose, you'll be spoiled for choice between Wednesday, January 8 and Sunday, January 26 — especially if you love inventive theatre, memorable music, eye-catching dance and top local and international talent. Falling into the first category are two of the fest's must-sees: live stage versions of Joan Didion's The White Album and John Cassavetes' Opening Night. One takes the celebrated essayist's powerful 1979 piece of the same name and turns its views on 1960s-era American counter-culture into an experimental performance, complete with audience participation every evening. The other not only stars French acting superstar Isabelle Adjani, but tasks her with starring in a recreation of one of the great movies of the 1970s. For those keen on treating their ears to Sydney Festival's program, you'll be able to hear masked cowboy Orville Peck croon his soulful country tunes, catch Berlin-based US musician Holly Herndon as she performs live with an AI baby, take actual babies to Regurgitator's kid-friendly show, and both watch and listen to a French opera-ballet. Or, maybe you'd like to lose yourself to dance thanks to Stephanie Lake's Colossus, which'll see 50 bodies move as one in quite the symmetrical performance. Also showcasing fancy footwork, large-scale Canadian work Frontera combines dance with an impressive light component. [caption id="attachment_747761" align="alignnone" width="1920"] Colossus by Mark Gambino[/caption] Putting a firm focus on Indigenous Australian stories, creators and artists, the festival's Blak Out program is particularly strong — featuring everything from Opera Australia's new production of Bran Nue Dae to Archie Roach bringing his life story to the stage and a massive tribute performance to Gurrumul Yunupingu with Yolngu dancers, songmen and the Sydney Symphony Orchestra. In its world premiere season, Black Ties sees Maori and Aboriginal Australian cultures join forces for a wedding, with the production marking a collaboration between two First Nations theatre companies. And, in the art realm, Kudjala/Gangalu artist Daniel Boyd explores the infinite nature of time via an otherworldly and colourful video installation, while a large-scale piece at Barangaroo Reserve will fly 250 flags to examine Australians' different views on this country of ours. Elsewhere, Sydney Festival favourites Strut & Fret return with their latest show, which is called Life – The Show; long-demolished dance hall The Rivoli gets an immersive dance tribute; and the outside of Carriageworks will be engulfed in a kaleidoscopic array of colour and light. The UK's Bryony Kimmings will perform her acclaimed musical I'm a Phoenix, Bitch, a Parisian hip hop dance crew will join forces with their Sydney counterparts for a rhythmic display, and festival-goers can eat a candle-lit dinner with mentalist Scott Silven. Plus, as part of family-oriented circus piece Air Play, there'll also be a giant snow globe. Over at the Sydney Opera House, West End hit Six the musical will reimagine the story of Henry VIII's six wives, pulling inspiration from today's pop queens: Ariana Grande, Beyoncé, Adele and Rihanna. And, as always, opera lovers can head along to a free outdoor performance in The Domain, while classical music fans can hear the SSO unleash their best at a free gig in Parramatta Park. Love watching ferries zoom to Shark Island and back? You can do just that, too, because Ferrython is back as well. Sydney Festival 2020 runs from January 8–26 at venues across the city. For further details and to buy tickets, visit the Sydney Festival website. Tickets go on sale at 9am on Thursday, October 31. Top image: Dodecalis Luminarium by Architects of Air, image by Alan Parkinson; Air Play by Florence Montmare.
Don't miss Sydney's latest artist-led show. Curators Orson Heidrich and Jarryd Lynagh bring together works of their own and by Anna Pogossova, Siena White, Mark Booth and Patrick Cremin to explore the edges and intersections of different artistic mediums: expanded photography, painting, and sculpture. It's on at Down / Under space, a multi-arts space in the basement underneath Freda's that's run by artists, curators and filmmakers. All of the artists are contributing to a contemporary aesthetic that can be difficult to find — especially all in one place. The curators have focused on bringing together works that focus on "a succinct and powerful use of materials to create an experience of occupied space and object presence". All of the artists create work that's not just about producing an image — they're about capturing a mood. The exhibition, like Lilac City Studio's Recreation II show by Kyra Henley, is another example of the trend towards artist-run initiatives and artist-led programming in Australia and internationally. It's sure to spark conversations about not only the works and the artists themselves, but also the creativity that goes into finding space for making and showing art in high-pressure environments like Sydney. Signal opens on Wednesday, December 19 at 6pm at DownUnder space, in the basement under Freda's. If you miss the opening you can also visit the show nightly from 6-9pm until Saturday, December 22.
At the beginning of this year I had the great pleasure of working in the city. To most of you that might be a little strange to hear since you probably beat the dark path most 8am timeslots of the year. Yet being a part of the independent arts scene we are generally shafted to the outer suburbs, never venturing much past the cheaper rents and eats of periphery Sydney. However, the horizon appears to be shifting with the City of Sydney inviting itself to the party and slowly but surely helping to create a creative CBD worthy of our southern sister but also, truly our own. The Paper Mill, an artist-run gallery/workshop/library especially committed to works on paper, will be swinging open its doors in downtown suit country very, very soon. But before that happens the guys and girls at The Paper Mill are kindly letting us all in for the Das Superpaper The Critical Issue launch and a sneak peak at their space in Angel Place. The crew at Das Superpaper — if you haven’t heard — are only the busiest volunteers on the planet. With thirteen issues of art-based writing behind them this free publication has already added the Das Cinema feather to their cap and will now introduce Das 500, another online venture featuring bite-sized (500 words or less) critical reviews of exhibitions around Australia. So who could say no to a cheeky bevvie after work on Thursday to double whammy on Australian independent arts in the city?
Everyone loves Gelato Messina's creative ice cream concoctions; however, believe it or not, there is a way to make their chilled sweet treats even better. You know how dessert takes oh-so-divine when it caps off an amazing meal? Yep, that's how to amplify your Messina experience. At the fourth instalment of their Messina Eats pop-up series, Burn City Smokers are in the spotlight. Following in the footsteps of Huxtaburger and Mr Claws, Wonderbao and Hoy Pinoy, they're serving up eight-hour smoked beef short rib, brisket burgers and smokey beans until they run out. PS40 will be taking care of the bar, while you know who will be serving up your final course courtesy of a mouth-watering pumpkin pie and choc soft serve combo. That's what happens when Messina meets meat. The word you're looking for is yum. Messina Eats runs from noon until sold out on October 7 and 8 in the carpark at Messina's Rosebery HQ.
