What happens when one of the most-beloved fantasy tales adds singing and dancing? In 2025 in Australia, theatregoers heading to The Lord of the Rings — A Musical Tale will be able to find out. The stage production layers tunes into JRR Tolkien's iconic story, including as its hobbits go on perilous Middle-earth adventures. A Sydney season was announced back in August — and now Melbourne and Perth are also locked in for a musical LoTR journey. On screens big and small for decades so far (and into the future, with more TV episodes and movies on the way), hobbits have trekked, ate second breakfasts and attempted to project precious jewellery. Onstage Down Under from January, they'll also be marking an eleventy-first birthday, receiving a gold ring, taking a quest to Mordor and attempting to fight evil in The Lord of the Rings — A Musical Tale. The Harbour City season at the State Theatre comes first, followed by a stop at Crown Theatre in Western Australia from March, then a Victorian stint at Comedy Theatre that starts in April. Dating back to 2006, just after the original live-action movie trilogy, this stage musical was revived in the UK in 2023, opened in the US in July 2024 and will hit New Zealand this November before crossing the ditch. Your guides for the show are the hobbits, of course, as Frodo and company celebrate Bilbo Baggins, then depart The Shire upon a life-changing journey. Thanks to Tolkien, what occurs from there has enthralled audiences for 70 years now, with The Fellowship of the Ring and The Two Towers initially hitting bookshelves in 1954. There's been no shortage of ways to indulge your Lord of the Rings love since Peter Jackson's features — including his Hobbit trilogy — helped fan the flames of pop culture's affection for Frodo, Samwise, Pippin, Merry and the franchise's many non-underground-dwelling characters. Cinema marathons, visiting the Hobbiton movie set, staying there overnight, hitting up pop-up hobbit houses, sipping hobbit-themed beer: they've all been on the agenda. Only The Lord of the Rings — A Musical Tale is combining all things LoTR with tunes and dancing, however, in a show that sports a book and lyrics by from Shaun McKenna (Maddie, La Cava) and Matthew Warchus (Matilda the Musical, Groundhog Day the Musical), plus original music by Slumdog Millionaire Oscar-winner AR Rahman, folk band Värttinä from Finland and Matilda the Musical alum Christopher Nightingale. The Australian cast has also just been announced, including Rarmian Newton as Frodo Baggins, Wern Mak as Samwise Gamgee, Jeremi Campese as Merry and Hannah Buckley as Pippin. Laurence Boxhall is playing Gollum, Andrew Broadbent steps into Elrond's shoes and Terence Crawford is Gandalf — with Rohan Campbell as Boromir, Stefanie Caccamo as Arwen, Rob Mallett as Strider, Connor Morel as Gimli, Conor Neylon as Legolas, Jemma Rix as Galadriel, Ian Stenlake as Saruman and Ruby Clark as Rosie, too. The Lord of the Rings — A Musical Tale Australian Dates 2025 From Tuesday, January 7 — State Theatre, Sydney From Wednesday, March 19 — Crown Theatre, Perth From Monday, April 21 — Comedy Theatre, Melbourne The Lord of the Rings — A Musical Tale is touring Australia from January 2025. Head to the production's website for further details and to sign up for the ticket waitlist. Images: Liz Lauren.
It's a claim made by another animation powerhouse and their bricks-and-mortar wonderlands; however, for fans of Studio Ghibli, the beloved company's Japanese museum might just be the happiest place of earth. Not only does it celebrate the gorgeous on-screen work created by the studio — with Ghibli never making a bad movie yet — but it brings everything from My Neighbour Totoro and Laputa, Castle in the Sky to Porco Rosso and Kiki's Delivery Service to life. Understandably, that's made the Studio Ghibli Museum a must-visit place for travellers to Tokyo, with the site located on the western side of the metropolis, in Inokashira Park in Mitaka. But, unless you've actually made the trip to go there, the extent of its delights aren't that widely known, with photography forbidden once you're onsite. That means that Ghibli fans have heard about the museum's cute little cinema with bench seating, its eye-catching stained-glass windows based on the company's films, its towering spiral staircase, and the exquisite detail evident in the site's wallpaper, signage, fixtures and more — but those yet to pop by probably haven't seen it for themselves. Until now, that is, with the Studio Ghibli Museum newly opening its doors to fans virtually, all via a series of online video tours. With the venue currently temporarily closed due to the COVID-19 pandemic — and with a reopening date not yet announced — Ghibli aficionados can still get their fix via the studio's YouTube channel. The videos are brief, each roaming through a different part of the museum, but they firmly showcase just how adorable the entire place is (something we can confirm from our own visits). A new video drops each week, with seven online at the time of writing — and plenty of the museum's highlights yet to be featured. Remember, this is the place that boasts an entire Catbus room, complete with a giant Catbus that kids (but not adults) can play on. Check out a glimpse at the Studio Ghibli Museum building – including its rooftop garden and its Totoro-inspired windows — in one of the venue's videos below: https://www.youtube.com/watch?v=BaX15taUGFY To check out the Studio Ghibli Museum's videos, head to the site's YouTube channel. Top image: George N via Flickr.
A lineup of talented local emerging artists is taking over 107 Projects on Friday, August 14 for new art event Cold Weather Hunting Lodge. With mulled wine flowing, gourmet toasties toasting, and soundtrack courtesy of Junkyard Beats and Post Paint (for just $15 on the door), this promises to be a cosy grown-up affair. Art-makers such as Isabel R, Yeliz Yorulmaz, Mie Nakazawa and Sydney Collage Society will be in attendance, selling their labours of love. There’ll also be roaming and interactive performances, and plenty of opportunity to play adult and buy some art to pretty up your spaces. Works on sale will range in price from zines that set you back mere coinage, to labour-intensive works of fine art going for no more than $300. The folk behind the Lodge reckon they’re onto something big with all of the artists on the lineup, so who knows? This could be your chance to get your hands on an early work from a future art world heavyweight — or just a nice night out spent amongst pretty things made by clever people.
Australia's annual Alliance Francaise French Film Festival marked its 30th year back in 2019, and celebrated the big occasion with no troubles at all. Proving that no one loves entering their 30s, however, the event hit a few struggles when it turned 31. That happened in March 2020, when Australia started to go into lockdown. The fest was already underway, so AFFFF had to stop screening, postpone its plans, then pick things up again in July and August after cinemas started reopening. Here's hoping that 2021, the fest's 32nd year, all runs smoothly. AFFFF has 37 films on its hefty lineup this time around, and it's touring them around the country from March 2–April 22. The event will be making its usual capital city stops, so French movie fans in Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra and Hobart can start blocking out time in their diaries. There'll also be seasons playing in Byron Bay and Parramatta as well. As for what you'll be seeing, AFFFF will open its 2021 lineup with Eiffel, a new biopic starring Romain Duris (All the Money in the World) as the civil engineer who gave Paris' most famous attraction its name. At the other end of its program, the fest will close out with rom-com #Iamhere, which follows a French chef who falls in love via Instagram. And, in-between its two big bookending events, viewers can look forward to a heap of movies starring recognisable faces — including Monica Bellucci, Lupin's charming Omar Sy, the incomparable Isabelle Huppert and Kristin Scott Thomas. https://www.youtube.com/watch?v=JXVezkYnDL0 Highlights include The Man Who Sold His Skin, a twisty tale about a Syrian refugee, a tattoo artist and an unusual bargain; Summer of 85, the latest film from acclaimed director François Ozon; and police drama Night Shift, which dives deep into not only law enforcement, but alsoits handling of immigration matters. Or, there's Fahim, the Little Chess Prince, about the Bangladeshi refugee who became a national French chess champion; The Godmother, which sees Huppert tussle with the drug game; and Aline, which is inspired by the life of Céline Dion. Elsewhere, the story of France's first restaurant hits the screen via 18th-century-set period drama, Delicious; Final Set sees an ageing tennis player try to win the French Open; Miss follows a boy who'd like to enter the Miss France beauty pageant; and delightful animated feature Calamity, a Childhood of Martha Jane Cannary imagines Calamity Jane's early years. Fans of Deerskin filmmaker Quentin Dupieux can also check out his latest, Mandibles — and, because AFFF always shows at least one absolute classic French flick, this year it's screening Jean-Luc Godard's 1959 masterpiece Breathless. Check out the festival trailer below: https://www.youtube.com/watch?v=qBm8ztOVnC4 The Alliance Française French Film Festival tours Australia from March 2–April 22, screening at Sydney's Palace Central, Palace Verona, Palace Norton Street, Chauvel Cinema and Hayden Orpheum Cremorne from March 2–April 5; Melbourne's Palace Cinema Como, Palace Balwyn, Palace Brighton Bay, Palace Westgarth, Astor Theatre, The Kino and Pentridge Cinema from March 3–April 5; Palace Raine Square, Luna Leederville, Windsor Cinema, Luna on SX and Camelot Outdoor Cinema from March 10–April 11; Brisbane's Palace Barracks and Palace James Street from March 17–April 15; and Adelaide's Palace Nova Eastend Cinemas and Palace Nova Prospect Cinemas from March 23–April 22. For more information and to buy tickets, visit the AFFFF website.
It's late. You're tired. You have no food in the house. Supermarket. As you round the corner into the frozen foods aisle, Marvin Gaye starts telling you exactly how he heard it: through the grape vine. Your brain flickers as it registers the familiar, but you're on the hunt for frozen peas and sleep. No brain space for a catchy 1960s confession. For many of us, Motown is merely the soundtrack of our day-to-day grind — the universally popular toe-tappers that we associate with crowded, unpleasant malls. But it wasn't always like this. From the mid-1960s till well into the 80s, Motown was cranking out hit after generation-defining hit. On Saturday, September 1, musical director David Longo is out to jolt your memory (and possibly your groove thing) with a night of Motown's chart-toppers live at City Recital Hall. And with the likes of vocalists Flip Simmons, Andrew Bukenya, Glenn Cunningham, Virna Sanzone, Carmen Smith and Natasha Stuart at the helm, this is less a dusting off of the classics than a snazzy application of jumper cables. So find some tie-dye and shake a fist at Nixon, then peace-and-love your way down to City Recital Hall for this one-night-only performance of grooves and answers to age-old questions, like who's Lionel Richie saying hello to? Did anyone actually stop in the name of love? And are ABC and 123 really as easy as each other? Hits of Motown is produced and presented by City Recital Hall. You may not be able to hurry, love, but you can still book quick-smart here.
Western Sydney's dining scene is decidedly more consistent than the region's National Rugby League Teams — where the Penrith Panthers sit at the top of the ladder, and Parramatta is struggling to avoid the wooden spoon — and is certainly worth celebrating. Regularly racking up points for churning out affordable and generally excellent fare, here are our picks of the best eateries to celebrate a win in Western Sydney. Volcanos Steakhouse With locations in Parramatta, Blacktown, Wetherill Park and Bankstown, Volcanos Steakhouse is a carnivore's paradise. The steakhouse is known for its succulent dry-aged steaks, ribs and Wagyu cuts sourced from Aussie farmers, which you can enjoy with a range of mocktails like the tangy watermelon mojito. With four venues to choose from, no matter where your crew is coming from, there's an accessible venue suitable for all your family celebrations, team outings and social gatherings. From marbled steaks that melt in your mouth to tender ribs that fall off the bone, each dish is a moreish delight. Plus, for diners sticking to a halal-certified diet, don't (meat) sweat — Volcanos Steakhouse has got you. Chan Kun Kee While Cabramatta is not exactly short on eateries churning out excellent Asian fare, this hidden gem's commitment to traditional Cantonese cuisine makes it one to seek out. From aromatic soups that warm the soul to delicate dumplings perfect for a hangover-healing yum cha brunch, when it comes to classic Cantonese tastes bursting with flavour, Chan Kun Kee understood the assignment of feeding a large crowd for a celebration. Abhi's Indian Restaurant and Chatkazz If your family celebration calls for a taste of India in Western Sydney, look no further than Little Bombay, officially known as Harris Park. Here, along the bustling streets lined with the intoxicating aromas of Indian spices and the pulsating energy of South Asian culture, lies a multitude of local "Desi" delights, including Abhi's Indian Restaurant and Chatkazz. Both offer a vibrant ambience and diverse menu featuring aromatic curries, fluffy naan bread and tantalising street food snacks. Fratelli Pulcinella It may have outgrown its original location (the backyard of a local home) and moved to a bigger store. But, Fratelli Pulcinella has lost none of the authenticity that quickly earned its cult status among locals when it first opened. While the Matesina (Porcini) pizza — made with mushroom truffle pesto, porcini mushrooms, rosemary, provolone smoked cheese and mozzarella — is a fan favourite, the combination of traditional woodfired ovens and fresh, quality ingredients ensures each piece of Naples-inspired pie is a mouth-watering ode to La Dolce Vita. And what party isn't better with pizza? Oribu Nestled in the heart of Parramatta's main thoroughfare, Church Street, Oribu is a fine-dining Japanese eatery with a former Nobu chef at the helm. From sushi rolls with a twist to a seven-course chef's tasting menu and killer cocktails, Oribu offers innovative dishes that give Crown Barranagroo vibes — minus the 45-hour trek down Parramatta Road to get there. It's the perfect location for intimate celebrations like anniversaries and dates. Baba Ghanouj Parramatta Prepare to be whisked away on a culinary journey through the Middle East at Baba Ghanouj. Alongside bowls of tangy tabouli, crispy fried falafel patties and the smoky eggplant dip that lends the restaurant its name, every experience here honours the region's famed hospitality. With Arabic tunes filling the air, iconic murals adorning the walls, and the scent of rosewater wafting through the kitchen, Baba Ghanouj offers not just a meal but an experience that will transport you to the vibrant streets of Beirut and beyond for your celebratory shindig. Poppi Tino Almafi Coast, but make it Aussie. Tucked away in Kingswood (around the corner from Penrith), Poppi Tino is a cosy trattoria serving up hearty Italian fare. From their classic spaghetti chill prawn pasta to a mouth-watering risotto pollo — and a set menu that's perfect for bigger groups — each dish is so good that your only dilemma will be which pair of stretch pants to wear to accommodate the inevitable carb-baby. Lady Banks Rooftop For a celebration locale with a touch of elegance and sophistication, head to Lady Banks Rooftop in Bankstown. Its impressive menu is packed with contemporary Mediterranean-inspired share plates (including chilli prawn woodfired bread and ouzo salmon) that are so brilliant the closest potential challenge to them would be the breathtaking vistas on offer. Whether you're there to sip cocktails, savour a meal or soak in the sweeping views across Sydney, Lady Banks Rooftop provides the perfect setting for a memorable celebration. Bartega Belmore While this 'burb may best be known as the Home of the Bulldogs, this artisanal cocktail bar, tucked in the heart of Canterbury Leagues Club, delivers intimate vibes, innovative share plates (the wagyu bresaola with pickled vegetables, grapefruit, honey ricotta, pistachio soil and shiso oil is brilliant) and a very extensive wine list. Signature cocktails include the aptly named Yellow Roses — which gets its signature golden hue from the addition of Safron Tanqueray and Campari, as well as elderflower liqueur, lavender syrup and lemon. Perfect for celebrating your latest win with your mates or family. If you have a reason to celebrate, head to Volcanos Steakhouse in Parramatta, Blacktown, Wetherill Park and Bankstown and enjoy premium steaks, succulent ribs, and epic burgers. Reserve your spot on the website.
