When it comes to getting to the heart of what life is like during wartime, Vera Brittain literally wrote the book. You may not have heard of the English writer, though you really should've. A century ago, she was crusading for her right to make her own decisions and rallying against the future that was supposed to await all women. Getting married and playing house was the done thing, but it was far from her dream. Instead, she wanted to study at Oxford and pursue a career — until the First World War broke out, changing everything. Brittain's first memoir, Testament of Youth, offers a record of the devastation that followed, including loss and destruction anyone who has ever read or seen anything about war will instantly recognise. Her recollections are more than just accounts of the horrors she witnessed while volunteering as a nurse in London, Malta and France, however; they're a portrait of a generation forever shaken by the experience, as told from the female perspective. Think about the wealth of movies you've seen about men marching off to battle, then think about how many truly depict what such times were like for women. That's just one of the reasons that Brittain's story — and the film that brings it to the screen — demands attention. She might not have been on the front lines, but she was fighting for a cause in any way she could. After striving to further her education, she willingly chose to put her life on hold, head to the conflict and do her part to support those in the thick of combat. Rising star Alicia Vikander plays Brittain as a determined figure in a dark era, yet never a merely dutiful one, which is an important distinction. It is certainly disappointing that the film pays so much attention to the influence of the men in Brittain's life — her initially disapproving father (Dominic West), her charming brother (Taron Egerton) and the poet she falls in love with (Kit Harington, because every film these days seems to have to cast someone from Game of Thrones) — but Vikander's convincing and complex portrayal ensures she's always the real star of the show. Thanks to director James Kent, the movie is also as handsome as it is heartfelt, his fondness for period details apparent. Audiences have seen warm-toned, softly lit scenes like his before, and romanticised and restrained war films, too, but when they're this intricate and earthy, it is hard to get tired of watching them. Indeed, that sentiment also fits Testament of Youth as a whole. So much looks and feels familiar in the way Brittain's real-life plight has been adapted for the screen, and even if the movie doesn't do its inspiration justice, there's always something — a refreshing point of view, a stellar performance, an elegant image — that keeps sparking interest in this wartime chronicle.
Dust off your sombreros, amigos. The latest international excuse for a good time to reach our shores is Cinco de Mayo — a celebration of all things Mexican (which, if we’re being nit-picky, is really more of an Americanisation than anything but shh, let us party). In celebration, the folks at Corona and Beach Burrito Company Bondi are putting together a fiesta, complete with face painting by local street artists and the first ever Taco Time Trials Eating Contest. For the less competitively inclined but equally taco-happy, Cinco de Mayo falls conveniently on a Tuesday, and Beach Burrito Co’s regular $3 taco deal applies, so your pesos’ll stretch further. With what you’ve got left, you can sip salt-rimmed margaritas, down trays of tequila shots (not recommended) or share a bucket of ice-cold Coronas. And, of course, come prepared to smash and whack your way to glory, because they wouldn’t be doing Mexico right without pinatas.
So, you want to get a glimpse into life in another country, but you can't actually afford to travel anywhere? That's where film festivals come in, taking audiences on a cinematic journey without anyone needing to leave their comfy, movie theatre seats. This month, it's Germany's turn in the spotlight. Making its way around Australia from May 13–31, the Audi Festival of German Films delves into everything the country has to offer in the movie realm. That includes 50 new German-language films, spanning efforts as varied as action comedy Not My Day and twisted fairy tale The Bunker. It also includes an interesting schedule of panel discussions and themed evenings, if you want to do more than watch. Whatever your tastes or interests, there's certain to be something to tickle your fancy. Want to take a peek at an Alps-set western, laugh along with a hitman comedy or strap in for a time-travelling romance? Well, here you can. You can also delve into the history of cinema, and into a key figure in East Berlin's radical underground art world. For the full Audi Festival of German Films lineup, visit the festival website.
Reckon you know everything there is to know about the mighty martini? Had it dirty, dry, perfect, shaken, stirred? Get down to Eau de Vie during World Class Cocktail Week to find out that you don’t know what you don’t know. At a masterclass to be hosted on May 27, the secretive bar’s martini experts will carry you through the cocktail’s long and wicked history — from the myths surrounding its origins (did it evolve from a cocktail served up at San Francisco’s Occidental Hotel in the 1860s? Or was it invented 50 years later in New York City?) to Dorothy Parker’s versification “I like to have a martini, two at the very most; after three I’m under the table; after four, I’m under the host.” Along the way, there’ll be sterling silver martini syringes, Tiffany vermouth dispensers and martini scales. There’s no end to the lengths mixologists have gone to in search of the dream martini.