The inaugural Chinese Film Week is happening in Sydney this month, taking over Event Cinemas George Street from February 27–March 3. You'll be able to catch the latest hits in Chinese cinema without spending a dime — every screening is absolutely free. Curated by the China Cultural Centre, you'll have the chance to watch critically acclaimed Chinese films from the past few years, across action, drama and comedy genres. The festival will open with a screening of Lost, Found (2018), which is from the Oscar-nominated director Lü Yue and follows a single mother's search for her missing daughter. Other highlights include Hello Mr. Billionaire (2018), a comedy following one man's goal to spend one-billion dollars in order to win 30 billion; Animal World (2018), starring Li Yifeng and Oscar-winner Michael Douglas and following a young gambler who tries a clean slate with a thrilling game of chance (set on a disused warship); and Go Away Mr. Tumour (2015), which is based on a cult manga series that explores the dark reality of cancer treatment. Each film will only screen once during the festival week, so be sure to mark your top picks. To see the full schedule and reserve seats, head to the festival website.
How many dumplings can you eat in one sitting? Would you like to find out? On three Saturdays in August, Old Town Hong Kong at Barangaroo is putting your stomach to the test by offering up bottomless servings of dim sum. Here's how it works at their Unlimited Dumpling Feast on August 12, 19 and 26: you arrive and you eat, with three 90-minute gorging windows available from 12.30pm, 5.45pm and 7.30pm. Devour as many siu mai and har gow (aka prawn dumplings) as you can, plus pan-fried vegetable dumplings and barbecue pork buns as well. And, while this is definitely a delicious dumpling-tastic meal, there'll also be selected mains on offer too. Your food-filled sitting will set you back $43, and booking in advance is recommended. Plus, because making your all-you-can-eat dumpling dreams come true is part of Barangaroo's month-long Eats on the Streets series, 10% of all ticket proceeds will be donated to OzHarvest.
Getting into the bottomless brunch game, Munich Brauhaus is embracing all-you-can-eat mid-morning meals in the appropriate fashion: German-style. That means pretzels, schnitzel, sauerkraut and apple strudel — and as much as you can handle for two hours — at the Bavarian-themed beer hall's new Das Brunch. Also on the menu at the monthly event: meat and cheese platters, plenty of bread with a traditional cheese spread called obazda, roast pork belly with onion and sage stuffing, hash browns, sausages, bacon, plus Munich-style slaw and potato salad from the salad bar. Leave room for käsespätzle, which is a creamy mac 'n' cheese-style dish that's rightfully considered a favourite back in its homeland. Dessert-wise, gingerbread men, black forest cake and blueberry cheesecake are also on offer, with the unlimited food spread costing $65 per person. Or, because brunch and booze go hand in hand, pair it with sparkling, rosé, house beer, wine and spirits for $99. Das Brunch runs monthly, kicking off from 11am on Sunday, March 22. Each smorgasbord will also be themed, with the first one taking inspiration from autumn — complete with flower crowns and floral displays.
The sweaty drum of summer is beating out the last days of spring, bringing with it an exciting line-up of live music and theatrical events. Ushering in the silly season is B Sharp's reimagining of A Midsummer Night's Dream, the Shakespeare that is a perennial summer favourite amongst al fresco theatre companies. Not one for the obvious, director Eamon Flack and his creative team are filling Belvoir Downstairs with a fresh production that renders the famous text down to its gorgeous essence. Beyond the fairies and immense trees lit with pinks and blues, is an ageless tale of chaos, innocence, debauchery, naivety and first love. A major issue when reworking a classic is the debate over what is essential to the text and what are dressings for a specific, contextualised audience. "[Shakespeare] was writing for a verbally literate audience so everything had to be said or it didn’t exist," says Flack, "We’re not like that today — we read image and subtext, we don’t like it when everything is spelt out." Midsummer is filled with especially thorny weeds, as it was written for a wedding and contains very personal in-jokes that would be completely lost on a modern audience. "Anything we couldn't hear in the heat of the moment, or anything that didn't further advance the action and meaning of our production we just got rid of," Flack notes, before adding: "It’s ok. Shakespeare was a theatre animal, he’d understand." What remains is a high energy, often chaotic performance that captures the spirit of Australian summers. "We [think that we] are a good and innocent people," says Flack, "therefore we deserve the pleasures of our lives, therefore we can have as much pleasure as we can get, therefore pain and excess matter less than pleasure, therefore we get wounded, therefore the world is our enemy, therefore we are good and innocent. It’s terribly naive, but it's also beautiful to watch unfold." It is in this unfolding that Shakespeare introduced two of the most famous farcical situations in English theatre: the four lovers led astray by fairy magic and Bottom, the greatest ham actor of his age, donning the image of a jackass and copulating with the Queen of the Fairies. As a creative twist, Bottom and Puck — the master craftsman of this mischief — are performed by the same actor, Charlie Garber, who moved from the Sydney fringe troika Pig Island to the mainstage with Gethsemane earlier this year. For Flack, Puck and Bottom represent the opposing styles of wisdom that drive the play: "the wisdom of chaos and cynicism and insight on the one hand, and the wisdom of normalisation and ordinariness and a Homer Simpson-like being absolutely yourself on the other." This pairing of opposites is joined by a number of equally cheeky cast doublings throughout the production. "It sets up this brilliant echo of the play's own theatrical playfulness," Flack muses, "[where] all those great Midsummer questions of identity and shadow, light/dark, day/night get played out directly." One of the challenges faced by Flack and his cast was how to present Midsummer without ignoring its place as one of the most watched and known of Shakespeare's plays. Flack's solution was "to take something else really familiar — the great pop love songs of the last few decades — and by putting the play and the songs together you necessarily need to reinvent them both." But it's not just pop songs that have been introduced into the mix; these love tunes are sung with the "self-directed try-hardiness" of that great summer pastime, karaoke. "There's great comedy in that idea," says Flack, "taking what is fundamentally an impossible performance task really seriously". The beauty of this honest comedy, springing not from fairyland but out of the efforts of normal, often naive, humans is further enhanced by the humble set design. Very humble, actually. "If you’re going to put it on in a small theatre you may as well make it really small – so we’ve built a stage in the downstairs space," says Flack, admitting that "I’ve been deeply unsatisfied by the aesthetic and spectacle of pretty much every [Midsummer] production I’ve ever seen." Rather than woo the audience with superhuman acrobatics and sumptuous costume design, Flack and designer Alistair Watts have taken this production back to its historical roots with a stage denuded of extravagance. "But," Flack cheekily suggests, "just because it’s a small theatre doesn’t rule out the potential for spectacle...". To win one of two double passes to A Midsummer Night's Dream, email your name and address to hello@concreteplayground.com.au <sp
Most of us take for granted the fact that we can chill in our living room listening to great music and chatting to friends. Just over a year ago, Mahli Cooper was the same. But then she had an accident that left her with a traumatic brain injury. Some 15 months later, Mahli is out of hospital and is living at home with her family where she can continue to get the kind of care she needs. Of course, the road to recovery is long and comes at a great cost, and so Mahli’s friends have gotten together to raise money for the Cooper Family and for the organisation Youngcare in order to ensure that Mahli can continue to receive the best care possible. This is where you come in: this Wednesday November 18, Mahli’s friends are hosting Mahli’s Living Room, a concert at Newtown favourite, The Vanguard. The night promises a cosy atmosphere of intimate crooning from UK group Passenger, Aria winner Katie Noonan and the critically acclaimed Boy & Bear and emerging Sydney band Serenik. Join Mahli in her adopted living room for the night, listen to some great tunes and help raise funds and awareness for Youthcare and Mahli Cooper. To find out more visit Mahli's Living Room.