Hunting for a few spots to wine and dine in Sydney across the long weekend? Luckily Sydney's got no shortage of cafes, restaurants and bars that are dishing up the goods in celebration of the Queen's birthday. Here are a few spots that are open and ready to whet your whistle and fill your belly. From waterfront upscale seafood to cocktails at retro bars, there's something on this list for everyone to enjoy. [caption id="attachment_833249" align="alignnone" width="1920"] Barangaroo House[/caption] RESTAURANTS Aalia, Saturday: 5pm- close, Monday: 12pm- close Barangaroo House, Saturday, Sunday: 12pm–midnight, Monday: 12pm–midnight The Botanist, Saturday: 12pm–midnight, Sunday: 12pm-10pm The Butcher's Block, Saturday, Sunday: 7am-10pm, Monday: 7am-3pm Coogee Pavilion, Saturday, Sunday: 7.30am - late, Monday: 11.30am-10pm Chiswick, Saturday: 5:30pm–8:45pm, Sunday: 12pm–3pm, 5:30pm–7:45pm, Monday: 12pm-3pm, 5.30pm–7.45pm Cucina Porto, Saturday: 12pm - 3pm, 5pm - 10pm, Sunday: 11am - 3pm, 5pm - 10pm, Monday: 12pm - 3pm, 5pm - 10pm Fat Noodle, Saturday, Sunday: 12pm - late, Monday: 12pm - 10pm Forrester's, Saturday, Sunday: 11.30am–late The Gardens by Lotus, Saturday, Sunday: 11am–3pm Henrietta, Saturday: 12pm-9:30pm, Sunday: 12pm-9pm, Monday:12pm-3pm, 5pm-9pm Kingsleys Wooloomooloo, Saturday: 12pm - 3pm, 5pm - 9.30pm, Sunday: 12pm - 3pm, 5pm - 9.30pm, Monday: 12pm - 3pm, 5pm - 9.30pm Lilymu, Saturday: 5.30pm–9.30pm Little Pearl Manly, Saturday: 12pm - 12am, Sunday: 12pm - 10pm Monday: 12pm - 10pm Lotus Barangaroo, Saturday–Monday: 12pm–3pm, 5:30pm–9pm Nomad, Saturday: 12pm–late, Sunday: 12pm–8pm, Monday: 5.30pm–late North Bondi Fish, Saturday–Monday, 12pm–10pm Nour, Saturday:12pm - 2.30pm, 5.30pm -10pm, Sunday - 12pm - 8.30pm, Monday - 5.30pm - 10pm Queen Chow Enmore, Saturday: 12pm–10pm, Sunday: 12pm–9pm Reign, Saturday: 10am-4pm, Sunday: 11am-5pm, Monday: 12pm-5pm Sokyo, Saturday: 7am - 10am, 12pm - 3pm, 5pm - 11pm, Sunday: 7am - 10am, 12pm - 3pm, 5pm - 10pm, Monday: 7am - 10am, 5pm - 10pm Sunday, Sunday: 12pm-9pm, Monday: 4pm–9pm The Strand Bistro, Saturday: 10am - 3am, Sunday: 10am - 12am Monday: 10am - 12am Untied, Friday 12pm–midnight, Saturday: 11am–midnight, Sunday: 11am–10pm, Monday: 12pm–10pm [caption id="attachment_848714" align="alignnone" width="1920"] The Vic on the Park[/caption] BARS The Beresford, Satuday-Sunday: 12pm–1am Bondi Beach Public Bar, Friday–Monday: 12pm–1pm Bungalow 8, Saturday: 12pm-2am, Sunday: 12pm-10pm, Monday: 12pm-10pm Cargo Bar, Saturday: 11.30am - 2am, Sunday: 11.30am - 2am, Monday: 11.30am - 2am Coogee Pavilion Ground Floor, Saturday, Sunday: 7.30am–late, Monday: 11.30am–10pm Coogee Pavilion Rooftop, Saturday: 12 pm–midnight, Sunday: 12pm-10pm, Monday: 12pm—10pm. The Dolphin, Saturday, Sunday: 11.30am–midnight, Monday: 12pm–10pm The Duke of Enmore, Saturday: 12pm–2am, Sunday: 12pm–10pm, Monday: 4pm-midnight El Loco Excelsior, Saturday: 11am–3am, Sunday: 12pm–3am, Monday 11am - late Harry's, Saturday–Monday: 11.30am–midnight The Newport, Saturday: 10am–midnight, Sunday: 10am–10pm, Monday: 10am–10pm Shady Pines Saloon, Saturday–Monday: 4pm–midnight The Taphouse, Saturday: 12pm–1am, Sunday: 12pm–11pm, Monday: 12pm–10pm Untied, Saturday: 12pm-12am, Sunday: 12pm-7pm, Monday: 12pm-10pm Universal, Saturday, Sunday: 10pm–7am Vic on the Park, Saturday: 10am–3am, Sunday: 11am–10pm, Monday: 12pm–8pm The Winery, Friday, Saturday: 11.30am–midnight, Sunday: 11.30am–9pm, Monday: 12pm–11pm Top image: Nour
Budding photographer? Then you should definitely check out Photostart – the Australian Centre for Photography's annual show celebrating the brightest talents within their student community. Curated from works produced throughout this year's program of photography courses, the diverse exhibition will appeal to both those who like getting behind a camera lens and those who just like looking at a great picture. This year's show introduces the inaugural 7 Wentworth Selborne Award, a $2000 cash prize that recognises the photograph that best displays both technical ability and originality. You'll also be able to attend talks, workshops and portfolio reviews on Saturday, December 16. Photostart's opening night is on December 15 (you're invited, by the way), after which it runs until February 3, 2018, with a short break from December 23 – January 8. Image credit: Alexis Roitman,Camera Craft 1 student, 2017. Courtesy and © the artist.
At this point in Australia's cinema history, audiences can be forgiven for wondering if homegrown movies have unearthed and told every outback tale there is. Filmmakers have surveyed the nation's ochre-hued terrain as a source of beauty, wonder, comfort, isolation, terror and horror many times over — and used it as a vast and striking backdrop, too — for decades via a multitude of genres. Splash almost any orange-tinted patch of the Aussie landscape across the big screen, and it instantly feels recognisable to even the most ardent of city dwellers, in fact. But the answer to the aforementioned query is an overwhelming no, as The Furnace shows. When the country's cinematic talent traverses this sunburnt and sprawling expanse we call home to explore stories steeped in our problematic past, it's impossible to run out of tales to unfurl. First-time feature writer/director Roderick MacKay sets his meat pie western — the term applied to Australia's spin on the genre, riffing on Italy's spaghetti westerns — in gold-rush era Western Australia. The year is 1897, and transporting freight requires a network of cameleers who trek across the desert. The men hail from India, Afghanistan and Persia, and are largely of Muslim and Sikh faith. They're also badged together under the label 'Ghan' by white Aussies, who treat them poorly and cruelly. As they trudge and toil, Indigenous Australians are far more welcoming. Of course, in stressing this fact, The Furnace isn't making a minor point. MacKay delivers a powerful interrogation of Australia as a multicultural nation, and as a country controlled by those who've done much over the past two centuries to ignore and erase that truth. Indeed, it shouldn't be lost on anyone that the film draws from a real chapter of the nation's story, and also a largely forgotten one — so much so that it's likely to introduce the cameleers' existence to many viewers for the first time. Hanif (Ahmed Malek, Clash), The Furnace's main point of focus, didn't choose to come to Australia or take up this line of work. So, when the young Afghan witnesses the death of his mentor at the hands of a white man, he's eager to earn the cash he needs to return home and leave his stint in the Aussie desert far behind. The Yamatji Badimia people he often spends time with on his travels, including leader Coobering (Trevor Jamieson, Storm Boy) and Hanif's friend Woorak (Baykali Ganambarr, The Nightingale), suggest that he stays and joins them instead — but, after stumbling across injured thief Mal (David Wenham, Dirt Music), he's determined to use half of his new acquaintance's stolen Crown-marked gold bars to finance his escape. Troopers led by the fervent Sergeant Shaw (Jay Ryan, IT: Chapter Two) are swiftly on the unlikely pair's trail; however, Hanif and Mal keep traipsing towards the eponymous smelter, where Mal promises they can melt down the precious metal to remove all traces of the government's ownership. Charting Hanif's journey — physically, and emotionally and spiritually as well — The Furnace is a patient film. It follows characters making a considerable trek, and it lets that sense of time infect the audience. Viewers feel Hanif's exasperation as parts of his life slip by in the sun-dappled dirt and dust. The movie forces those watching to fall into a rhythm, where there's no shortage of new developments complicating Hanif and Mal's quest, but there's no urgency either. That's a difficult feat, especially in a film that sees its central duo pursued by the law with increasing vehemence. The audience knows that Hanif and Mal's predicament is precarious and pressing, because it's apparent in every second after they first cross paths. But MacKay doesn't rush a moment, scene or vivid yet composed image, ensuring viewers also know that being in a hurry means something completely different when nothing but hellishness stretches out as far as the eye can see. It takes an immense amount of skill to realise exactly how long a story needs — not just to relay its plot, but to steep audiences in its characters' experience. If a movie feels too short or lengthy, it's usually because it has failed at this task. The Furnace perfects it and, in deploying the western genre's trademarks in an Australian colonial context, it serves up a stellar meat pie western in the process. The Proposition, Sweet Country, The Nightingale and the forthcoming High Ground have all done so since the turn of the century, and now have more company among the 21st-century's best examples. Perhaps less expected is the way that The Furnace also recalls the greatest addition to the western genre from anywhere over the past two decades: TV series Deadwood. While MacKay crafts an inherently and visibly Aussie story, he also taps into the acclaimed HBO show's canny understanding that trying to make something of oneself when a country is also in its fledgling phase of doing the same is not only complex, but brutal. In a movie that's unflinching in posing the kinds of questions about our national identity that we should always be asking, that above observation applies across the board. It's given flesh via Malek and Wenham's performances, but it's the former that's the star here — alongside Ganambarr, who is now two for two film-wise. Both Malek and Ganambarr are expressive actors who can convey as much through their gaze and presence as through words, which MacKay capitalises upon via prolonged, unedited shots. Actually, they're the reason that The Furnace's biggest struggle stands out, too. So much is subtle and lingering about this film, so it's immediately noticeable when some peripheral characters prove one-note and cartoonish. Such blunt instruments clash with a movie that's otherwise poured as carefully onto the screen as molten gold from its titular stove. https://www.youtube.com/watch?v=N8DT_zVzxhk
Need a reason to make a date with Bluesfest in 2025, in what might be the event's last year? There's plenty. Ten-time Grammy-winner Chaka Khan and rains-blessing rock group Toto are two, and also showcase the Byron Bay festival's commitment to variety. There aren't many events in Australia where audiences will find the Queen of Funk and the yacht-rock favourites behind 'Africa' on the same bill. Khan is playing an Australian-exclusive set to celebrate 50 years in music, and returns to Australia two years after headlining the 2023 Melbourne International Jazz Festival. Among the Chicago-born singer's hits: 'I'm Every Woman', which was later covered by Whitney Houston; the Prince-penned 'I Feel for You'; and 'Ain't Nobody' with her funk band Rufus. As well as hearing the drums echoing tonight in 'Africa', Toto's discography includes fellow anthems 'Hold the Line' and 'Rosanna' — and its members are known for playing on a wealth of albums from other artists in the 70s and 80s, including 'Thriller'. [caption id="attachment_986631" align="alignnone" width="1920"] Michelle Brody[/caption] Across the Easter long weekend, so from Thursday, April 17–Sunday, April 20, 2025, Bluesfest will also welcome Crowded House, Ocean Alley and Vance Joy, plus Hilltop Hoods, Budjerah, Kasey Chambers and The Cat Empire — and Xavier Rudd, John Butler, Tones and I, Missy Higgins, George Thorogood & The Destroyers and many more. 'Sailing' and 'Ride Like the Wind' singer Christopher Cross is another yacht-rock inclusion. Before it started announcing its roster of talent in August 2024, the festival advised that it would bid farewell with its 2025 event, marking the end of an era — and coming at a time when Australian fests have been struggling and cancelling (see: Groovin the Moo, Splendour in the Grass and Spilt Milk, for just three high-profile examples). Bluesfest saying goodbye may no longer be happening, however, with reports that discussions are underway about the festival's future and also that artists are already being booked for 2026. Bluesfest 2025 Lineup: First announcement: Crowded House Vance Joy Ocean Alley Tones and I Gary Clark Jr Rag'n'Bone Man RY X Allison Russell Christone 'Kingfish' Ingram Brad Cox Here Come the Mummies The California Honeydrops Marc Broussard Pierce Brothers Taj Farrant Fanny Lumsden 19-Twenty WILSN Cimafunk Neal Francis Second announcement: Hilltop Hoods Xavier Rudd John Butler The Cat Empire Kasey Chambers Melbourne Ska Orchestra CW Stoneking Budjerah Lachy Doley Group Ash Grunwald Kim Churchill Miss Kaninna The Beards Velvet Trip FOOLS ROSHANI Sweet Talk The Memphis Three featuring Fiona Boyes, Jimi Hocking and Frank Sultana Third announcement: Missy Higgins George Thorogood & The Destroyers Rodrigo y Gabriela Nahko BJ The Chicago Kid Melody Angel Don West Fourth announcement: Chaka Khan Toto Christopher Cross Maoli Clarence Bekker Band Hussy Hicks Eric Stang The Steele Syndicate The Royals Bluesfest images: Joseph Mayers, LD Somefx and Roger Cotgreave.
Marc Maron of WTF with Marc Maron, one of the most downloaded podcasts, is coming to Australia in October, and if you're not there then you are a fool, a foolish fool. For you see, while he is best known for his podcast, averaging 4 million downloads each month and interviewing guests including the POTUS himself, he's just as brilliant alone on a stage, mic in hand, practicing his original craft. If you're not much of a podcast listener (why not? Get on that, they're the best), then you may have caught Maron’s critically acclaimed half-hour scripted series Maron, created, written and produced by Maron himself, on ABC2. Or perhaps his latest special, Thinky Pain, on Netflix. The man is a machine of brilliant cultural output. Get stuck in.