Firstdraft being all multi-chambered and exposed-concretey as it is, the art that goes on display there gets interesting inflections from the decor. Sometimes it's hard to predict how an artist's work will go in a particular space even when you've seen the art and the gallery before, but it nearly always bears consideration, and at the very least makes you look that much harder. This time around there's vomit-pink imperial-style decadent portraiture, collaboratively inspired but individually made sculptures-cum-machines-cum-found-objects, digital images mimicking the physics of apparent chance shaping the impact of nature on objects, and an evolving sound-field derived from and created in homage to space travel and Stanley Kubrick. Look at them on their own, look at them in the space, look at them compared to one another, look at all four shows and how Firstdraft holds them and how they make it look. (There won't be a quiz.) Image: Une Collection de Parties Décadents, Penelope Benton 2011
For one magnificent day, the Sydney Opera House is declaring itself an open book. No longer will its green rooms, secret nooks or stages be the exclusive domain of musicians, famous speakers and tech crew. Get down to Bennelong Point anytime between 9am and 3pm on October 18 for the Opera House Open Day, and you'll be able to wander around the entire beautiful building at your self-guided leisure. What's more, your visit won't only involve empty spaces. To keep you on your toes, the organisers have lined up a stack of surprises, unexpected performances and displays. Explore Opera Australia's set for Anything Goes in Joan Sutherland Theatre, check out an Australian Ballet exhibition in the rehearsal room and watch projections created by Bangarra Dance Theatre in the foyer. There'll also be opportunities to learn about the House's history — from the 1957 competition won by Danish architect Jorn Utzon that determined the building's extraordinary design to its opening in 1973 — and about plans for the future. Thousands of attendees are expected. Save yourself a spot by registering online in advance.
Established in 1996, the Redlands Konica Minolta Art Prize supports early to mid-career artists from both Australia and New Zealand. This year, guest curator Julie Rrap has selected 21 established artists to exhibit recent work. Each of these artists then chose an emerging artist to also present work in the show. There are three prizes: a $25,000 prize for the winning established artist, a $10,000 prize for the winning emerging artist, and a Viewers’ Choice Prize, which visitors to the exhibition may vote in. It’s a great selection, and the mix of works by emerging and established artists creates a fantastic dialogue. Because so many hands went into the selection of the pieces, there is something for all tastes. There are works in every conceivable medium: video, sculpture, painting, photography, installation — you name it, it’s on show. With so many artists participating, there is always going to be variation in the quality of works exhibited, but the standard is exceptionally high and pretty much all the works seem to sit somewhere between 'pretty great' and 'really freaking awesome'. It’s difficult to name just a few of the standout pieces because there were so many highlights, but Todd Robinson's He knows at any moment it may be lost in a vertical field is definitely one of the best entries. I couldn't tear myself away. The work features two balloons that sag, trying to fall to earth. The contradiction between such traditionally light, buoyant objects and these morose, depressed sacks was fantastic. Bridie Lunney's delicate installation Still After is also a must-see. Described in the catalog as being a 'performative response to architectural conditions' the work is comprised of a series of objects attached to, pushed against and placed in front of a wall. There is something terrifically Dada-esque about the relationship between all the objects in this piece. It's absolutely wonderful. I risked a hefty parking fine so I could go back for another look at the end of my visit. It’s a big exhibition, so leave yourself a ample time to see it all. And do yourself a favour — load up the parking machine before you go. Redlands Prize is open 10-4, Monday to Saturday. Image: TV Moore, MOON PLANK STILL LIFE.
You can't help but conjure up images of the romanticised '60s Woodstock era while listening to Richard In Your Mind. Putting forward a Beatles-ish pop sound swathed with psychedelic and krautrock rythyms, the Sydney five-piece have just released their newest album, Ponderosa via Rice Is Nice, the local record label boasting a host of Sydney talent such as Donny Benet and SPOD. RIYM's tunes are a fun and light-hearted affair, exploring overarching themes of things like nature, exploration and escapism — no doubt influenced by the band's hours spent in the Blue Mountains, where they recorded the tracks. To launch Ponderosa, Richard In Your Mind are playing a couple of intimate shows along the East Coast. It might not be the 1960s anymore, but these guys are definitely making sure the crazy psychedelia still lives on. And if you haven't seen the video for latest single 'Hammered in the Daytime', do yourself a favour and click the tab above. It's the family TV show we truly wish existed. https://youtube.com/watch?v=kMyxjFAyLMU
Dancing is back and two of the godfathers of Sydney's clubbing scene are reuniting to usher in a post-lockdown era of hot and heavy dance floors. Hoodrat and DoomY were two members of the iconic DJ roster Bang Gang back in the 2000s and the duo is getting back together to kick off the weekend with a night of classic tunes. Where are these two hitting the decks? Club 77, of course. One of Sydney's most storied nightclubs, Seventy Seven has played home to an endless amount of beloved and acclaimed local and international DJs over the years, including most of the Bang Gang's most memorable nights. So it's only fitting that Hoodrat and Doomy are coming back together to grace the decks of the hallowed club once again. "I grew up inside this dungeon really and this is my 55th re-re-re-incarnation," Doomy told Concrete Playground. "I came straight outta Terror Terror Terrigal and into the basement — the four walls of Hades, the dance floor of lava, fire and brimstone. I've seen bliss. I've seen packets on packets. I've seen Ajax protect the little Terrigal boy from some Cronulla sharks one night." When asked what we can expect from the night at Club 77, his answer is simple: "I live and party by all the five letter words. NNNRG. PARTY. FUNNY. SILLY. HORNY. So this party will embrace all the same values and maybe infuse some of them together into unified amalgamations of vibes." The reunion is going down from 8pm until close on Friday March 11. Tickets are $22. [caption id="attachment_845824" align="alignnone" width="1920"] Hoodrat and DoomY[/caption] Top images: Benjamin Weser
You know what’s better than other people’s weird obsessions? A whole slide-show night dedicated to perving at other peoples weird obsessions. Thanks to our social-media-soaked society, I dare say we've all developed a taste for such voyeuristic pursuits. But long before we had the facilities to upload visual snapshots of our most intimate moments with the click of a button, humankind has been interested in marking the moments that make up a life: We need only peek inside an ancient Egyptian tomb to discover our early obsession with the symbols and paraphernalia that denote the human experience. The humble hieroglyphic was simply a primitive Facebook status update. The Australian Centre for Photography will be providing the proverbial keyhole for a good old ogle at the curious obsessions of 12 Australian photographers. In a slide display of cats, cars and collectibles; empty shops and interrogation rooms; lost loves, self-love and love-for-sale; and an entire year's worth of breakfasts, lunches and dinners, Captured, Collected, Categorised embraces our strange need to express and examine life through visual and tangible symbols and in doing so exposes us all for the dirty pervs that we are. Image: this is what I ate by Patrick Boland.
Flacco is an angry alien, a spitting, frothing creature that is only barely contained within the human form of author, performer and illustrator, Paul Livingston. In contrast, Marty Murphy is a polite, soft-spoken illustrator and film-maker who also happens to be occupied by over twenty-five crackpot characters purloined from the world around him. Each is one half of Double Exposure, part of B Sharp's Comedy and Cabaret Season at Belvoir Downstairs this summer. Kicking off the evening is Happy and Clean, Murphy's surreal tale of becoming a B Grade film director, shooting turkey-inspired horror tales with the residents of his hometown. Murphy's style is pleasant and he slips from one character to the next like he's copped a few squirts of WD40. Moreso, he's well adept at miming the odd musical instrument, a skill that is played to surprising effect throughout his tale. In the second half, Flacco takes command of the audience in his manic style, grabbing at individual audience members with his words and (occasional) gesture. While Murhpy's piece is a linear narrative, Flacco's Beyond the Pale is a jolting mash of segments that he picks up and drops with maniacal aplomb. Despite his performance abilities, however, Flacco's piece does not carry the same sparkle as Murphy's. Having spent many years watching Flacco performing on television, I was disappointed to see that Beyond the Pale bears many similarities to his work throughout the 90s. Despite a few stale moments, Double Exposure is a quick and fun night out, and certainly a nice jolt of absurdity to cap off your day. We have 5 double passes to give away for Double Exposure on January 14 at 8.15pm. Just email your details to hello@concreteplayground.com.au with "Double Exposure" in the subject line for your chance to win.
The Museum of Contemporary Art Australia's super popular art workshop program is back. Inspired by the gallery's popular Sundown Sketch Club, these two-hour Wednesday evening sketching workshops are led by Sydney-based artist Will French, and take place throughout February, March and April. The classes will focus on still life, with participants using a range of fine art materials and getting a few tips from French along the way. The ever-changing installation will include a model alongside a sensory collection of cherries, roses and pomegranate. The evening will be capped off with nibbles, cheese, a glass of Champagne — either Ruinart brut or rosé — and a backdrop of Sydney Harbour. There'll also be an olfactory challenge each night, with the winner taking home a bottle of Ruinart. The first workshop will take place on Wednesday, February 21, with sessions following on February 28, March 14 & 28 and April 11, all running from 7–8.45pm. Tickets are $69 and beginners are welcome. Just make sure to book ahead as these events have sold out in the past.
Cute pooches and craft pints, both for a worthy cause — what better way to way to farewell that final weekend of winter? If it sounds like your kind of jam, you'll definitely want to get involved with Dog Appreciation Day at Rocks Brewing Company, this Sunday, August 26. A celebration of our four-legged mates and all they do for us, the event is out to raise awareness and much-needed funds for dog adoption, as well as support for local pet-focused charity Project Hope. Bring along your own pup to strut their stuff in the day's dog show, treat them to a pamper sesh at the grooming station and catch some live tunes together from 1pm. Then, you can hit the doggy rescue stand to learn all about pet adoption, and snap a few adorable pics at the Southern Cross Vet "kissing booth" for the chance to some pet-worthy prizes. Of course, at this venue, beer is a given — while the pooches are chowing down on homemade Bark Snacks made from spent brewing grain, humans can kick back with a few of the day's Karma Keg pints, pouring profits for Doggie Rescue.