Whenever a kitchen knife gleams, a warped mask slips over a killer's face or a piano score tinkles in a horror movie — whenever a jack-o'-lantern burns bright, a babysitter is alone in someone else's home with only kids for company or October 31 hits, too — one film comes to mind. It has for four-plus decades now and always will, because Halloween's influence over an entire genre, slasher flicks within it and final girls filling such frames is that immense. That seminal first altercation between then 17-year-old Laurie Strode and psychiatric institution escapee Michael Myers, as brought to the screen so unnervingly by now-legendary director John Carpenter, also valued a concept that couldn't be more pivotal, however. Halloween was never just a movie about an unhinged murderer in stolen mechanic's overalls stalking Haddonfield, Illinois when most of the town was trick-or-treating. In Laurie's determination to survive Michael's relentless stabbing, it was a film about trauma and fighting back. As played by Jamie Lee Curtis (Everything Everywhere All At Once) for 44 years — her big-screen debut made her an OG scream queen, and she's returned six times since, including now in Halloween Ends — Laurie has never been anyone's mere victim. In the choose-your-own-adventure antics that've filled the franchise's ever-branching narrative over 13 entries, her tale has twisted and turned. The saga's has in general, including chapters sans Laurie and Michael, films that've killed one or both off, and remakes. But mustering up the strength to persist, refusing to let Michael win and attacking back has remained a constant of Laurie's story. That's all kept pushing to the fore in the current trilogy within the series, which started with 2018's Halloween, continued with 2021's Halloween Kills and now wraps up with an instalment that flashes its finality in its moniker. Laurie keeps fighting, no matter the odds, because that's coping with trauma. This time, though, is a weary Haddonfield ready to battle with her? First, a just-as-pressing question: is this David Gordon Green-directed and co-written, Jason Blum-produced movie ready to fight back itself? Green (Stronger, The Righteous Gemstones) has been the mastermind behind the franchise's revival with co-scribe Danny McBride (The Legacy of a Whitetail Deer Hunter) — and while their first dance with the boogeyman (James Jude Courtney and Nick Castle), and the woman pursued by him, gave the Halloween series its best sequel yet, their second lurked in lacklustre been-there, done-that territory. Despite a title that's bound to be proven wrong down the line because that's just the way Hollywood goes, Halloween Ends leaps forward after its average-at-best most-recent predecessor, thankfully. It does so weightily, eerily and gorily, in fact, albeit sometimes clumsily as well, in a mostly fitting swan song for Curtis that understands what it means to spend half a lifetime shrouded in tragedy. Halloween circa 2018 and Halloween Kills sliced into the same night, 40 years after Michael initially attacked Laurie, but Halloween Ends covers two other October 31s. In the first, a year later, a babysitter, a child and Haddonfield's understandably on-edge vibe are all present — as is Carpenter's 1982's masterpiece The Thing, playing on a TV — and a bloody end results. Jumping forward three more years, Laurie is penning a memoir about moving on from her ordeals, and has begun to re-embrace life while living with her granddaughter Allyson (Andi Matichak, Foxhole). Still, around them, their home town is uncertain in Michael's absence. Accustomed to having a big bad responsible for their woes, fears and misery, its residents now point fingers at twentysomething Corey Cunningham (Rohan Campbell, The Hardy Boys), who's already escaped a murder accusation but is forever branded in the community's eyes. Seizing new chances — to avoid adding to Michael's body count, to hold one's own against him and to welcome the future — has always been part of Laurie's story, too, and Halloween Ends knows it. Accordingly, it's little wonder that she feels for the outcast Corey, or that she's swiftly setting him up with Allyson. That clunky plot thread and the inevitable return of Michael are intertwined, because Haddonfield is that festering an emotional and psychological mess; see: the viciousness skewered Laurie's way as well, blaming her for her tormentor's decades of horrific crimes. That Green adapts the franchise's usual pumpkin-filled opening titles to show jack-o'-lanterns swelling, birthing new carved and hollowed-out vegetables inside, then exploding as new ones take over, is telling — by design, obviously. (Carpenter provides a new score, as he has for all three recent titles, which also keeps setting the perfect creepy mood.) Green and McBride's love for all things Halloween, and for Carpenter and his imprint upon horror, has never surprised; why hop into the saga otherwise? Alas, adoring nods and knowing use of the series' template can be a double-edged cleaver — clever in 2018, tired in 2021, but now mostly savvy again. That perhaps there can be somewhat of a conclusion to all the pain Michael has inflicted after all plays powerfully, especially given how past flicks have acknowledged that truly awful things can and do happen for absolutely no reason, and that their imprints slash oh-so-unshakeably deep. Thematically, Halloween Ends is still about that choice to fight back against unspeakable trauma, although it also recognises the choice to take control by other means. This trilogy-concluding movie doesn't skimp on the engagingly staged visceral threats, though, including new and throwback bumps and jumps, plus a hefty willingness to get grisly — or, once he re-emerges, on Michael as a source of terror. Just as Haddonfield one year on, then four, seems to be drifting, Halloween Ends might've if it didn't buy into everything with such gusto. The winks, the trauma, the truth about life's darkness, the straightforward but on-point social commentary, the gruesome deaths, the determination to just keep fighting back, a few splashes of utter silliness: there's intensity in them all, notably so after Halloween Kills' treading-water mood. Whether facing off against The Shape, as Michael is always credited, or crossing Corey's path and weathering its aftermath, Curtis always ripples with the same force — and with the gravity of a woman whose life has kept leading to this. That's accurate for final girl-turned-final woman Laurie, clearly, and one of Halloween Ends' biggest strengths is grappling with that fact. It's also accurate for Curtis herself, who adds this to 2018's Halloween and the ceaselessly iconic original as undying career highlights.
For the first time since early May, new locally acquired COVID-19 cases have been identified in Sydney, after a man in his 60s who works as a driver for international flight crew tested positive. Over the past 24 hours, NSW Health has been issuing alerts regarding exposure sites, as always happens in this situation — and now Premier Gladys Berejiklian has asked that residents of the city's eastern suburbs avoid social gatherings for the time being. The current cases, which have increased to four as at today, Thursday, June 17, largely involve people who live in the eastern suburbs area — with venues in Bondi Junction and Vaucluse featuring heavily on the exposure sites list. So, the Premier has advised that "if you're in the eastern suburbs, unless you absolutely have to attend a large gathering, unless you absolutely have to engage in activities of a social nature in the next few days, we ask everybody to refrain from that." Folks from that part of town are also requested "to be extra careful, to make sure you hand sanitise and socially distance — and if you're catching public transport, we recommend people wear a mask." While no official orders have been made for either for the eastern suburbs or for the rest of Sydney, Premier Berejiklian urged everyone in general to "be extra careful" over the same period. "At this stage, we're all on high alert. We're asking people to modify their activity, to consider where they've been, what their movements have been and what their movements may be until we go through the next few days as the situation is evolving," she said. "Assume that everybody you're in contact with has the virus and assume you have the virus yourself — and that's the best advice we can give you as the next few days unfold," the Premier continued. https://twitter.com/NSWHealth/status/1405331004873580544 Reintroducing restrictions wasn't floated in today's press conference but, over the coming days, all Sydneysiders are are asked to frequently check NSW Health's long list of locations and venues that positive coronavirus cases have visited — and, if you've been to anywhere listed on the specific dates and times, to get tested immediately and self-isolate as advised. In terms of symptoms, Sydneysiders should be looking out for coughs, fever, sore or scratchy throat, shortness of breath, or loss of smell or taste — and getting tested at a clinic if you have any. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Forget about the traditional boy-meets-girl formula. Boy and girl already know each other; in fact, they're best friends who are living together. And while you're at it, forget about the happy-ever-after ending, because in this story, there's more reality than fantastical taglines. This story, Not Suitable For Children, is a modern take on the rules of love and family. Jonah Reid (Ryan Kwanten) is a carefree guy in the prime of his life, squeezing out all the fun these years have to offer. With his two best mates, Gus (Ryan Corr) and Stevie (Sarah Snook), he hosts weekly parties in his crumbling, inner-city share-house — massive, anarchic house parties that start to rake in some considerable profits. On one such night, Jonah's, ah, lady friend, points out that he has "a lump sorta thing" on his left testicle. Cut to the main thrust of the film. With a diagnosis of testicular cancer, a four-week deadline until his manhood gets the chop, and unfreezable sperm, Jonah has only one option left: to impregnate someone before he's rendered infertile. Shifting his priorities from being a party maestro to becoming a father, Jonah embarks on a 30-day mission to find the One, or anyone, who wants to cook his bun. As he runs through ex-girlfriends and acquaintances, lesbians and older women, the mission starts to look dire. That's until the perfect candidate reveals herself, having been under his nose the whole time. Written by Michael Lucas and directed by Academy Award-nominated Peter Templeman (The Saviour), the narrative trajectory is wonderfully composed and projected. It's tightly composed, keeping you guessing without prediction or cliche. Performances by Ryan Kwanten, Sarah Snook, Ryan Corr and Bojana Novakovic were consistently strong and wonderfully showcase Australian talent. Shot in Sydney over seven weeks during the winter of 2011, the film shows off Sydney's inner west, with shots of Oxford and King Streets with its offerings of sweet small bars and cafes. Overall the musical palette swings from the raw blues-rock of The Black Keys to '70s funk with Funkedelic and The Bamboos. Other highlights included Mammals' 'Carried' and the sweet tune 'Teething' by Megastick Fanfare. They complete what is a great film. https://youtube.com/watch?v=qwHmZ-ARVg4
Harry's in Surry Hills is helping us make up for lost dancing time with a 12-night rave running till 3am every night. Called Altar Danceteria, the event will see the pub transformed into a rave cave with electro tunes, lasers, fluro posters and installations by Babekuhl and Serwah Attufah. The Danceteria's lineup stars some of the country's best DJs, including Stereogamous, Roy Blues, Body Corp, Santamaria Bros and Finer Things Deejays. The best part? Entry to all the events is absolutely free. Stock up on glow sticks and glitter, folks, this is going to be one helluva party. You can check out the full lineup over on the website.
War, what is it good for? That's a question Britain's Ministry of Information was tasked with answering in the 1940s. As English soldiers battled the Nazis across Europe, and the Germans dropped bombs on London during the Blitz, selling the merits of the Second World War to the broader public became increasingly difficult. When lives are being lost en masse and buildings are crumbling around you, the slogan "keep calm and carry on" — which was coined by the British government in 1939 — starts to seem a little less reassuring. In Their Finest, Ministry filmmakers aren't just concerned with making rousing cinema. They're also keen to ensure that plausible dialogue comes out of the mouths of their female characters. This inspires them to hire Catrin Cole (Gemma Arterton) as a low-paid writer. Though keen, industrious and excellent at her job from the outset, she comes in particularly handy when bureaucrat Roger Swain (Richard E Grant), producer Gabriel Baker (Henry Goodman) and head writer Tom Buckley (Sam Claflin) set their sights on adapting a true tale about two sea-faring sisters. The ladies in question took their dad's boat to help with the Dunkirk rescue efforts, or so the story goes. But when Catrin has a chat with the heroic twins, she discovers that reality is a little less exciting. Still, you know the old adage: you can't let the facts get in the way of a good story. Propaganda filmmaking mightn't seem a likely candidate for a poignant exploration of the power of movies, a tender account of people trying to get by in tough times, and a romantic drama all rolled into one. Nevertheless, audiences who stick with Their Finest's initially awkward-seeming concept will be justly reward. There's plenty of sweetness, satire and insight inside — and a gentle yet clear rallying cry against sexism as well. Indeed, director Lone Scherfig (An Education) and screenwriter Gaby Chiappe understand full well that pleasing the cinema-going crowds and smartly championing the power of women in the workforce aren't mutually exclusive goals. In adapting Lissa Evans' 2009 novel Their Finest Hour and a Half, they take the obvious approach, but do so with handsome period flair, an ample amount of heart, and an ability to seamlessly jump between comedic to serious moments. Take Bill Nighy's involvement, for instance. The veteran actor plays just that, although his character is convinced he should be seen as a young romantic lead rather than older uncle. He's initially rolled out for laughs, but the movie doesn't treat him as a joke. Delving deeper into what its motley crew is facing as the war rages on around them sits at the very heart of this surprisingly nuanced film. And while Nighy doesn't ever steal the spotlight from the spirited Arterton, he provides a warm, witty and winning example of the kind of multi-layered movie the pair both find themselves making. https://www.youtube.com/watch?v=qmRzbnnToiw
If you're of an age when you can remember burning your friend's So Fresh CD so you could stay up to date with the coolest songs of the season, congrats. You're old now. But also, congrats, because you will seriously enjoy this So Fresh shindig. The old-school get-together to end all old-school get-togethers is coming to El Topo's basement on Saturday, September 14, and it'll be playing bangers strictly of the 2000s vintage. You can expect a disturbing percentage of Channel 10 alums (Australian Idol winners/losers and ex-Neighbours actors) as well as way too much Nickelback for polite company. Also, just throwing this out there: we're desperately hoping for a timely comeback of the Duff sisters duet 'Our Lips Are Sealed'. This time around, the retro tunes will come with plenty of party fun, including face-painting, free fairy floss and lollipops. Of course, it's obviously 18 and over — because if you're under 18 you definitely don't know what So Fresh is. Or CDs, probably.
As most things did in 2020, Sydney Fringe Festival went digital last year, adapting to a period unlike any other in the event's history. In 2021, it's also following the prevailing trend — this time by returning with a physical month-long fest. That said, this festival isn't known for going with the flow. Its program always proves eclectic and varied and, when it drops in July, this year's is bound to be no different. For now, however, event organisers have detailed a few aspects of the fest that Sydneysiders can look forward to between Wednesday, September 1–Thursday, September 30. Performances, exhibitions, music, theatre, comedy, visual arts, film, dance, circus, literature and poetry — they'll all be covered when the complete lineup drops. If you're particularly interested in locally made theatre productions and cabaret, dance and musicals, though, you'll be heading to hubs dedicated to each. The Young Henry's Made in Sydney Hub will set up shop at PACT in Erskineville, and focus on works by independent Sydney theatre makers that are ready to tour. As for the City Tatts Musical Theatre and Cabaret Hub, it'll be based in the Segars Ballroom and Omega Lounge at City Tattersalls Club on Pitt Street, and also include a pop-up wine bar by Innocent Bystander. [caption id="attachment_812806" align="aligncenter" width="1920"] Seiya Taguchi[/caption] A development program called Art in Isolation will be part of this year's Sydney Fringe Festival, too, featuring works that ruminate on life in the time of COVID-19. An ongoing initiative, it started commissioning and funding 20 artists back in September 2020, with the latest pieces set to premier at this year's fest — at another new hub that's all about experimental and cross artform programming, to be located at Mothership Studios in Sydenham. Other parts of the 2021 include weekly AUSLan-interpreted performances every Monday at Darlinghurst Theatre Company, plus a brand new program for kids — complete with a silent disco at Darling Quarter for young Fringe-goers. The Touring Hub will once again take over Fringe headquarters in Newtown to present must-see shows from international and interstate festivals, and the laughs will flow at Fringe Comedy at The Factory Theatre in Marrickville. Plus, the set-to-be-revamped Erskineville Town Hall will play host to the Emerging Artist Touring Hub. Sydney Fringe Festival 2021 will take place between Wednesday, September 1–Thursday, September 30, with the event's full program set to be announced in July. For further information in the interim, head to the fest's website.
Move over Muriel's Wedding — Australia's getting another homegrown comedy about life, love and tying the knot. That'd be Top End Wedding, which tells a completely different tale, but looks set to warm hearts all the same. Premiering at the Sundance Film Festival this week among a record contingent of Aussie flicks, Top End Wedding follows the chaos that comes with popping the question, trekking across the country and trying to track down a runaway relative. At its centre sits newly engaged couple Lauren (Miranda Tapsell) and Ned (Gwilym Lee). Head over heels and heading off to Darwin to stage Lauren's dream wedding — in the super short timeframe of just ten days — they discover that her mum (Ursula Yovich) has gone AWOL. Tapsell not only stars in the movie, but co-wrote the script. She also reunites with The Sapphires filmmaker Wayne Blair, who sits in the director's chair again here. And if Lee looks familiar (and looks like he should be wearing a massive mop of curls), that's because he's just been seen in Bohemian Rhapsody as Queen guitarist Brian May. Fellow The Sapphires star Shari Sebbens also features in the new film, alongside a cast that includes New Zealand's Kerry Fox and The Bill alum Huw Higginson. Given the film's title, plenty of the Northern Territory's scenery looks destined for some screen time as well. It's not often that we get an Aussie rom-com that takes a road trip through the top end, after all. Check out the first feel-good trailer below: https://www.youtube.com/watch?reload=9&v=uoDBvGF9pPU&feature=youtu.be Top End Wedding will hit Australian cinemas on May 2.