It's a familiar tale: a pregnant girl and her boyfriend, still almost kids themselves, running away from home and family to escape punishment for their forbidden love. With not much knowledge, few skills and a fledgling dependence on each other, they attempt to learn what they're missing and raise their child in a harsh and unforgiving world. Here, however, the couple are four centuries into the future. The community that they have been forced to flee has retreated into the Australian desert, due to climate change, and has reverted to traditional Aboriginal practices in order to survive. In short, this play is an Aboriginal, post-apocalyptic Romeo and Juliet — with child. An unconventional storyline demands an unconventional form, which this production has done exceptionally well. In a blend of theatre, dance, video, shadow-making, object design and music, the fractured, imperfect and multidimensional culture which this couple shares is richly presented. Rather than being a random collection of media, this is a powerful and representative blend of contemporary Indigenous and mainstream cultural and artistic forms. Windmill and Big hART, the two companies involved in this project, have deeply engaged with two Indigenous communities in the Anangu Pitjantjatjara Yankunytjatjara (APY) lands, and it shows. The Aboriginal dances, songs, shadow-making and sand paintings are presented by both Aboriginal and non-Aboriginal performers with great skill and sensitivity. Don't let this make you take Nyuntu Ngali too seriously, however. Much of the performance will leave you unsure of whether to laugh or cry. The child is named Petrol, both literally for his addictive smell, and as a means of exploring whether it is really Aboriginal culture or contemporary white culture which is more obsessed with this black, liquid gold. Nyuntu Ngali is a rare find: a truly cross-cultural production which communicates and celebrates contemporary Indigenous culture as powerful, playful and multifaceted. The performers and those who have worked behind them are incredibly generous, and I'd suggest taking them up on their offer. Image by Tony Lewis.
A great trailer does two things: makes you want to run to the cinemas to see the film in question, and makes you hit replay on the preview itself the moment it's finished. Or, thanks to the rise of TV trailers, it inspires your next date with your couch. You'll want to get as comfy as possible to binge-watch the next season of your favourite show, after all. Indeed, in the US, plenty of folks have been lounging around on their sofas today — and watching trailers. When the Super Bowl rolls around each year, the US gets immersed in one of the country's favourite sports, American football fans around the world join in the fun, and so do movie buffs. With so many eyes glued to the screen during the game, it's a prime slot to premiere the latest film previews during the commercial breaks. The biggest match of the year meets the biggest flicks of the year, naturally. This year's batch certainly kept to the theme, particularly where new instalments of long-running series are involved. Want to catch your first glimpse of Solo: A Star Wars Story? The next Jurassic Park movie, aka Jurassic World: Forbidden Kingdom? Mission: Impossible — Fallout, the sixth title in the Tom Cruise-starring franchise? The latest Cloverfield effort, which will then start streaming on Netflix once the game is over? Keen on some superhero action with Avengers: Infinity War? They're all here. Also on the agenda: The Rock versus a tall building in Skyscraper (because why not?), and a sneak peek at the second season of Westworld (which now has a US release date — April 22). There's also the John Krasinski-directed apocalyptic thriller A Quiet Place, which he also features in opposite Emily Blunt, plus the new Krasinski-starring Jack Ryan TV series. Plus, another look at Jennifer Lawrence getting her spy game on in Red Sparrow and the Castle Rock clip we were all watching just a few days ago aired as well. Check out the full slate below, and add them to your viewing list. SOLO: A STAR WARS STORY https://www.youtube.com/watch?v=9Szts88zY4o In Australian cinemas May 24. JURASSIC WORLD: FALLEN KINGDOM https://www.youtube.com/watch?v=NooW_RbfdWI In Australian cinemas June 7. MISSION: IMPOSSIBLE — FALLOUT https://www.youtube.com/watch?v=wb49-oV0F78 In Australian cinemas August 2. SKYSCRAPER https://www.youtube.com/watch?v=THWBs0_khNs In Australian cinemas July 12. THE CLOVERFIELD PARADOX https://www.youtube.com/watch?v=8brYvhEg5Aw On Netflix today. AVENGERS: INFINITY WAR https://www.youtube.com/watch?v=pVxOVlm_lE8 In Australian cinemas April 25. WESTWORLD https://www.youtube.com/watch?v=qUmfriZoMw0 Australian airdate TBC A QUIET PLACE https://www.youtube.com/watch?v=P8Q6ma2sfJQ In Australian cinemas May 10. JACK RYAN https://www.youtube.com/watch?v=V69XYIRjKww On Amazon August 31. RED SPARROW https://www.youtube.com/watch?v=M9VqmPX8m2k In Australian cinemas March 1. CASTLE ROCK https://www.youtube.com/watch?v=fwmhiqUPa28 Australian airdate TBC.
This article is sponsored by our partners, the Sydney Festival. Penny-pinched and pauperised after Christmas? Planning on pawning your little sister’s pet pooch for a ticket to Dido and Aeneas? Fear not. Front-row seats to an underwater opera might be out of reach, but we can show you how to get the best out of Sydney Festival — even if you’re heading into 2014 as down-and-out as the Environment Portfolio. Of the 104 events on this year's program, 21 are free. First off, what better way to reduce your stress level to that of your bank balance but via mega outdoor concerts? Summer Sounds in the Domain on Saturday, January 11, will see the return of Hot Dub Time Machine, a 45-minute-long, carbon-neutral dance-video-lights-party covering 60 years of music history, mashed up by Sydney DJ Tom Loud and powered by the crowd. Following that, Chaka Khan will be demonstrating why, 35 years later, she’s still every woman. Just up the road, the Sydney Festival Village (aka Hyde Park) will host the Rekorderlig Gazebo Friday to Sunday evenings and the Village Bandstand Thursday to Sunday nights. Think left-of-field live performers, like the Crusty Suitcase Band and the Gramophone Man, in addition to specialist DJs, including Matt Vaughan, Gonzo ‘The Mad’ Peruvian and Marcus King. Records will be spinning until 2am on weekend nights. Between dance floor sessions, you can rest your body while feeding your mind with free art. If inflatables float your boat, there’s the Australian premiere of Sacrilege — a bouncy, blow-up version of Stonehenge created by UK artist Jeremy Deller. (Yes, you can actually jump on it.) And if the Rubber Duck was one of your 2013 festival faves, find out how it’s fared after 12 months of absence by heading to Parramatta. While you’re there, pop into the Town Hall to see another Kaldor Public Art special — Project 28. It's a trio of works from Slovakian artist Roman Ondak, one of which is Swap — a highlight of 13 Rooms, held at Pier 2/3 in April last year. Humour, poetry and audience participation are promised. Meanwhile, Carriagewoks will play temporary home to French artist Christian Boltanski’s first major installation in Australia. Titled Chance, it’s a vast, complex work inviting viewers to ‘explore the idea that all human life is the result of chance’. For another monumental experience, which the Huffington Post has described as ‘a feat of impossible architecture’, weave your way through Darling Harbour to see Merchant’s Store, a ‘perspective-skewing’ interactive installation by Argentinian artist Leandro Erlich. Finally, if there is a ticketed event on the program that you’d trade your granny to see, you can try your luck at Tix for Next to Nix. Located in the Festival Village, it’s a last-minute ticket booth that will open daily between midday and 2.30pm, selling $25 tickets for all shows scheduled for the following 24 hours. To maximise your chances of nabbing a seat, we suggest you roll up as early as possible. Want more Sydney Festival events? Check out our top ten picks of the festival.