UPDATE, November 30, 2020: Upgrade is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Watching Grey Trace (Logan Marshall-Green) is quite the sight to behold. Forget the terrible name, which sounds like it belongs to a Mad Men ad agency rather than a person — with his convulsive moves, the mechanic turned quadriplegic turned killing machine is positively hypnotic. Filmed by writer-director Leigh Whannell in a style that's somehow both twitchy and fluid, Grey dispatches with his enemies with super-human ease, combining the cool efficiency of John Wick with the technological flair of RoboCop and The Terminator. Indeed, alongside the body horror cinema of David Cronenberg and the thrilling science-fiction of John Carpenter, it's easy to spot Upgrade's action and sci-fi influences. Played with grim-faced precision by Tom Hardy-lookalike Green, Grey is not someone you'd want to mess with. But the character's flying fists aren't completely under his own control. Paralysed after a self-driving car crash and a subsequent attack by vicious thugs, he's now the recipient of a brain implant that has re-enabled his limbs. Called STEM, it's an experimental advancement designed by a young tech wiz (Harrison Gilbertson) who seems like he's up to no good, even though he's claiming he wants to assist. The fact that the secret chip has a mind of its own — or, rather, a voice (Simon Maiden) that compels Grey to hunt down the gang that killed his wife (Melanie Vallejo) — doesn't help matters. Bone-crunching, blood-splattered revenge is a dish best-served with an AI sidekick in Upgrade. Although the concept might sound more tired than wired on paper, it makes for a sharp, sleek and savage wander into genre territory. Every element that initially seems worthy of an eye-roll — pre-accident, Grey is vocal about his hatred for all things digital, for example — soon raises a smile thanks to the film's pulpy execution. Weapons immeshed into the human body? A villain that sneezes computer chips? A man virtually talking to himself for the entire flick? It all works. And while Upgrade comes from the mind of someone who has seen everything from 2001: A Space Odyssey and Blade Runner to Her and Ex Machina, Whannell has dreamed their various parts into his own new creation. There's a scene, part-way through the movie, that couldn't better encapsulate Upgrade's charms — or its savvy ability to combine its numerous sources of inspiration into an engaging vessel all of its own. It's not the most inventive of the film's many set pieces, but it makes a firm and fitting impression nonetheless. Grey awakens from an operating table, STEM freshly inserted into his spine, and Upgrade has an "it's alive!" moment. Riffing on Mary Shelley's Frankenstein is hardly new — nor is taking cues from James Whale's 1931 film that brought the novel to the screen. And yet here, it really couldn't be more apt. Upgrade is a thoroughly 21st-century incarnation of the 200-year-old tale about a man reborn from cobbled-together parts, this time including both flesh and circuitry. It's also a movie put together in the same dice, splice, borrow and reuse fashion. Furthermore, Upgrade proves a much more effective use of Whannell's skills than the Insidious and Saw flicks, the two franchises that brought him to fame after initially reviewing movies on ABC TV's Recovery. Instead of serving up by-the-numbers gore and spooks, there's smarts behind this gleeful mashup of genre staples — not to mention passion, personality, a swift pace, a gorgeous red and grey colour palette, and slick yet gritty futuristic visuals. To be fair, Whannell wrote rather than directed most of his previous hits (and also co-stars in the Insidious films), with the underwhelming Insidious: Chapter 3 his only other credit behind the lens. You'd never guess that Upgrade sprang from the same person, which might just be the biggest compliment you could pay this entertainingly schlocky cyberpunk action-thriller. https://www.youtube.com/watch?v=gEnRNIvEKu8
The Clock always does something big for negroni week, and this year is no different. The Surry Hills stalwart will be home to an extended party from June 16–30. It'll feature a dedicated negroni room that will host masterclasses, painting sessions, vintage artwork and one big ol' birthday bash on Thursday, June 27. The party will centre on a negroni ice luge slinging ice-cold versions of the cocktail, plus the requisite birthday cake. If boozy luges aren't something you're familiar with, think cocktails poured down an ice slide into your mouth. You can learn how not to use one by watching Jason Bateman in the Office Christmas Party. But, we'll let you Google that yourself. At the bar, a five-strong negroni list will be on offer all month long, too — and each has been created in partnership with Solotel sister venues, including Barangaroo House, Aria and Opera Bar. There will also be a barrel-aged version up for grabs, available exclusively in the negroni room.
"You wanna hear a story about how me and this bitch fell out?It's kind of long, but it's full of suspense." They're some of the first words heard in the just-dropped Australian trailer for Zola — and if they sound familiar, that's because this rollercoaster ride of a comedy is based on a lengthy 148-tweet Twitter thread that went viral back in 2015. That October, Aziah 'Zola' Wells tweeted out a hefty tale about a woman she met at Hooters. Zola was her waitress, and they hit it off quickly ("vibing over our hoeism or whatever" is how she explains it in the Twitter thread). Then, the next day, Zola received an invite to head to Florida with her new pal. Where it all goes from there is best discovered either by reading through the chaotic tweets — if you haven't done so already — and, soon, by seeing these OTT events play out in this eagerly anticipated new flick. Indeed, Zola, the film, might ring a bell for a couple of other reasons. It sparked plenty of buzz back at the 2020 Sundance Film Festival — yes, that long ago — but obviously the movie's release both in the US and locally has been delayed by the pandemic, as has proven the case with plenty of other films of late. Also, if you're in Sydney or Melbourne, Zola is one of the already-announced titles on both the 2021 Sydney Film Festival and Melbourne International Film Festival lineups. In fact, it's among the big drawcards at both fests so far. Viewers everywhere across the country will be able to watch the film come September 23, too, as that's when it'll release in Aussie cinemas. Based on the tweets alone, this is one of the year's must-sees. Once you've seen the trailer — which sports a retro aesthetic and a big Hustlers vibe — that feeling will only grow. Bring the story to the screen, Taylour Paige (Ma Rainey's Black Bottom) plays Zola, while Riley Keough (The Lodge) co-stars as her new — and short-lived — friend Stefani. Meanwhile, filmmaker Janicza Bravo (Forever, Them, Mrs America) is behind the camera, guiding viewers on quite the journey. Check out the trailer below: Zola will screen at this year's Sydney Film Festival and Melbourne International Film Festival, before releasing in Australian cinemas on September 23.
When Jurassic World Dominion was being written, three words must've come up often. No, they're not Neill, Dern, Goldblum. Those beloved actors reunite here, the trio appearing in the same Jurassic Park flick for the first time since the 1993 original, but the crucial terms are actually "but with dinosaurs". Returning Jurassic World writer/director Colin Trevorrow mightn't have uttered that phrase aloud; however, when Dominion stalks into a dingy underground cantina populated by people and prehistoric creatures, Star Wars but with dinosaurs instantly springs to mind. The same proves true when the third entry in this Jurassic Park sequel trilogy also includes high-stakes flights in a rundown aircraft that's piloted by a no-nonsense maverick. These nods aren't only confined to a galaxy far, far away — a realm that Trevorrow was meant to join as a filmmaker after the first Jurassic World, only to be replaced on Star Wars: Episode IX — The Rise of Skywalker — and, yes, they just keep on coming. There's the speedy chase that zooms through alleys in Malta, giving the Bond franchise more than a few nods — but with dinosaurs, naturally. There's the plot about a kidnapped daughter, with Taken but with dinosaurs becoming a reality as well. That Trevorrow, co-scribe Emily Carmichael (Pacific Rim Uprising) and his usual writing collaborator Derek Connolly (Safety Not Guaranteed) have seen other big-name flicks is never in doubt. Indeed, too much of Dominion feels like an attempt to actively make viewers wish they were watching those other movies. Bourne but with dinosaurs rears its head via a rooftop chase involving, yes, dinos. Also, two different Stanley Kubrick masterpieces get cribbed so blatantly that royalties must be due, including when an ancient critter busts through a door as Jack Nicholson once did, and the exact same shot — but with dinosaurs — hits the screen. What do Star Wars, Bond, Bourne and The Shining have to do with the broader Jurassic Park film saga, which started when Steven Spielberg adapted Michael Crichton's book into a box-office behemoth? That's a fantastic question. The answer: zip, zero and zilch, other than padding out Dominion as much as possible, as riffs on Indiana Jones, The Birds, Alien, Mad Max: Fury Road, Austin Powers, the Fast and Furious movies, cloning thrillers, disaster epics and more also do. In nearly every scene, and often at the frame-by-frame level, another feature is channelled so overtly that it borders on parody. And, that's on top of the fact that recycling its own history is just Dominion 101. There's no theme park, but when it's mentioned that dinosaurs are being placed in a sanctuary, everyone watching knows that the film's human characters will get stranded in that spot, trying not to be eaten by a Tyrannosaurus rex and the like. From all of the above, a loose narrative emerges — an overstuffed and convoluted one, too. A few years on from 2018's Jurassic World: Fallen Kingdom, people are endeavouring to co-exist with dinosaurs. Unsurprisingly, it's going terribly. Run by Mark Zuckerberg-esque entrepreneur Lewis Dodgson (Campbell Scott, WeCrashed), tech company BioSyn owns that safe dino space in the Italian Dolomites, although palaeobotanist Ellie Sattler (Laura Dern, Marriage Story) and palaeontologist Alan Grant (Sam Neill, Rams) also tie the firm to giant dino-locusts wreaking existence-threatening havoc. Plus, ex-Jurassic World velociraptor whisperer Owen Grady (Chris Pratt, The Tomorrow War) and his boss-turned-girlfriend Claire Dearing (Bryce Dallas Howard, Rocketman) head BioSyn's way when the adopted Maisie Lockwood (Isabella Sermon) — who links back to the first Jurassic Park thanks to Forbidden Kingdom's ridiculous storyline — is snatched. Oh, and mathematician Ian Malcolm (Jeff Goldblum, Search Party) works there, as does cloning whiz Henry Wu (BD Wong, Mr Robot). Just by finally managing to corral Neill, Dern and Goldblum back together, Dominion already had three exceptional elements going for it. None of its powers-that-be give the returning stars much to do, though, other than help the movie up its fan-service nostalgia quota. They're still among the best parts of the film because Neill and Dern's chemistry still sparks, and Goldblum's line delivery is still as winning as ever — because they're actors as talented as Neill, Dern and Goldblum, basically. They certainly make more of an impression than Pratt and Howard, who are saddled with the dullest versions of their characters yet. Also standing out far beyond the movie's top-billed duo: The Harder They Fall's DeWanda Wise as pilot Han Solo Kayla Watts, plus Archive 81's Mamoudou Athie as BioSyn employee Ramsay Cole, who is assigned to show Sattler and Grant around. If this franchise doesn't go extinct after this giant lizard-sized crater, fingers crossed that Wise and Athie are its future. Six movies and three decades into all things Jurassic, this dino series now has itself a dino problem as well. Dominion shoehorns dinosaurs into pale imitations of other pictures, gets Pratt to break out his now-routine raised hand movement at Blue and her baby Beta, and has various characters point out how big different creatures are. It doesn't seem to care about its jurassic-era critters, however, which are treated as an afterthought. Despite boasting bigger and new species, the film's dinos also look less impressive and distinctive than they ever have in this franchise. It doesn't help that Dominion arrives so soon after David Attenborough's Prehistoric Planet, which basked in observational nature-doco intimacy even with all of its animals merely CGI renderings. Here, the pixels and green screen of it all are bland rather than awe-inspiring or frightening. And when Dominion does glimmer visually, it's always aping another movie (but with dinosaurs) or lifting iconic shots straight from other Jurassic films. Being generous, you could say it's fitting that Dominion is the mess it is. Life finds a way and all that, even to give an awful feature some purpose. Mirroring the saga's own repeated narrative, Dominion rampantly splices together disparate parts and gleefully reanimates the past — and it pays a price for doing so, and carelessly. But making a film this trying clearly wasn't the point, even if that end result neatly matches the movie's themes. Also, displaying any depth about anything at all seems to concern Trevorrow as much as serving up a logical plot and directing coherent action setpieces, aka not at all. There's always been a hefty case of Frankenstein-meets-slasher flicks to the Jurassic realm, but smartly, thoughtfully, thrillingly and entertainingly when it's at its best — so, back in 1993. Dominion is a devolution, and primarily shows that bloated blockbuster franchises keep finding a way to chew up screens, time and attention, no matter the consequences.
Before there was The Undoing, there was Big Little Lies — the other HBO series starring Nicole Kidman and written by David E Kelley. They have quite the company, too, both on-screen and off-. The stacked cast also features Reese Witherspoon, Shailene Woodley, Laura Dern, Zoë Kravitz, Alexander Skarsgård and Meryl Streep. Plus, Wild filmmaker Jean-Marc Vallée directed its first season and American Honey's Andrea Arnold helmed its second. Based on Liane Moriarty's novel of the same name, Big Little Lies follows a scandalous murder at a public school in Monterey, California — where the characters played by all of the above cast members each have children or grandchildren in attendance. Its twists and turns are obviously best discovered by watching, but it'll keep you guessing across both seasons to-date. And, the show will have you marvelling at its performances and slick cinematography in the process as well.