Whether you're after a tipple to balance out the onslaught of silly season boozing, or you're simply keen for a boost of gut health, kombucha is set to be a staple sip this summer. And you can learn how to master the art of crafting this fermented tea-based drink yourself, at a hands-on workshop, coming up at the Royal Botanic Garden. Hosted in The Calyx building on Saturday, January 19 the class is helmed by fermentation expert and founder of the Cultured Artisans Gillian Kozicki. She'll dive deep into the world of fermenting, showing students how to make and maintain their own tasty kombucha at home, even using produce and ingredients harvested from the surrounding gardens. As well as being guided through the ins and outs of kombucha crafting, you'll get to taste a variety of different blends for future inspiration and score your own SCOBI (the culture needed for brewing a batch of the drink) — all setting you well on your way to having an endless supply of homemade 'buch this summer. While you're at the RBG, check out the killer Plants with Bite exhibition, made up of more than 25,000 carnivorous plants.
If you're looking for a new swimming adventure by don't feel like searching for far-flung swimming holes, swing by the Ian Thorpe Aquatic Centre on Saturday, February 2. For one fun and floaty day, you'll be able to try every pool and a bunch of fitness classes without paying a cent. The 50-metre lap pool is not the only pool here — there's also a spa, a smaller leisure pool and another one for water-based fitness sessions and therapies. There's also a sauna and steam room, as well as a gym included in the $40 million centre's facilities. Plus, exercise classes — from aqua aerobics, yoga and pilates to boxing and cycling — take place daily. During open day, expect DJs, roaming musicians, giant inflatables, snacks and other shenanigans. If you're unfamiliar with the centre, take a tour. Maybe you'll want to make it your local place for laps.
Albert Hammond Jr., guitarist for The Strokes, is on the road again. But, this time, he's headlining in Australia as a solo act for the first time ever. On top of appearing at Mountain Sounds Festival on Saturday, February 20, he'll be passing through Adelaide, Brisbane, Sydney and Melbourne for his first ever headline tour. Hammond Jr.'s third solo album, Momentary Masters was released in July 2015 to critical acclaim. Five years had passed since his previous work, ¿Cómo Te Llama? and seven since his debut, Yours to Keep. Snap up tickets to his only Sydney show at the Oxford Arts Factory this Friday, February 19.
Feel like you need to restock all the culture credits you lost while you were cooped up at home? Thankfully, the MCA's much-loved after-dark program, MCA Late, is returning, so you can get your culture fix on Friday evenings once again. And the best part? It's free. The MCA is staying open on Fridays till 9pm for evenings filled with incredible art, curated music, tasty drinks and more. You can stroll through the Museum's free exhibitions, enjoy a sunset drink at the MCA Cafe overlooking the sparkling harbour or nab a ticket to the Doug Aitken exhibition after hours. You can also catch the likes of Sydney hip hop artist and producer Bernie van Tiel, breakdancing crew ABA, Gagidal man and board member of the Metropolitan Local Aboriginal Lands Council Uncle Ray Davison, and a whole bunch more. There'll be pop-up performances from poets, musicians and artists throughout the weekly event, so make sure you keep an eye out as you make your way through the Museum. Across the first three Fridays in November, you can catch sets from local DJs Bocconcini and Jun Wan in the FBi Radio-backed music series Sounds on the Terrace. Want to get creative? Unleash your artistic potential in the Sundown Sketch Club. [caption id="attachment_831294" align="alignnone" width="1920"] Sundown Sketch Club, MCA Late, 2021, photographer: Jordan Munns.[/caption] Ready to filll up your culture cup? MCA Late takes place from 5–9pm every Friday till December 17. For more information, head to the MCA website. Top image: Maina Doe, MCA Late: Sounds on the Terrace presented in collaboration with FBi Radio, 2021, photographer: Jordan Munns
Conceived in Toowoomba, Bizoo is a zine that has served to inspire the youth of regional communities, invigorating a creative spirit that goes beyond the dreary townscape of churches, nursing homes and terrible nightclubs. After five years of steadfast commitment to supporting the little guy, Bizoo is calling it a day. As a final farewell, the creators are releasing a book titled Bizoo: the best, the worst and the trash that never made it. They're also hosting a series of national launch events and sweet skills workshops. The Sydney party will take place at the Rizzeria's pop-up space in The Rocks. Breaking the mould of stale book launches, there will be live music from acoustic performer Isaac Graham, an exhibition of past Bizoo covers, and a panel discussing the DIY ethics that have mobilised zines, festivals, music and other creative initiatives to voice the unspoken. Punters can also get a copy of the retrospective book for free. Commemorating a legendary zine that went up against the big street press, it traces the history of the publication and is crammed with stacks of music news, interviews, gig photography as well as plenty of art and design.
Man, these guys are slaying alternative rock in Australia right now — and for all the right reasons. After a bout of intense national touring with Groovin The Moo and an unforgettable One Night Stand set earlier this year, it's clear that Australian audiences can't seem to get enough of these four guys from Mansfield, Queensland. Violent Soho's latest album, Hungry Ghost, was welcomed with open arms last year by those looking to thrash around in damp mosh pits. With anthemic tracks such as 'Covered in Chrome', 'In the Aisle' and 'Saramona Said', this headliner gig is sure to be an epic evening of sweaty enthusiasm. Over a whopping 14-date national tour (plus Splendour), Violent Soho will be joined by brothers-in-arms The Smith Street Band and Luca Brasi for various shows — either way, it's going to be well worth rocking up for the support band ahead of the main event. Just don't wear precious threads and make sure you come to Manning Bar ready to burl out a gravelly singalong. https://youtube.com/watch?v=RN9NC4iQcsA
It's not often that you can take your date to the movies in Sydney without it costing you an arm and a leg — well that might be a slight exaggeration, but it's not far off. That's why we're giving away 20 double passes to a preview screening of what's anticipated to be one of the funniest films of the year: Brittany Runs a Marathon. Brittany's a party-goer, underachiever, lover of bad boys and... a potential marathon runner. Sound improbable? It is. But that's exactly the point of Brittany Runs a Marathon, an Amazon original comedy film that's coming out at the end of October. Her turning point comes when she asks a doctor for medication to manage ADHD, but, instead, she gets told to 'get healthy'. So begins her mission to run the New York City Marathon — one block at a time. Writer and director Paul Downs Colaizzo took inspiration for his debut flick from real-life best friend, Brittany O'Neill, played by Jillian Bell (22 Jump Street, Workaholics). The film also stars Michaela Watkins (Wanderlust, Transparent and SNL) and Lil Rel Howery (Get Out, Birdbox) alongside Utkarsh Ambudkar, Micah Stock, and Alice Lee. So, expect to laugh — a lot. Should you get your mitts on a double pass, you and your date/mate will be catching this hilarious film on the big screen at Dendy Opera Quays, on Tuesday, October 29 at 6.30pm. Who doesn't love a free night at the flicks? https://www.youtube.com/watch?v=NsHlvgTG1iI If you're keen to nab some free movie tickets — which you obviously are — enter you details below to be in the running. [competition]745456[/competition] Brittany Runs a Marathon will be showing in cinemas from Thursday, October 31 and on Amazon Prime Video from Friday, November 15.
Every now and again, a bunch of musicians meet and it's like they've played together in some other time or some other place. That's exactly how things felt for American folk singers Sara Watkins, Sarah Jarosz and Aoife O'Donovan, who performed as a trio for the first time in 2014. All were already established artists, with multiple Grammy Awards between them. Fast-forward four years and the trio is known all over the world as I'm With Her. In February 2018, debut album See You Around propelled a tour across Europe and the US, with its mix of contemporary folk, gospel and country-influenced tunes. Come April, the trio is gracing Byron Bay's Bluesfest with their ethereal harmonies. But if you can't manage a jaunt up north, their performances will be prefaced by a sideshow here in Sydney. You can catch them on Tuesday, April 16 at City Recital Hall. Tickets for I'm With Her start at $40 for under-30s and can be purchased here. Co-presented with Bluesfest Touring.
We've been preaching about it a lot, but Kensington Street continues to up its game — even after the main part of the renovation was completed last year. Gone are the run-down facades; blitzed with a bitta glam and restored to their former glory, they're now home to some of the hottest new eateries in Sydney, including Jason Atherton's Kensington Street Social, Automata, Silvereye and The Old Clare. The latest, however, is Bar Chinois, an Asian-French fusion bar housed in an old terrace that's jumped right to the top of our 'places to try' list. Chinois — which means Chinese in French — refers to the noir-esque Asian style adopted by Europeans in the 18th century. And while Chinese and French cuisine may seem like odd bedfellows, the folk at Bar Chinois have blended the best elements from both cultures: the bold flavours of Asian cuisine, cheese and a very French, very comprehensive drinks menu. Manning the kitchen is chef Nalinil Nonkham, who has created a mouth-watering menu with hero dishes like the sticky pork belly baguette and the croque monsieur with smoked ham, gruyere cheese, béchamel and cauliflower pickle. Also on the menu will be some salt cod croquettes with wasabi béarnaise, Tokyo crepes with enoki and shiitake mushroom, cream cheese and chive, and kimchi pomme frites topped with Gruyere cheese. And because it's not a genuinely French experience unless you're little buzzed, you'll be able to wash it all down with a chic teapot cocktail (try the Coco Chanel, a blend of coconut tequila, passionfruit, lime, apple and lemon sorbet) or breakfast bubbly (that's just regular champagne at breakfast, FYI). So allons-y, amis affames — let's see what this newbie got. Bar Chinois is located at 16 Kensington Street, Chippendale and is open noon till late Monday to Friday and 9am to 10pm on Sundays. For more info, visit their Facebook page.
Riverside Theatres is hosting two of the most powerful Aussie voices in music — L-FRESH The LION and BARKAA — as part of Great Southern Nights. Never failing to captivate crowds, L-FRESH will take the stage for what's sure to be a heart-filled display of the hip hop heroics he's known for. Drawing heavily on his Sikh and Punjabi roots, the creative force will go deep into his album South West (2020) and share how his experiences growing up in south west Sydney influenced the record. You'll also get to catch fellow western Sydney artist BARKAA take the stage, performing tracks from her debut EP Blak Matriarchy (2021). The proud Malyangapa-Barkindji woman will pour her love, admiration and respect of Blak women — as well as her advocacy for positive change for all First Nations peoples — into her performance at the Parramatta venue. Expect lyrical self-expression, hard-hitting vocals and charismatic energy from the all-in artist you need to see live. Keen to see these incredible artists perform in Parramatta? Catch L-FRESH The LION and BARKAA for one night only at Riverside Theatres on Friday, April 8. For more information, visit the website. Images: Luke Currie Richardson (BARKAA)
A summit for songs! Well, they deserve one, don’t they? What kind of dull viewing would our lives make without a soundtrack? What kind of shrunken, lifeless sod would love look like without a tune if, as declared by Shakespeare, music be its food? What is Christmas without jingle bells? What is heartbreak without Jeff Buckley? What is morning television without Lady Gaga? Wet dough, that’s what. The food of love must be baked, shared and celebrated, and this month it will be — at a three-day conference held in its honour. Song Summit is set to be one of Vivid festival's finest moments. It is a grand-scale meeting of music-minded revellers with a common agenda: to share, create, enjoy and explore Sydney’s dynamic landscape of sound. A playground for all sorts of industry folk including music creators, managers, publishers and technicians, Song Summit will provide the ultimate networking opportunity for anyone looking to learn from their peers and extend a few branches within the industry. For Song Summit delegates, the Music Market will be the central meeting ground — a hub of activity that grants access to fresh-out-of-the-oven music industry products and services. Punctuating the action-packed days will be Song Summit Live, a nightly lineup of music performances seasoned with some of the best raw talent. For three-day delegates, the performances are free; the rest of us can purchase tickets separately for each night. So if music be the food of your love, leave your iPod at home and head down to Darling Harbour for a banquet of sound.