In a time of great upheaval for Australian music festivals, it's rare to get a bit of good news. Which is why we're super-excited to hear that the Secret Garden festival completely sold out in just a few hours, despite having no advertising budget and the lineup not having been released yet. It's testament to the amazing work that the organisers have done over the first five years of this fledgling festival: they have created an event with a great vibe, full of good times and dress-ups (and yes, the occasional paint fight) and they work really hard to make sure everyone has an amazing time. This year's lineup — pulled together by FBi Radio host, GoodGod programmer and all-around great dude Adam Lewis — is full of really excellent Australian bands, all of which have been making serious waves in 2013. There's lots more to come; these are just the first handful of around 40 acts to be announced, not to mention the guerrilla arts performances that pop up all weekend and a huge Farmers vs Zombies battle planned for the first day. But without further ado, here is the first lineup. Bloods Client Liaison D.D Dumbo Donny Benet Elizabeth Rose Goldroom (DJ Set) Lancelot (Live) Little May Nantes Olympia Palms Papa Vs. Pretty Richard In Your Mind The Rubens Ryan Hemsworth Shining Bird Straight Arrows Sures The Trouble with Templeton World's End Press
It started with a celebrity sing-along. It ditched the usual grand stage setup for a white platform in the middle of the room. Seth Rogen freaked out about being with so many people in one place during the pandemic. Multiple actors screamed about Kate Winslet being Kate Winslet, as everyone really should. The comedy awards showed that kindness matters. When it came to pure joy at getting their time to shine, the cast of Ted Lasso matched the cast of Schitt's Creek last year — and, presenting awards this time around, the latter had fun grappling with the teleprompter. Kerry Washington gave a touching tribute to late, great Lovecraft Country and The Wire star Michael K Williams. Jean Smart got a standing ovation. Governors Award-winner Debbie Allen served up a powerful speech about telling your own story. They're just a few things that happened at the 2021 Emmy Awards, with Hollywood's night of nights for all things on the small screen anointing its winners for another year. While the 2020 ceremony went virtual, this celebration of TV and streaming excellence was full of famous faces feeling the love in the same auditorium — and, from host Cedric the Entertainer to presenters such as Amy Poehler, Mindy Kaling and The White Lotus' Jennifer Coolidge, they were all clearly thrilled to be there. Particularly excited: all the deserving folks who won shiny statuettes, obviously. Plenty of great shows demanded our attention over the past 12 months, and many of them nabbed some recognition here. That means that we're all winners, too, because these stellar series make quite the must-watch list. Here's seven you should binge — or re-binge — right now, plus one stage-to-streaming special that also picked up a well-earned gong. TED LASSO What it's about: A sports-centric sitcom that's been like a big warm hug from the get-go, Ted Lasso is the current cheerleader for comedies that focus on nice and caring people doing nice and caring things. It celebrates folks supporting and being there for each other, and the bonds that spring between them — and not just to an entertaining but to a soul-replenishing degree. As played by Jason Sudeikis (Booksmart), the series' namesake is all positivity, all the time. A small-time US college football coach, he scored an unlikely job as manager of British soccer team AFC Richmond in the show's first season, a job that came with struggles. The ravenous media wrote him off instantly, the club was hardly doing its best, owner Rebecca (Hannah Waddingham, Sex Education) had just taken over the organisation as part of her divorce settlement, and veteran champion Roy Kent (Brett Goldstein, Uncle) and current hotshot Jamie Tartt (Phil Dunster, Judy) refused to get along. Ted's upbeat attitude does wonders, though, in the best sitcom that's currently in production. You definitely don't need to love soccer or even sport to fall for this show's ongoing charms, to adore its heartwarming determination to value banding together and looking on the bright side, and to love its depiction of both male tenderness and supportive female friendships. Won: Outstanding Comedy Series, Outstanding Lead Actor in a Comedy Series (Jason Sudeikis), Outstanding Supporting Actress in a Comedy Series (Hannah Waddingham), Outstanding Supporting Actor in a Comedy Series (Brett Goldstein). Where to watch it: Apple TV+. Read our full review. MARE OF EASTTOWN What it's about: Kate Winslet doesn't make the leap to the small screen often, but when she does, it's a must-see event. 2011's Mildred Pierce was simply astonishing, a description that both Winslet and her co-star Guy Pearce also earned — alongside an Emmy each, plus three more for the HBO limited series itself. The two actors and the acclaimed US cable network all reteam for Mare of Easttown, and it too is excellent. Set on the outskirts of Philadelphia, it follows detective Mare Sheehan. As the 25th anniversary of her high-school basketball championship arrives, and after a year of trying to solve a missing person's case linked to one of her former teammates, a new murder upends her existence. Mare's life overflows with complications anyway, with her ex-husband (David Denman, Brightburn) getting remarried, and her mother (Jean Smart, Watchmen), teenage daughter (Angourie Rice, Spider-Man: Far From Home) and four-year-old grandson all under her roof. With town newcomer Richard Ryan (Pearce, The Last Vermeer), she snatches what boozy and physical solace she can. As compelling and textured as she always is, including in this year's Ammonite, Winslet turns Mare of Easttown into a commanding character study. That said, it's firmly an engrossing crime drama as well. Although yet again pondering the adult life of an ex-school sports star, The Way Back's Brad Ingelsby isn't just repeating himself by creating and writing this seven-part series, while The Leftovers and The Hunt's Craig Zobel takes to his directing gig with a probing eye. Won: Outstanding Lead Actress in a Limited or Anthology Series or Movie (Kate Winslet), Outstanding Supporting Actress in a Limited or Anthology Series or Movie (Julianne Nicholson), Outstanding Supporting Actor in a Limited or Anthology Series or Movie (Evan Peters). Where to watch it: Binge. HACKS What it's about: It sounds like an obvious premise, and one that countless films and TV shows have already mined in the name of laughs. In Hacks, two vastly dissimilar people are pushed together, with the resulting conflict guiding the series. Ava Daniels (Hannah Einbinder, North Hollywood) and her new boss Deborah Vance (Jean Smart, Mare of Easttown) couldn't be more different in age, experience, tastes and opinions. The former is a 25-year-old who made the move to Hollywood, has been living out her dream as a comedy writer, but found her career plummeting after a tweet crashed and burned. The latter is a legendary stand-up who hasn't stopped hitting the stage for decades, is approaching the 2500th show of her long-running Las Vegas residency and is very set in her ways. They appear to share exactly one thing in common: a love for comedy. They're an odd couple thrust together by their mutual manager Jimmy (Paul W Downs, Broad City), neither wants to be working with the other, and — to the surprise of no one, including each other — they clash again and again. There's no laugh track adding obvious chuckles to this HBO sitcom, though. Created by three of the talents behind Broad City, Hacks isn't solely interested in setting two seemingly mismatched characters against each other. This is a smart and insightful series about what genuinely happens when this duo spends more and more time together, what's sparked their generational conflict and what, despite their evident differences, they actually share beyond that love of making people laugh. And, it's a frank, funny and biting assessment of being a woman in entertainment — and it's also always as canny as it is hilarious. Won: Outstanding Lead Actress in a Comedy Series (Jean Smart), Outstanding Writing for a Comedy Series (Lucia Aniello, Paul W Downs and Jen Statsky), Outstanding Directing for a Comedy Series (Lucia Aniello). Where to watch it: Stan. Read our full review. I MAY DESTROY YOU What it's about: Newly returned from a working trip to Italy, struggling to write her second novel after her first struck a sizeable chord and pushing up against a draft deadline just hours away, Arabella (Michaela Coel, Chewing Gum) takes some time out from an all-nighter to procrastinate with friends over a few drinks in a couple of London bars. The next morning, the Twitter-famous scribe is shaky, hazy and feels far from her normal self — and across the next 11 episodes of this instantly blistering 12-part series, I May Destroy You delves into the aftermath. Arabella realises that she was raped that evening, and that devastating event understandably rattles everything in her life. As she faces the situation, the series she's in is nothing short of phenomenal. Not only created and written by the unflinching and captivating Coel, but inspired by her own real-life experience with sexual assault, the result is as bold, raw and frank as it is sensitive and affecting. It also feels personal at every single moment. An immensely powerful show that intimately interrogates power on multiple levels and features an unsurprisingly potent performance by Coel, I May Destroy You was easily 2020's number-one must-see show, and its absolute best. It also sits among the best series of the 21st century so far as well, and won't be losing that title any time soon. Won: Outstanding Writing for a Limited or Anthology Series or Movie (Michaela Coel). Where to watch it: Binge. HAMILTON What it's about: If you haven't been lucky enough to catch Hamilton on the stage — and, let's face it, most of us haven't — a filmed "live capture" version of the popular hip hop musical here to fill the gap. The story, for those who aren't intimately acquainted with US revolutionary history, chronicles the Caribbean-born eponymous "bastard, orphan, son of a whore and a Scotsman" from his arrival in New York in the early 1770s. As the informative opening number explains, Alexander Hamilton will go on to become "the ten-dollar Founding Father without a father", with the production charting how he "got a lot farther by working a lot harder, by being a lot smarter and by being a self-starter." And, as shot on Broadway back in 2016, the results really are as exceptional as we've all been hearing for the past five years. The entire cast, including not only creator, writer and star Lin-Manuel Miranda but Tony-winners Daveed Diggs (Snowpiercer) and Leslie Odom Jr (Murder on the Orient Express), Mindhunter's Jonathan Groff and Waves' Renee Elise Goldsberry, is superb, as is every element of the production. Infectiously exuberant from its first moments, and not only lively but frequently funny, Miranda's rich, dense but always-accessible words and songs interrogate US history with passion, intelligence and energy. They'll also become firmly lodged in your head, too, so don't say we didn't warn you. Won: Outstanding Variety Special (Pre-Recorded). Where to watch it: Disney+. Read our full review. THE CROWN What it's about: When we say that fans of The Crown had been particularly looking forward to the show's fourth season, that isn't meant as a criticism of anything that preceded it. No disrespect is directed towards the regal drama's previous episodes, or to the past cast that took on the program's main roles before an age-appropriate switch was made at the beginning of season three. But, now more than halfway through the program's planned six-season run, this latest chapter focuses on two big showdowns that changed the shape of the royal family in the 80s. Firstly, Queen Elizabeth II (Oscar-winner Olivia Colman) and British Prime Minister Margaret Thatcher (The X-Files icon Gillian Anderson) don't quite see eye to eye, to put it mildly. Also, with Prince Charles' (God's Own Country's Josh O'Connor) marriage to Lady Diana Spencer (Pennyworth's Emma Corrin) a big plot point, the latter clashes with the entire royal establishment. Among a cast that also includes Helena Bonham Carter (Enola Holmes) and Tobias Menzies (Outlander), Colman, Anderson, O'Connor and Corrin are all astounding — and in a show that's always been buoyed by its performances, that's saying something. Won: Outstanding Drama Series, Outstanding Lead Actress in a Drama Series (Olivia Colman), Outstanding Lead Actor in a Drama Series (Josh O'Connor), Outstanding Supporting Actress in a Drama Series (Gillian Anderson), Outstanding Supporting Actor in a Drama Series (Tobias Menzies), Outstanding Writing for a Drama Series (Peter Morgan), Outstanding Directing for a Drama Series (Jessica Hobbs). Where to watch it: Netflix. THE QUEEN'S GAMBIT What it's about: In much of The Queen's Gambit, Beth Harmon sits at a chessboard. As a child (Isla Johnston), she demands that orphanage janitor Mr Shaibel (Bill Camp, The Outsider) teach her the game. As a teenager (Anya Taylor-Joy, Radioactive), she earns a reputation as a chess prodigy. As her confidence and fame grows, she demonstrates her prowess at tournaments around America and the globe, while also spending her spare time hunched over knights, rooks, bishops and pawns studying moves and tactics. None of the above sounds like innately thrilling television unless you're a chess grandmaster, but this seven-part miniseries proves that you should never judge a show by its brief description. Based on the novel of the same name by Walter Tevis, written and directed by Oscar-nominee Scott Frank (Out of Sight, Logan), and dripping with lavish 50s and 60s decor and costuming to reflect its period setting, The Queen's Gambit doesn't expect that all its viewers will be chess aficionados; however, it's made with an acute awareness that anything can be tense, suspenseful and involving — and that every different type of game there is says much about its players and devotees. The series doesn't lack in creative and inventive ways to depict chess on-screen. It knows when to hang on every single move of a pivotal game, and when to focus on the bigger story surrounding a particular match or Beth path through the chess world in general. And it's especially astute at illustrating how a pastime based on precision and strategy offers an orphaned girl a way to control one lone aspect of her tumultuous and constantly changing life. Won: Outstanding Limited or Anthology Series, Outstanding Directing for a Limited or Anthology Series or Movie (Scott Frank). Where to watch it: Netflix. Read our full review. HALSTON What it's about: American fashion designer Roy Halston Frowick, better known just as Halston, has already received the documentary treatment. But the wild tale of his successes, struggles, ups and downs, as well as his frequent presence at Studio 54, his list of celebrity friends and his ill-advised business decisions, similarly drives the five-part Netflix miniseries that also shares his name. Proving as chameleonic as ever, Ewan McGregor (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) plays the titular part. He's charismatic, dynamic and all-round fantastic, as he always is, and the series wouldn't be the same without him. Indeed, this is a case of a performance — and a vibe, because Halston embraces exactly the atmosphere you'd expect given that it's set from the 60s to the 90s — doing most of the heavy lifting. Still, that central portrayal and the mood around him makes this a must-see. Because Halston was famously pals with Liza Minnelli, Krysta Rodriguez (Lisey's Story) also steps into famous shoes and, off-screen, Ryan Murphy (American Horror Story, American Crime Story, Pose, Glee) adds yet another series to his lengthy resume. Watching the doco as well is recommended, but this is entertaining viewing nonetheless. Won: Outstanding Lead Actor in a Limited or Anthology Series or Movie (Ewan McGregor). Where to watch it: Netflix.
Vivid Sydney is back. The perennially popular festival of lights, music and ideas is returning to Sydney from Friday, May 26. One Sydney icon that always gets involved in the celebrations is Taronga Zoo, utilising its unbeatable harbour views and a brand new light walk to create vibrant experiences during the festival while also shining a light on conservation. This year, the zoo's Wild Lights series is back to give visitors the opportunity to explore the zoo after dark with a brand-new luminous light walk guiding you through the park and festival-favourite animal lanterns. As you explore the attractions and installations, you'll be greeted by lit-up emus, dingos, platypuses, kangaroos and koalas among the lineup of illuminated animals. These nature sculptures celebrate native Australian fauna and have been created by First Nations artist Nathan Peckham of YURANA CREATIVE in collaboration with precinct director Nicholas Tory and the team at Ample Projects. Other installations you can expect to find at Taronga over the 18 nights include the return of Ample Projects' illuminated beasts and jellyfish bloom. Beyond the lights, guests can enjoy a cup of mulled wine alongside food truck-inspired menus, First Nations-style snacks and koala-shaped fairy floss. Those looking to completely immerse themselves in the experience can book a stay at Taronga Zoo's on-site Wildlife Retreat. For the uninitiated, the luxury accommodation is located right in the heart of the zoo, meaning you'll be treated to the sights and sounds of the animal enclosures during your stay, not to mention the panoramic harbour views. Open throughout Vivid until Saturday, June 17, tickets to Wild Lights will grant you entry at your choice of two ticketed entry times — 5.30pm or 7.30pm. Tickets are $30 for adults, $27 for concession passes and $25 for children aged between four and 15. [caption id="attachment_853670" align="alignnone" width="1920"] Destination NSW[/caption] Wild Lights at Taronga Zoo will run from Friday, May 26 to Saturday, June 17 with sessions at 5.30 and 7.30pm nightly. For more information and to book your tickets, visit the website. Images: Destination NSW
The St George OpenAir Cinema is back again with a 34-night season commencing January 10, 2014 (that's soon!). Today, they've leaked some of the program highlights. The biggest directors and the biggest stars are set to light up the harbourside this summer. Among the summer's blockbusters to be featured at the stunning setting on Mrs Macquarie's Point are some of the most anticipated films of the year, including preview screenings of The Wolf of Wall Street, Inside Llewyn Davis and Her. The OpenAir Cinema will also host the Australian premiere of Dallas Buyers Club, the uplifting story of a man determined to beat fate and the medical establishment. Starring Matthew McConaughey, Julia Roberts and Jared Leto, the film has already garnered critical in the US. The full OpenAir Cinema program will be released on December 13 via the website and the official app, and tickets will go on sale at 9am on December 17. Visit the website for more details. https://youtube.com/watch?v=U8utPuIFVnU
"Porphyria worshipped me; surprise Made my heart swell, and still it grew While I debated what to do." Porphyria's Lover by Robert Browning "tells the story of an obsessed lover and an escalation of desire that ends in passionate tragedy", according to Sydney-based artists Ted O'Donnell and Vicki Lee. Inspired by the woeful words of Browning, Lee and O'Donnell have created Asphyxiate, their latest exhibition at Paddington's Comber Street Gallery. The show comprises of a collection of 12 images and two one-off paintings, focusing on the artists' ongoing obsession with the rhythm and movement of nature. Following on from their last exhibition, IS/WET, Asphyxiate explores the sensuality of flora promises a darker and more seductive approach this time around. Opening on November 19 Comber Street Gallery, the show has a short run until November 23. Looking to buy? Works will be priced from $1000 to $2000/pc with editions of 10 and 20.