Waking up daily and not really knowing 'how to live'? Yep, we're kicking off Friday with some sweet, sweet deep thinking. Often we don't have the answer to this ourselves, so we look to the advice of others to get the glorious tips. And who better than writers, authors, novelists, essayists, journalists, critics and experts to clue our meandering minds in? Taking the theme of 'how to live?' this year, Sydney Writers' Festival has announced its 2015 program lineup. This year, Sydney Writers' Festival has booked more than 400 Australian and 45 international writers to appear, chat and have a few drinks with us in the festival lounge from May 18 - 24. Kicking off the SWF with the opening address is The Reluctant Fundamentalist novelist and acclaimed essayist Mohsin Hamid, author of the book NPR can't stop talking about (H is for Hawk) Helen Macdonald (who'll give the closing address). British actor Alan Cumming is coming (couldn't help myself), who's released novels and opinion pieces over the years — most recently his candid autobiography Not My Father's Son. Fellow British actor David Walliams will be here, who's drummed up quite the Roald Dahlian children's book career after Little Britain. The world's biggest selling author for the last 13 years and inventor of Detective Alex Cross — yep, James Patterson will be here. Then there's crime writer Michael Connelly, journalist Nick Davies (who uncovered the hacking scandal), and the one you can blame for the term 'Generation X', Douglas Coupland. Local legend and 2014 Man Booker Prize winner, Richard Flanagan, is on the bill, along with Miles Franklin Award-winning writer Evie Wyld. Two former Prime Ministers, Julia Gillard and John Howard, and former Queensland Premier turned Sydneysider Anna Bligh are locked in. Podcaster Starlee Kine will be here, alongside happiness expert Paul Dolan and happiness advocate Leigh Ann Henion, war correspondents Christina Lamb and Åsne Seierstad, celebrity critic Daniel Mendelsohn. Medically assessing how to live will be doctors who write, Atul Gawande and Norman Doidge and mortician Caitlin Doughty. Novelists aplenty this year with renowned writers like Amy Bloom, Micheal Frayn, Ben Okri, David Mitchell, Anthony Horowitz, Emily St John Mandel, Jonathan Lethem, debut novelists Zia Haider Rahman and Mitchell S Jackson, and Australia’s bestselling authors Kate Grenville, David Malouf, Liane Moriarty, Graeme Simsion, Helen Garner, Robert Dessaix, Joan London, Steve Toltz, Sonya Hartnett, Nick Earls, Don Watson and Brooke Davis all leaving their pages for a second to come chat.
If you love ordering falafel when you're out but haven't had the confidence to make it yourself, Above Par's CBD venue is offering some help during Good Food Month, all thanks to a falafel-making masterclass. Chef Efe Topuzlu will take you under his wing to teach you how to make the Clarence Street spot's sesame seed-topped falafel from scratch — and, afterwards, you'll sit down to enjoy a four-course Middle Eastern feast full of favourites from the Above Par menu. Following the class, you'll be treated to puffy bread with spiced olives and pickles for an entree. You'll then get the chance to dig into some falafel yourself, paired with babaganoush and lahmacun. The mains in your post-masterclass meal will feature chicken shish, lamb kofta and fattoush, before a pistachio baklava is served for dessert. The masterclass and subsequent meal will set you back $79 per person, with sessions from 6pm on three consecutive Fridays: January 14, 21 and 28.
When it comes to film and TV depictions of a certain European country shaped like a boot, as well as its island offshoot, one topic has proven unavoidable. That'd be the mafia, known as the Cosa Nostra in Sicily, and responsible for many a movie cliche about folks of Italian descent. And that's what filmmaker and comedian Pierfrancesco Diliberto, or Pif, wants to call to attention to. Leaping from his homeland's television screens to making his feature writing and directing debut, Pif plays Arturo, a life-long Palermo resident who can't escape the city's criminal underbelly. In fact, he owes his conception to a gunfight on his parents' wedding night, and the first word he ever uttered was mafia. Of course, growing up in the 1970s and 1980s when Toto Riina (Antonio Alveario) bombed, shot and otherwise disposed of his law-abiding enemies and similarly insidious rivals alike, Arturo's connection with gangland antics doesn't end there. As a boy (Alex Bisconti), mob activities constantly interfere with his obsession with his pretty classmate, Flora (Ginevra Antona). As an adult, trying to carve out a career on television while still chasing the girl of his dreams (Cristiana Capotondi), his efforts are shaped by continued violence and corruption. The film's title comes from the reassurance his father offers to soothe Arturo's childhood worries about increasing bloodshed and rising body counts; however, The Mafia Only Kills In Summer isn't as flippant as that line and the movie's romantic comedy leanings may indicate. Humour may be Pif's primary form of expression, but there's never any doubt that he's cultivating laughs from dramatic circumstances for a variety of reasons: as a coping mechanism, as recognition of the commonplace nature of crime at the time, to bring the mob bosses and those who aided their reign of terror down a few pegs, and as a way to subvert the usual Italian stereotypes. The task he sets himself, starring, helming and co-scripting as he does, is considerable — and sometimes, it does seem too much for one person to bear. What the warmly shot The Mafia Only Kills In Summer boasts in earnest intentions and intelligent satire, it sometimes lacks in its mix of tones and plots. Some sections charm, the coming-of-age focus of the first half for example. Others feel too easy, such as the eventual conclusion. And in an attempt to include as many instances of actual gang-caused carnage as possible, much is crammed in and skimmed over. Having ample ambition and being feverishly passionate about getting its many points across isn't a bad thing, though, and even when the film is a bit too clumsy or relies too heavily on convenience, the strength of its message shines through. Well, that, and the likeable lead's unlikely love letter to his real-life birthplace and his resilient compatriots. No, this isn't your usual Italian mafia movie.