I've been dreaming of this moment for years, but I don't know that I ever truly believed it would happen. But one of the most-beloved hip hop ensembles of all time are reuniting to return to Australia six years after their breakup. With four MCs and two DJs (including the wonderful, world-famous Cut Chemist), the ensemble is incredibly versatile, and their chemistry and the speed of their overlapping wordplay gives the impression of one single, unified organism rather than a series of individuals. Combining incredible lyricism with huge party tunes (like 'What's Golden', 'Quality Control' and 'Concrete Schoolyard'), there ain't no party like a J5 party. https://youtube.com/watch?v=XsZKrctSDaw
First Tropfest announced they'll be moving to Parramatta next year, then Sydney Sacred Music Festival plan a gig on a carpark rooftop, and now local music festival The Plot have confirmed they'll be returning to the Western Sydney suburb for November's festival. Parramatta is being graced with some seriously awesome events lately — and the all-Aussie festival is the icing on the cake. Now in its third year, The Plot comes courtesy of the folks behind Groovin' The Moo. The lineup, which features more Aussie artists than you can fit on the tray of a Ford Falcon, will take place at Parramatta Park on Saturday, November 19. The licensed, all-ages event will include every musical genre under the sun — the lineup includes the likes of party boys The Bennies, Montainge, Vera Blue, Indian Summer, Nicole Millar and Elizabeth Rose, just to name a few. And this will all happen in some sweet sunny grasslands with local food and beverage stalls. Those who have attended the festival before know that food is a big part of the day, with last year's event featuring nosh from local vendors Knafeh, The Emporium, Sundweesh and Riverside Brewery. But we know what you're here for — here's the first lineup announcement. THE PLOT 2016 LINEUP A.B. Original Alex Lahey Allday The Belligerents The Bennies Bootleg Rascal Buoy Dorsal Fins Dylan Joel E^st Elizabeth Rose Gold Fields Indian Summer Ivan Ooze Japanese Wallpaper Lanks Luca Brasi Mallrat Montainge Nicole Millar Ocean Alley Paces Pierce Brothers Running Touch Tash Sultana Thela Plum Tired Lion Vera Blue Ziggy Alberts
Your mates at Concrete Playground know how much you guys love Nutella. Sydney went nuts over those damn Tella Ball milkshakes, Melbourne eats so much of the stuff they caused a temporary nation-wide shortage back in 2015, and Australia lost its collective shit when, last year, a toaster-shaped Nutella food truck started rolling around the country. Long story short, the food truck will be hitting the road again this month, this time embarking on a road trip from Sydney to the Sunshine Coast. We figured you'd want to hear about it — especially since all the goodies on board will be free. Alistair Fogg, the man behind Sydney's Nighthawk Diner, must have had excess Nutella lying around, because he's once again devised the menu for the food truck. This time, he'll be drizzling Nutella on crumpets, pancakes, granola, bagels, egg waffles and, most interestingly, smashed sweet potato on brioche. And, yes, it's all free — although there is a limit of only one item per customer per day, unfortunately. The 12-stop road trip begins in Sydney's Henry Deane Plaza in Haymarket on Thursday, June 22, before heading to Manly Wharf on the Friday and Penrith the day after that. From there the truck will head up to the Central Coast, through Newcastle, Coffs Harbour, Byron Bay and the Gold Coast before pulling up in Brisbane's Reddacliff Place on Monday, July 3. It will round out the trip in on the Sunshine Coast the day after. As for everywhere else, well, cross your fingers and hope you might be added to the itinerary. If not, we'll send you a Nutella-smeared postcard. Find the complete list of dates, times and locations for the Nutella Road Trip at their website.
Burger lovers of Sydney, rejoice — yet another (yes, another) place selling your favourite food is posed to join the culinary lineup. If you've ever been on holiday in Queensland and grabbed a burg on the Gold or Sunshine Coasts, then you might be familiar with our newest resident from up north: Betty's Burgers. After announcing they'd be opening new stores in Melbourne, Sydney and Brisbane last year, their shiny new burger joint opens today — Wednesday, June 21 — underneath the International Convention Centre at Darling Harbour, their first in Sydney. This new store will have 20 seats indoors and 26 outside. So what's Betty's all about? Well they do a range of burgs that have been pretty well received up north. You can except their classic, crispy chicken, pork belly and mushroom signature burgers to make their way to Sydney, as well as their insane Shake Shack-esque frozen custard concoctions. These are called 'concretes', and you can choose to get things like peanut brittle, pecan pudding, doughnuts and lemon cheesecake mixed through them. A photo posted by Betty's Burgers & Concrete Co. (@bettys_burgers) on Dec 2, 2016 at 12:22am PST The concept sounds similar to burger joint Royal Stacks, which also does burgers and frozen custard desserts, although it must be noted that Betty's was first opened in Noosa by David Hales in 2014 (before Royal Stacks opened up shop in Melbourne). He has since opened more stores across the country — three on the Gold Coast, one in Toowoomba and one in Melbourne. Betty's Burgers is now open from 10.30am till late seven days a week underneath the ICC at Shop E-04, 14 Darling Drive, Sydney. For more info, visit bettysburgers.com.au. Words by Lauren Vadnjal and Sarah Ward.
It has been a big year for fans of The Crown, and the show hasn't even released any new episodes in 2020 so far. At the beginning of the year, Netflix announced that it would end the royal drama after its fifth season. Then, it had a change of heart, revealing it would continue the series for a sixth season. That's quite the drama — and all of this before the show's fourth season has even aired. If you prefer your royal intrigue on-screen, however, the streaming platform has now just dropped its first teaser trailer for the aforementioned fourth batch of episodes. The clip only runs for 46 seconds, so it doesn't give very much away at all; however Oscar-winner Olivia Colman is back as Queen Elizabeth II. Fans also get the tiniest of glimpses of The X-Files icon Gillian Anderson as Margaret Thatcher and Pennyworth's Emma Corrin as Lady Diana Spencer, too. Also included is a rather pivotal tidbit for The Crown aficionados: just when the show will make a comeback this year. Block out Sunday, November 15 in your diaries, as that's when you can start binging. As Anderson's casting intimates, the fourth season is set to take place during Thatcher's time as Britain's prime minister — and as the sight of Diana in a wedding dress demonstrates, will feature the latter's wedding to Prince Charles (God's Own Country's Josh O'Connor). It'll also be the last chance for fans to enjoy seeing the current lineup on talent, with the series' fifth and sixth seasons — which are expected to follow the Queen in the 1990s and 2000s — switching out its cast again. The show already did exactly that after seasons one and two, of course. This time, after season four, Downton Abbey, Maleficent and Paddington star Imelda Staunton will don the titular headwear, and Princess Margaret will be played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. Also, Game of Thrones and Tales from the Loop's Jonathan Pryce will step into Prince Philip's shoes and Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki will play Princess Diana. Check out The Crown's first season four teaser below: https://www.youtube.com/watch?v=_TGInHPoufg The Crown's fourth season will hit Netflix on Sunday, November 15. Image: Sophie Mutevelian / Netflix
For the uninitiated, Dave's Deli has been lighting up the Malaysian fast food scene since 1989 with its take on roast chicken, gourmet pies, pork belly and beef ribs. Built on the concept of food that's cooked slow and served fast, Dave's Deli launched in Malaysia almost 30 years ago, rapidly rising in popularity and spreading across the country. Now it has arrived in Australia, with its first Sydney outlet opening inside Pitt Street's Tank Stream Hotel on Thursday, January 18. Dave's Deli aims to serve quality and affordable (between $12-$17) lunch dishes in just ten minutes. Made with fresh ingredients and served in the stylish surrounds of the Tank Stream Hotel's bistro, all dishes are served with a choice of truffle mash, roasted vegetables, coleslaw and gravy, and there's a selection of weekly and seasonal specials. But Dave Deli's signature meal remains the quarter roast chicken marinated with eight herbs and spices and slow roasted. To welcome Dave's Deli to Australia, we're giving away ten $40 vouchers to the restaurant — so you can avoid another dodgy desk sandwich. To enter, see details below. [competition]653585[/competition]
Australia's national cabinet is expected to announce the nationwide relaxation of some social distancing and public gathering restrictions tomorrow, Friday, May 8. But, NSW Premier Gladys Berejiklian has today revealed they will not be implemented in time for Mother's Day. At a press conference this morning, the Premier said, "even if national cabinet does suggest easing of restrictions, which NSW will consider very carefully, they won't be able to be made in time for Mother's Day." As has been the case throughout the COVID-19 pandemic, the national cabinet releases Australia-wide guidelines or principles and it's then up to the individual states and territory leaders to implement them as they see fit. Some news outlets are reporting tomorrow's national cabinet announcement will include the allowing of gatherings of up to ten people inside a home — which is already the case in SA and WA — but Sydneysiders will have to make do with smaller gatherings for now. https://twitter.com/olivialeeming/status/1257947173812965377 Last week, the NSW Government allowed groups of two adults (with their children) to visit a second household, which will still be the case this weekend. As the Premier reiterated this morning, this new relaxed rule allows for multiple visits throughout a day (but a maximum of two adult visitors at any time) and there is no limit on how far you can travel within the state. While NSW will not get to enjoy any new restrictions this weekend, the Premier said that by the end of June "life will feel a lot more normal than it does now... Please look forward to having life get back to a bit more normality very soon and please know that a couple of weeks into May you'll start feeling the difference already." A maximum of two adults in NSW can go and visit another household, but all other social distancing and public gathering restrictions are in place for now.
There’s something seriously amiss at this audition, and it’s not the usual malarkey. There’s belittlement and power exploitation aplenty, but depending on how you read Venus in Fur, written by David Ives and directed by Grace Barnes for Darlinghurst Theatre Company, underneath the constantly accumulating layers of artifice, you may be witnessing fraud, a sting, divine visitation or something else completely. The text begins with a gently writhing premise — writer and director Thomas (Gareth Reeves), is at audition’s — and his wit’s — end. Having just adapted a rather racy 17th-century German novel for the stage, he is unable to find an actress capable of performing the female lead. As he is leaving the rehearsal space, a clap of thunder heralds the arrival of Vanda Jordan (Anna Houston), an actress, loud, drenched and leather-clad. She begs for/forces an audition from the reluctant Thomas, assuring him of her ability to assume a character from "18-whatever". "Usually I’m really demure and shit," she remarks, stripping to her underwear without a hint of self-consciousness and rummaging in her bag for a costume. The writhing gradually becomes a thrashing; in period costume, sipping from an imaginary teacup, Vanda transforms. She is indeed perfect for the part. But as the audition continues and passions that may or may not have anything to do with theatrical integrity begin to flare, elements of her story start to contradict each other. Questions of Vanda’s true identity and motives go unasked or unanswered as the power dynamic in the room is redrawn repeatedly by the shifting bounds of the audition and ‘real life’. Houston and Reeves both deliver strong performances and work effectively to anchor different parts of the show. While it is Reeves’ grim resolve and weighty delivery that stops any of the German masochism from getting too outrageous, it is Houston’s comic touch, her vivacious and mischievous Vanda who keeps the rehearsal space alive between readings. Venus in Fur has no simple answers — its focus is enticement rather than enlightenment, folding back on itself endlessly and leaving viewers with an intricate puzzle that doesn’t necessarily have a solution.
In one of Galveston's revealing scenes, hitman Roy (Ben Foster) is told a bleak truth: "you're not as handsome as I remember". The statement comes from an ex-lover (Heidi Lewandowski) who hasn't seen the on-the-run criminal for more than a decade, and it's designed to wound. Uttered in a grimy crime drama that sends its characters hiding from their complicated lives in the titular Texas island city, the unflattering words also cut to the heart of this grim yet gripping film. Nothing is quite as beautiful, peaceful or comforting as anyone hopes in Galveston. Nothing goes smoothly, happens easily, or lives up to anyone's hopes, dreams or expectations. All of the above proves true in New Orleans in 1988, when the hard-boozing, possibly terminally ill Roy is sent on a routine job by his shady boss (Beau Bridges). It remains true when the hit goes south, and when Roy rescues 19-year-old escort Rocky (Elle Fanning) in the aftermath. Following a quick stop to pick up toddler Tiffany (Anniston Price and Tinsley Price), it's still true when the trio check into a coastal motel and take stock of their difficult and dangerous situation. The tired, troubled assassin; the young sex worker with a good heart and a bad past; the scenic hideout that can't solve a world of problems: like much of Galveston's recognisable plot, all of these elements have long been noir and crime tropes. But again, nothing is exactly as it seems in this movie — be it memories, supposedly easy gigs or genre staples. In her fourth stint behind the lens and in her English-language directorial debut, actor-turned-filmmaker Mélanie Laurent crafts a film out of familiar parts. Given that the script was written by True Detective's Nic Pizzolatto (under a pseudonym, and based on his own novel as well), that really does prove the case. And yet, while it's hardly overflowing with surprises, Galveston still feels like its own distinctive creation. Maybe it's the narrative, which refuses to completely stick to the standard formula, hewing close but happily branching out in interesting directions. Maybe it's the dynamic between Roy and Rocky, which avoids the most obvious, highly cliched path and feels all the more real and resonant for it. Or, perhaps it's the darkness that infuses every second, even when the movie's main players are enjoying their sunny surroundings or daring to believe that something could change. Roy's conversation with his ex-girlfriend proves relevant again in encapsulating the film's permanent brooding mood — when he tells her that he's dying, her casual response is "aren't we all?". Definitely having an impact are Foster and Fanning, two consistently impressive talents who add to their stellar resumes. The more that Galveston's running time ticks by, the more the film becomes a two-handed character study, with its leads shouldering their heavy burdens with ease. Perhaps that's another reason that the movie never becomes the run-of-the-mill flick it could've been: its protagonists might seem thin on paper, but these struggling lost souls are teeming with complexity on screen. The quiet sorrow that Foster exuded in Leave No Trace also infects his work here, and the inner pluck that made Fanning such a highlight in The Neon Demon is evident as well. But neither actor could be accused of retracing their own footsteps, and Laurent certainly doesn't ask them to. Instead, Galveston serves up layers — layered performances, layer upon layer of gloomy themes for its characters to wade through, and a layered approach to its visuals. As she demonstrated in one of her earlier filmmaking gigs, the teen-focused French drama Breathe, Laurent is a skilled director who always finds the perfect approach for each scene. Sometimes she lets the camera hang back, giving Foster and Fanning space to bounce off each other. Sometimes she peers intimately, whether the film is cosying up as Roy, Rocky and Tiffany form a makeshift family, or getting almost uncomfortably close when Roy and Rocky share their life's traumas. Often, this deceptively affecting picture says more with less, including in its climactic moments. If only all seemingly by-the-book crime flicks could do the same. https://www.youtube.com/watch?v=WAad6w1pYrM
So if you're lonely, Franz Ferdinand will be here waiting for you in Sydney before 2025 is out. Fresh from releasing their sixth album in January, the Scottish band are touring Down Under to help cap off the year, including on Wednesday, December 3 at On the Steps at the Sydney Opera House Forecourt. It's been more than two decades since the Alex Kapranos-led group made a helluva splash with the catchy second single from their self-titled debuted album. Even just reading the name 'Take Me Out' is enough to get the number-one tune in Triple J's 2004 Hottest 100 stuck in your head. The song was also nominated for two Grammys, while the record that it springs from won the Mercury Prize. Since the huge success of 'Take Me Out' and their 2004 Franz Ferdinand album, the band have dropped records in 2005 (You Could Have It So Much Better), 2009 (Tonight: Franz Ferdinand), 2013 (Right Thoughts, Right Words, Right Action), 2018 (Always Ascending) and this year (The Human Fear). Touring-wise, their past Aussie trips have included sets at Big Day Out, Splendour in the Grass and Falls Festival. Franz Ferdinand's 2025 Aussie visit comes just a few months after Bloc Party, who benefited from Kapranos' approval when they were starting out, do the same in August. Select images: Raph PH via Flickr.
A dark Shakespearean crime drama, 2010's Animal Kingdom was one of the most resounding Australian films in years. Not only did it launch the international careers of Ben Mendelsohn and Jacki Weaver, it also heralded the arrival of writer-director David Michôd, a filmmaker whose tightly controlled aesthetic suggested even greater things to come. His sophomore effort is The Rover, a barebones narrative that mirrors his debut in both its technical precision and its nihilistic tone. What's missing, however, is a similarly compelling set of characters. Without them, a pervasive sense of bleakness soon swallows the movie whole. Based on an idea by Michôd and actor Joel Edgerton, the film takes place across desolate stretches of the outback, a decade after Western society has collapsed. While drinking alone in a gloomy roadside bar, a heavily bearded Guy Pearce sees three gun-toting criminals steal his car. The rest of the movie follows his efforts to get the car back. Michôd would have known from the very first word that comparisons to Mad Max were inevitable. Despite this, The Rover is not an action flick. Methodically paced and dripping with menace, the film actually has more in common with something like Ted Kotcheff's Wake in Fright, which likewise capitalised on the intensity of its outback setting. Meticulous technique — including razor-sharp editing, oppressive sound design, a brooding score and dispassionate cinematography — sets audience members on edge. The violence, when it comes, is sudden, shocking and unglamorous. Yet beneath the craft, the film feels decidedly hollow. Pearce is a great actor, but there's only so much variance he can bring to such a single-minded protagonist. Robert Pattinson, meanwhile, gives a woefully misjudged performance as Pearce's unlikely travelling companion, the slow-witted brother of one of the thieves Pearce is trying to track down. His constant twitching and incomprehensible Southern drawl seem like the efforts of an actor trying desperately to play against type. Good on him for trying, but the fact is it just doesn't work. So the film descends into meaninglessness and futility. Michôd's future world is bereft of human compassion — grandmothers pimp their grandkids, people hunt dogs for food, and our protagonist commits murder without a moment's hesitation. By the time the movie ends, you're left broken and exhausted. And while it takes a lot of skill to achieve that, it never really feels like it was worth it. https://youtube.com/watch?v=ChM2icbWo9w
If you're a massive fan of refined Japanese fare paired with a crisp yet flavoursome martini, then we have good news for you. Three Japanese restaurants in Sydney will be serving complimentary martinis made with House of Suntory's Haku Vodka to omakase diners during the months of September and October. Haku Vodka's signature serve is the Haku martini, which showcases the craftsmanship, nuanced flavour and exceptional quality of the premium Japanese spirit. Haku Vodka frequently collaborates with notable omakase restaurants in Sydney and Melbourne to showcase its versatility and celebrate stunning Japanese cuisine. Head to these three restaurants to enjoy a bespoke martini paired with an incredible meal for the ultimate Japanese-themed night out in Sydney. Besuto This intimate spot, hidden behind a side door in Bar Besuto, located under the new Salesforce Tower down Underwood Street, is the perfect hideaway for an evening of fine dining with someone special. Besuto comes from Joel Best and Finnish celebrity chef Tomi Björck, who have enlisted Michiaki Miyazaki to helm the kitchen, crafting the intricate dining experience for each of the restaurant's guests. We sat down with Best to get his take on omakase; read it here. During the month of October, guests will enjoy a bespoke Haku Vodka Yuzu martini paired with the first dish of the omakase menu, the Mystery Bento box. This dish includes the freshest fish available that day at the market. It will contain Sydney rock oyster with yuzu jelly and finger lime for a pop of zesty freshness, firefly squid, three kinds of sashimi, mini blue-fin tuna roll, pipies, Hokkaido scallops and ikura. During the month of October, you can also enjoy the special martini and seafood bento box at Bar Besuto from 5pm to 10.30pm, Tuesday through Saturday. Bookings for the Besuto x Haku Vodka activation will open on October 1. The offer is available for bookings in October. Book your spot on the Besuto website. Bay Nine Located along the heritage Campbell's Stores waterfront precinct, Bay Nine is always a popular choice for lovers of high-end Japanese fare. The diminutive dining room has only a smattering of tables and a 10-seater counter where guests can watch as Chef Kim Kihoon prepares the delectable 11-course omakase meal. It's dinner and theatre, all in one. The omakase menu changes daily, depending on what's in season and what fish is available at the city's best seafood suppliers. But regardless of what's on the menu, guests for the omakase menu during the month of September will receive a complimentary Bay Nine spring martini. The martini is made with Haku Vodka (of course), Yoshinogawa Yuzushu citrus liqueur, cherry juice and yuzu honey tea. It promises a subtly sweet taste profile balanced with a touch of citrus to provide the perfect counterpart to the fresh fish and delicate Japanese flavours on the menu. The Bay Nine x Haku Vodka activation is available for Saturday lunch slots and during the omakase and set menu bookings on Thursdays to Saturdays from September 1. Book your spot on the Bay Nine website. Moku Sydney Native Australian ingredients and Japanese flavours and techniques combine at this two-storey bar and restaurant in Darlinghurst. Moku Sydney is helmed by celebrated head chef Ha Chuen Wai and bar manager Charles Chang, who creates considered cocktails to complement Chef Wei's menu. Here at Moku, the omakase menu is truly a personalised affair. It's only served on Wednesdays and Thursdays, and there are only six seats available, so be sure to book well in advance. There are some truly special dishes on offer here, from the eye-catching sea urchin and caviar on 'crystal bread' to the delectable sashimi and sushi. Guests who rock up for the omakase dinner during the month of October will enjoy a complimentary cocktail crafted by Chang that marries well with the Japanese-fusion fare. Chang has crafted a rice martini with gentle fruity notes with a savoury-forward junmai ginjo sake. It's served in a traditional Kagami crystal glass and garnished with lemon myrtle oil and leaf for a dash of freshness. The Moku Sydney x Haku Vodka activation is available during the month of October. Book your spot on the Moku Sydney website. Make your booking at either of these three restaurants during the promotional period and receive a complimentary martini to enjoy with the first course of your omakase meal. To learn more about Haku Vodka, head to the House of Suntory website. Image Credit: Mark Sherborne
With restaurants and bars currently shut to patrons, you're probably spending more time than usual preparing your own drinks at home. And if your cocktail making repertoire consists of a G&T and not much else, you could be in a bit of strife. Don't get us wrong, we love a G&T. It's simple, reliable and dead easy to make in just three quick steps: simply mix gin, tonic and ice together, stir and top with your preferred garnish. But it can also get a bit repetitive. To help you shake things up a bit (pun intended), we've teamed up with Sydney Gin to share some different gin cocktails that look more complex than they actually are. Each of these colourful tipples has been created by award-winning bartender Kate McGraw (owner of Bondi bar Isabel) and uses Sydney Gin's handcrafted small-batch spirit, which is made in the inner city. Its flavour — a solid spice-filled base with zesty notes of lemon myrtle, orange rind and lime peel — is designed to epitomise Sydney's unique identity. And all of these cocktails take just three steps to make but they'll leave your housemates, partner or colleagues on Zoom thinking you've been taking virtual bartending classes. BIRD IS THE WORD It may look sweet and fruity, but the inclusion of bitters makes this well-balanced concoction the ideal afternoon aperitif. – 40ml Sydney Gin – 7.5ml Campari – 20ml lemon juice – 1 heaped teaspoon raspberry or strawberry jam – 2 dashes Angosturra Bitters Combine all ingredients in a shaker. Shake hard with ice and strain into coupe glass. Garnish with a strawberry or raspberry and a lemon twist. SYDNEY SMASH This tangy mix goes down extremely well on a hot day. Shake it up, take it outside and soak up the rays — you'll be transported from that sunny spot on your balcony to a faraway tropical destination in no time. – 45ml Sydney Gin – 20ml fresh mandarin juice – 10ml fresh red grapefruit juice – 10ml dry vermouth – 10ml sugar syrup – 2 basil leaves Combine all ingredients in a shaker. Shake hard over ice and strain into a rocks glass over ice. Garnish with a grapefruit peel and some extra basil leaves. Hot tip: tap the leaves against your hand to release extra aroma. CHOCOLATE NEGRONI Forget ice cream — this is what you should be making for dessert tonight. It's rich, creamy and slightly bitter, just like a piece of dark chocolate. Chocolate Campari – 300ml Campari – 150ml chocolate milk (almond, oat and macadamia chocolate milk all work) Combine the Campari and chocolate milk and let it sit at room temperature for about an hour. Pop it in the freezer till the milk freezes, then strain through a coffee filter. Cocktail – 30ml Sydney Gin – 30ml Chocolate Campari – 30ml sweet vermouth Combine all ingredients over a big ice cube in a glass and stir with a mixing spoon. Garnish with a piece of chocolate (or shard of Easter egg). SCARLET SNAPPER Brighten up your next at-home weekend brunch with this spicy, zesty gin twist on a classic bloody mary. – 45ml Sydney Gin – 60ml tomato juice – 15ml lemon juice – 3 dashes worcestershire sauce – 3 dashes hot sauce – 1 teaspoon olive or pickle brine – 1 pinch ground szechuan pepper – 1 pinch smoked paprika – 1 stick rosemary Combine all ingredients with just a few leaves of rosemary in a shaker. Shake hard with ice and strain into a tall glass. Top with the remaining rosemary and your favourite bloody mary-style garnishes — think a celery stick, celery salt on the rim, cherry tomatoes, bacon or pickles. Sydney Gin is currently offering free delivery for Concrete Playground readers. Head to the website and use the code CONCRETE to get a bottle sent your way (offers ends 03/05/20).
UPDATE, October 8, 2021: Supernova is available to stream via Stan, Google Play, YouTube Movies, iTunes and Amazon Video. Stanley Tucci and Colin Firth aren't lazy, bad or bland actors. The former has an Oscar nomination for The Lovely Bones, the latter won for The King's Speech, and neither can be accused of merely playing the same character again and again. And yet, whenever either pops up on-screen, they bring a set of expectations with them — or, perhaps more accurately, they each instantly remind viewers of the traits that have served them so well over their respective four-decade careers. In features as diverse as The Devil Wears Prada and the Hunger Games films, Tucci has given a distinctive sense of flair and presence to his many parts, as well as his innate ability to appear bemused and sarcastic about life in general. Whether as Mr Darcy in Pride and Prejudice or as Mark Darcy in the Bridget Jones movies, Firth has enjoyed immense success playing reserved, introverted, dry-witted men who are more likely to ruminate stoically than to outwardly show much emotion. Teaming up in Supernova, both talents draw upon these characteristics once more, as writer/director Harry Macqueen (Hinterland) wants them to. But here's the thing about this pair of stars, who shine particularly bright in this affecting drama: far from ever settling into their own comfortable niches, they're frequently delving deeper, twisting in different directions and offering up untold surprises. A famed novelist less interested in putting pen to paper than in peering up at the stars, Tucci's Tusker knows how to defuse any scenario with his charm in Supernova, but it's apparent that he often uses that canny ability to avoid facing a number of difficulties. An acclaimed musician with an eagerly anticipated concert in the works, Firth's Sam often says little; however, the fact that he's grappling internally with feelings he can't quite do justice to in words always remains evident. Travelling around England's Lakes District, they're not just on an ordinary campervan holiday. Neither man has simply been whiling away their time before their long-awaited returns to performing and writing, either. With stops to see Sam's sister (Pippa Haywood, Four Kids and It) and her family, and to reunite with old friends, the couple are making the most of what time they have left together. Tusker is unwell, with early-onset dementia increasingly having an impact on not only his everyday life, but upon the shared existence they've treasured for decades. Tucci and Firth serve up big performances in Supernova, but never overt ones. Actors can command the screen and the audience's attention while delivering disarmingly intimate, delicate and intricately drawn portrayals, which is what this stellar pair manage here repeatedly. Indeed, viewers can feel the force behind their heartbreaking efforts — as is to be expected in a film about life, love, loss, mortality, ageing and illness — but these aren't forceful turns. Rather, they're so detailed, textured and lived-in that they fill every frame and scene, and every room and wide-open space that Tusker and Sam find themselves in. Both Tucci and Firth are in career-best form here, and continually referring to them together comes naturally. Their rapport is as lively, thorough and authentic as anything in the movie, with Tusker and Sam's relationship always in Macqueen's view. This isn't just a feature about one man's experiences as his mind starts to fail him, he faces the end that awaits as all and he tries to claim what control he can over a situation that keeps stripping any sense of agency away; it's a devastating portrait of a couple confronting the waning of their life together far sooner than either had ever wanted or imagined. From its early scenes of Tusker and Sam beneath the sheets to the tough moments and conversations that arrive later, when dementia proves a topic that can no longer be ignored on their otherwise cosy road trip, Supernova is a thoughtful and tender love story through and through. Given the subject matter, that really isn't a standard feat. Unlike some films about sickness — too many, in fact — Supernova doesn't render its unwell figure a supporting player in his healthy partner's story. Similarly and welcomely, it doesn't posit that Sam's ordeal at Tusker's side is the true tragedy. In his warm, intuitive and compassionate screenplay and in his graceful direction as well, Macqueen has time for both men, their circumstances and their expectedly complicated emotions. But, in repeatedly showing how Tusker feels when he can't remember words and starts to forget where he is, conveying how his uncertain future is already taking a heavy toll upon his lucid moments and expressing the weight he feels in being acutely aware that he's losing his sense of self, the film never even dreams of sidelining its ailing point of focus. Awards and nominations typically follow dramas that wade through comparable terrain; for Michael Haneke's shattering Amour, Julianne Moore's superb performance in Still Alice and this year's Anthony Hopkins-starring standout The Father, they have in the past decade alone, for example. A plethora of shiny trophies and nods haven't yet come Supernova 's way, though — it is sometimes a little too neat and literal in its story, and in its stylistic choices as well — however, this is always a beautifully conceived, observed, performed, shot and executed film. Its leading men make the last flourishes of Tusker and Sam's romance, and of Tusker's mind, feel as explosive as the astronomical event that gives the movie its name. Cinematographer Dick Pope (Peterloo, Mr Turner) ensures that starry skies, green fields and cramped caravans alike all hover between the commonplace and the otherworldly. That contrast of the everyday and the ethereal sums up Supernova perfectly, and encapsulates every grand romance, too. Falling in love and spending your life with someone feels like entering into another universe, after all — and when that threatens to turn to stardust, it does so with a bang. https://www.youtube.com/watch?v=1SEoi8r1Z4Y
Need a gift at short notice? Flowers are usually a pretty safe option, but the thing about flowers is…they die — and sometimes pretty quickly too. Succulents, on the other hand, last practically forever, no matter how badly you neglect them. That's the practical reasoning behind new Sydney-based startup Little Succers anyway, who will this week launch same-day delivery of little green mates for your mates. "Little Succers was created for occasions where flowers aren't quite right, or you're sending to a friend that isn't into the romantic notion that can come along with flowers," says Laura Coggles, creative project manager at Dream & Do, the creative agency behind the service. "Little Succers doesn't take itself too seriously...it's a fun gift that appeals to everyone." Launching on Wednesday, March 1, Little Succers will offer same-day delivery to the inner suburbs of Sydney — from Pyrmont to Rushcutters Bay and down to Redfern and Alexandria. Place your order by 11am (Monday to Friday only) and it'll arrive at your chosen destination by 6pm. $35 gets you a potted succulent in a hand-stitched box along with a handwritten card adorned with a succulent pun of some sort. So what sort of succulent will you get? "Like other same-day delivery services, our product is picked regularly, so the species of succer can change from day to day," says Laura. "Lucky for us, the world of succers is full of hundreds of weird and wonderful varieties, so there's always a surprise in-store." Little Succers will launch on Wednesday, March 1. To make an order and for more info, visit littlesuccers.com.au.
UPDATE, January 25, 2022: The Nightingale is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. With The Nightingale, Jennifer Kent proves that she has a niche, although it's not what fans of The Babadook will initially expect. Following an Irish convict and an Indigenous tracker as they trek across colonial-era Tasmania on a quest for vengeance, the writer-director's sophomore film couldn't seem further removed from the pop-up book spooks of her first movie — and yet the two couldn't make a better pair. Once more, Kent has crafted a work filled with immense horrors. The details have changed drastically, as has her style, however the unnerving effect remains the same. Carving a firm cinematic groove across just two releases, the Australian filmmaker has established herself as an artist unafraid to look pain, suffering and terror in the eye, and just as unwilling to let her audience avert their gaze. There's nothing more harrowing to watch than someone in the throes of torment, anguish and sorrow, a fact that we all innately know in our hearts and souls. As long as narrative cinema has existed, it has reminded viewers of this, a tradition that Kent carries on masterfully. Her films unsettle and disturb with a purpose. It's unpleasant to see The Babadook's single mother fray in front of our eyes as a boogeyman leaps into her and her young son's life, and it's downright tough to realise that she has been disintegrating through grief and sole parenting responsibilities long before her new nemesis arrived. But staring at this difficult reality and grappling with its full force is the entire point. Applying the same principle, it's wholeheartedly, nerve-rattlingly distressing to witness the plight of The Nightingale's Clare (Aisling Franciosi) as she's subjected to a torrent of vicious treatment that begins with rape and only worsens. But, without truly beholding her agony, how else can we feel it — and the centuries of oppression, subjugation and cruelty across Australian history that it taps into — deep in our bones? Banished to Australia as a teenager, Clare's sentence should be reaching its end when The Nightingale opens. The now-21-year-old has been incarcerated for seven years, including as an indentured servant, but abusive British Lieutenant Hawkins (Sam Claflin) won't grant her freedom. Instead of letting Clare start anew with her husband and baby, Hawkins keeps her as a maid, source of entertainment, and someone to thrust his will upon whenever he's drunk and in the mood. And, when she refuses to comply meekly, he imposes his might in the most atrocious fashion. Stripped of everything that she holds dear, Clare commits to tracking Hawkins across Van Diemen's Land to get revenge, enlisting the reluctant Billy (Baykali Ganambarr) as her guide through the inhospitable wilderness. From Clare's horrific treatment by Hawkins and his cronies (Damon Herriman and Harry Greenwood), to the despairing sights she sees on her journey with Billy, Kent delves into Clare's trauma in excruciating detail. You could call her bold for glaring straight in the face of continued violence. Indeed, she is. But she's also doing exactly what the story and subject matter call for. Treading through Australia's complicated past can never be a jaunty walk. Coming to terms with how our nation has cast aside the country's original inhabitants, how the world at large regards women, and how such racially and gender-motivated ghastliness still echoes today should never be easy. Rather, it must feel relentless and merciless, because that's what being subjected to such awfulness feels like. As well as employing an Aboriginal consultant during the film's production, Kent and Franciosi also investigated the real-life impact of post-traumatic stress disorder on abused and attacked women, and it shows. As a result, The Nightingale takes its task literally. Using the academy aspect ratio to confine the movie's imagery to a 4:3 box, it puts desolate, decimated faces front and centre. The film doesn't provide any space to turn away, even as its characters endure the near-unimaginable. When Clare and Billy traverse terrain that's as gnarled and thorny as their inner turmoil, it doesn't gaze slowly at the landscape either. At every turn, Kent finds the most effective way to splash her protagonists' pain across the screen, with the expert assistance of her returning cinematographer Radek Ladczuk. In their hands, The Nightingale proves not only an emotional onslaught, but a technical showcase, as the astonishingly precise and effective staging, blocking and framing of its most challenging moments demonstrates again and again. As powerful as it is brutal, The Nightingale never overlooks one crucial thing: that its savagery is waged on flesh and blood. When the movie peers intently and empathetically at Clare and Billy, it sees them as people, never victims. It catalogues their suffering without ever sweeping away their flaws, robbing them of their idiosyncrasies, or stripping their ability to grow, adapt, display their resilience and even scratch out a sliver of hope. That's a complex juggling act, but one that Kent perfects. Taking her lead, so do her exceptional actors. Balancing rage and determination, Franciosi's performance reaches haunting levels, ranking among the best of this and most other years. An Indigenous dancer turned first-time actor, Ganambarr imparts as much soul and depth as his co-star, a feat that's perhaps more remarkable given the more limited scope he's tasked with working within. Claflin, too, deserves ample recognition — he's playing the villain, but his is never a straightforward role. You could make a comparable comment about The Nightingale as well. This is an overt film from start to finish, and yet it's never simplistic — and that commonality with its characters is obviously by design. Diving into the depths of darkness may seem clear-cut, but it never is, which this searing, stunning excavation of Australia's past horrors never dares forget. https://www.youtube.com/watch?v=nfPxmnMAyZw
By this stage, most of us have come to terms with the fact that jetting off to USA or Europe is a seriously long slog, made worse by unavoidable (sometimes long, always painful) stopovers. But that European or American trip could soon become a whole lot more bearable, with Qantas announcing plans to launch direct flights between the east coast and both London and New York, by 2022. While the airline's already revealed it'll run nonstop flights from Perth to London starting March 24, 2018, the extra distance involved with trips from the east coast capitals is something that none of today's planes can handle. Right now, the world's longest direct flight clocks in at just over 17 hours and 14,529 kilometres, running between Doha and Auckland on a Boeing 777-200LR. So, to realise its grand plans for east coast Aussies, Qantas has put the call out to Airbus and Boeing, the world's biggest aircraft manufacturers, to make a plane that can go the distance. In numbers, that's a 20-hour and 20-minute stint between Sydney and London (16,983 kilometres), and an 18-hour and seven-minute journey from Sydney to New York. The airline's done its homework, analysing a decade's worth of wind and weather data to confirm the routes are actually possible. Now, all it needs are the planes to fly it. Via the Australian Financial Review.
UPDATE, December 20, 2022: Everything Everywhere All At Once is available to stream via Prime Video, Google Play, YouTube Movies and iTunes. Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. This isn't a movie that stays static, however, or wants to. Both dizzying and dazzling in its ambitions, the way it brings those bold aims to fruition, the tender emotions it plays with and the sheer spectacle it flings around, Everything Everywhere All At Once is a magnificent dildo-slinging, glitter cannon-shooting, endlessly bobbing and weaving whirlwind. Everything Everywhere All At Once is the movie version of a matryoshka set, too. While Russian Doll nods that way as well, the possibilities are clearly endless when exploring stacked worlds. Multiverses are Hollywood's current big thing — the Marvel Cinematic Universe, the DC Extended Universe, the Sony Spider-Man Universe and Star Trek have them, and Rick and Morty adores them — but the concept here is equally chaotic and clever. It starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Kills) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. There's a great gag in that revelation, playing smartly yet savagely with perspective — because Everything Everywhere All At Once is all about how we choose to see things. Imagine trudging over to your local tax department, trolley full of receipts in hand and possible financial ruin in front of you, only to be told mid soul-crushing bureaucratic babble that it all means nothing since the very fate of the universe is at stake. But, at the same time, imagine realising that it's the simplest things that mean the most when space, time, existence and every emotion possible is all on the line. Although that isn't how a different version of Waymond puts it to Evelyn, it's what sparkles through as she's swiftly initiated into a battle against dimension-jumping villain Jobu Tapaki, discovers that she can access multiple other iterations of herself by eating chapsticks and purposefully slicing herself with paper cuts, and gets sucked into a reality-warping kaleidoscope. For Evelyn 1.0, everything the film throws her way is overwhelming, unsurprisingly. The Daniels have done a stellar job of ensuring viewers feel the same. Everything Everywhere All At Once splashes around more gleefully overstuffed absurdity than even a 139-minute-long movie can usually handle, but relentlessness is part of the point. When you're making Spider-Man: Into the Spider-Verse meets Inception meets Eternal Sunshine of the Spotless Mind meets The Matrix meets Hong Kong marital-arts cinema, a notion few folks in any multiverse could dream up, havoc comes with the territory. As shot by Larkin Seiple (Swiss Army Man) and edited by Paul Rogers (Scheinert's solo flick The Death of Dick Long) with unfaltering flair that's 100-percent designed to overload the senses, that on-screen anarchy is what makes the movie so immersive and Evelyn's plight so relatable. And, it's essential to anchoring the feature's 'nothing matters, everything is fleeting, revel in the small stuff' mantra. While it was penned for Jackie Chan, Yeoh is the movie's chosen one well beyond the script. Her casting lets the Daniels see acting stardom in one of Evelyn's other lives, but it's her flexibility and grounding that's crucial. Everything Everywhere All At Once walks such a thin tightrope between the raucous and the ridiculous that plenty could've faltered. In another universe, it did. But always beating away at the centre of this film in this reality, amid the countless costume changes, hairstyles and all (with enormous credit due to the inventive behind-the-scenes teams), is Yeoh. She deploys the quiet ferocity that's marked her performances for four decades, and twists through everything from existential malaise and intergenerational trauma to the everyday struggle that is living a life, including as a mother and wife, that's worlds away from your hopes and dreams. Yeoh is a joy to watch in whatever is lucky to have her — including Last Christmas, Boss Level, Gunpowder Milkshake and Shang-Chi and the Legend of the Ten Rings recently — and her work here shakes her entire career to-date together, then lets the best, boldest and most bizarre possibilities shine. Everything Everywhere All At Once is a tribute to its lead as much as anything else, but it's also so much else: a marvellous calling card for Hsu, a glorious return for the exceptional Quan, and a movie that makes weird and wonderful use of Curtis, too. It's an anything-goes free-fall through interdimensional mania where everything does and can happen — as brilliantly choreographed — and a clear-eyed examination of the ties and troubles of family, of uprooting your existence to strive for a future that mightn't come, and of weathering the mundane and the sublime in tandem. It's a whirl, a swirl, a trip, a blast and a juggle as well and, in this universe, the Daniels wouldn't have it any other way.
Most of us have a semi-complicated relationship with the police. You curse them if their red-and-blue lights appear in your rearview mirror, but you're thankful for their services if anything fishy arises. All in all, we agree that they're a necessity. The NSW Police is the largest police force in Australia. Officially formed in 1862, it is celebrating 150 years of law enforcement. Commemorate this monumental anniversary by visiting the Historic Houses Trust's exhibition, The Force. Peruse the extensive collection of photos, objects, and video footage which illustrate the evolution of the force from its earliest days, changes in the NSW public attitudes and the transformation of police technology.
Tony Mahony's The Mule is a film about a universal human experience. Its message of determination is one that anyone can relate to, regardless of their gender, their colour or their creed. In some ways, its protagonist Ray Jenkins epitomises the common man. He's not a superhero or a crime fighter, or even particularly smart. He just really, really needs to use the toilet. Such is the conceit of this 80s-set Australian crime comedy, one that gives new meaning to the words 'stomach churning'. Angus Sampson plays Mahony's eponymous drug mule, a dim-witted TV repairman detained by airport customs with a kilogram of heroin nestled snugly in his guts. It's a huge bust for the authorities, except for the fact that the only physical evidence remains trapped inside their suspect. Legally prohibited from x-raying his stomach without his consent, the only other option is to keep Ray in custody, and hope he goes to the bathroom before the seven-day holding period expires. So begins the longest week in Ray's pathetically misspent life. Strong-armed into drug-trafficking by a teammate on his local footy team (Leigh Whannell), Ray's a far cry from a criminal mastermind, and woefully ill-equipped for the pressures of police interrogation. Sampson — who co-wrote the screenplay with Whannell and Jaime Browne — does a good job of making his characters seem sympathetic, even if it's mostly in a sad, flop-sweaty kind of way. Ewen Leslie and Hugo Weaving, meanwhile, play the pair of federal police officers who are tasked with monitoring Ray's case. Both performances are excellent, although it's Weaving who's particularly funny as the moustachioed Detective Croft, a bullying old-school copper who grows more and more frustrated with every scene. The sheer absurdity of the situation lends the film an air of satire; there's something deliciously twisted about watching cops, crims, judges and lawyers all awaiting the outcome of a single, stubborn shit. Mahony and the trio of screenwriters also turn their lens on some of the worst and/or most cringeworthy elements of 'true blue' Australian culture. Even as Ray fights to keep his buttocks clenched, the country sits glued to the television, watching the last days of the 1983 America's Cup yacht race. The rampant nationalism is enough to make you squirm — as is the old Holden TV jingle that blares merrily across the airwaves. Football, hot pies, kangaroos and Holden cars? What a load of crap. The Mule will screen in Sydney on Wednesday, November 19 with Hugo Weaving and Angus Sampson in attendance for a one-off Q&A session at Dendy Newtown. This film releases digitally on Friday, November 21.
Once Under A Sky is the story of two fisherwomen from a small seaside town in New Zealand, but its dark and poetic depths make such a shallow description totally inadequate. In the tradition of Samuel Beckett and Eugene Ionesco, it merges storytelling, physical theatre and absurdist elements with intensely evocative writing and extraordinary energy. Once Under A Sky has been in development for three years and it shows. The set is beautifully thought out, with an overhead canopy of fishing nets and several carefully placed gumboots. When the lights go up, May is earnestly and enthusiastically dreaming while August tries to channel the ebb and flow of her words by scribbling them down. May is talking in tongues and August's writing is illegible: her monologue is intended to surface and submerge meaning; to break and reform, like the sea does. May awakes and the day begins like any other with the ritual of dressing and renewing their affinity with the sea. But today is a day like no other. May believes that she has an upside-down tree in her chest. Fearing August is not who she seems, she wipes up the puddle they have lovingly tended for the last 17 years. With their watering-hole dried up, the two fisherwomen embark on an arduous journey into the arid desert, where they bring to the surface a grief as huge as the heart of a whale. Both actresses believe in their characters 100%, and their conviction is conveyed through their physical courage and vocal confidence. Through constant consonance and assonance, the dialogue between May and August spins out to the driving metre like a roll-call, splashing the audience with syllabic significance. But just when Once Under A Sky runs the risk of being skewed too much towards the words which conceptualise the fluctuations of the fisherwomen's perspectives, it is reeled in with raffish good humour and vigorous physical clowning. Once Under A Sky was created during a number of self-funded developments as well as a residency at Legs on the Wall's 'Feet First' emerging artist program. Its content and expression was refined through the CarriageWorks' Underbelly Festival, the Brisbane Under the Radar Festival, and last year's Sydney Fringe Festival. It is a play that will puzzle you if you bring too many preconceptions with you, so cast them aside and don't try to reel in too much meaning &$151; that would be like trying to fold a fish.