Snooping isn't something we'd encourage. But sometimes having sticky fingers pays off, big time. A Town Named War Boy, the latest offering from the Australian Theatre for Young People (ATYP), turns the State Library's World War One archives into a stripped-back dramatic performance of the Anzac legend. One hundred years on and four budding actors under the direction of ATYP's artistic director Fraser Corfield bring their experiences of hardship and sacrifice to life. Playwright Ross Mueller uncovers the voices behind the diaries and letters of these young Aussie soldiers, giving audiences a brutally honest insight into the realities of life in the firing line. Brandon McClelland, Joshua Brennan, Simon Croker and Edward McKenna take to the stage to deliver these poignant tales.
Here is a little glimpse into a bizarre future where ideologies are amalgamated and the boundaries between class, sex and race have been erased. This is the forecast of Los Angeles-based artist Mark Whalen, who will be presenting Improper Fraction at Chalk Horse Gallery in May 2015. As you will see, the ceramic works in the show take the form of hand-sculpted books, which can be seen as the keys to unlocking his curiously complex paintings. Harking back to high modernism, his practice evokes the mathematical spiritualism of movements such as De Stijl and the Bauhaus painters. On first glance, these intricate paintings look like flat and futuristic adaptations of MC Escher drawings. He is also inspired by the fantastical chaos of Hieronymus Bosch; however, Whalen’s geometrically precise worlds have a certain order and rhythm — like neat little computer-generated packages. Come along for the exhibition opening on Thursday, May 7, at 6–8pm.
One of our brightest video artists is exhibiting at Stills Gallery this month. Her latest series, titled simply Work, restages a local fruit market. The prettiness of Kawita Vatanajyankur’s art is like a packet of lollies — deliciously alluring. However, she often blends pain and humiliation with her Willy Wonka colour palette. Her work is a peculiar blend of quirkiness and body-aching intensity. Vatanajyankur is an endurance artist; she is perpetually testing her mental and physical limits. This latest foray into smashing melons and balancing bananas also contains a feminist undercurrent. While reviving the pre-industrial labour of her native Thailand, her videos tap into traditional understandings of ‘women’s work’. You are likely to see a heightened destructiveness where she is literally being worn down by banal tasks. In any case, Vatanajyankur is one of those can’t-look-away artists. Come along to the opening on Wednesday, May 6, at 6–8pm.
This elusive-sounding exhibition will feature a collection of photographs from emerging artist Simon del Favero. Liminal is an adventure into the space surrounding the photographed object; it is an attempt to see through the solitary in search of something that is not quite visible. Del Favero’s architectural training has fostered an interest in spatial situations and visual relationships. In a curious way, it seems this show is less about individual images and more about how the act of photography stimulates thought about human perception. Head along to the opening at Firstdraft on August 5. Other artists exhibiting at Firstdraft this month include Marilyn Schneider, Jarrod van der Ryken and Amanda Williams.
Taking its name from the meme website that's a go-to for every good procrastinator, Totally Looks Like at Stills Gallery tackles the 21st century ease of crafting alternative personalities. It's the evolution (or devolution) from self-portrait to selfie that underpins this group exhibition. If Cindy Sherman slapped on a bit of stage make-up and knocked up some papier mache props, it might come close to Jaimie Warren's humorous style of self-portraiture. Celebrating the amateur aesthetic of reality TV and internet memes, she dives into the user-driven world of popular culture, sapping the pretentiousness out of contemporary art. In this series, she splices celebrities with food. One of her concoctions is Tuna Turner, a portrait of the '80s songstress with marbled pink skin and her trademark teased hair. There's also Lasagne Del Ray, a vision of cheese sauce and gluggy mascara. With those unmistakably sculpted eyebrows and pouted lips peeping through a mound of pasta, there's a lot of fun to be had here. Jackson Eaton's Melfies appear to spring from the ‘try before you buy’ mantra of retail culture. A range of self-portraits are printed onto T-shirts and hung on conventional clothing racks for your browsing pleasure; however, Eaton has selected a circle of friends and relatives to dictate how these portraits are staged, relinquishing control of how he is perceived. By producing and marketing different sides of his personality, he unmasks the commercialism of the art world with deadpan humour. In spite of this, there are acts of self-concealment throughout this series. For example, there's a self-portrait with a fern branch obscuring his face. Against a blue sky background, this has a Magritte flavour of optical play and trickery. Kawita Vatanajyankur similarly recruits others in her self-portraiture. Her three video works feature acts of violence mixed with slapstick humour. Often appearing as a passive object, Wet Rag sees a woman scrubbing the floor with the artist's limp and soaped up body. The dark humour of these works is offset by their candy-coloured backgrounds. Shades of bubblegum pink and banana yellow prettify the action, creating an ethical dilemma in the viewer's mind. Jodie Whalen offers a total change of mood and pace. Her self-portrait is less physical and more spiritual. In this digital video, we follow her gaze as she wanders through her suburban neighbourhood at sunrise. There are treetops, crossed powerlines and the occasional perched kookaburra. As day breaks, silhouetted houses become sun-splashed. With a shimmering soundscape, there is a relaxing harmony between the audio and visual elements. The work has a warm glow, inducing a nostalgia for the backyard block and tree-lined streets of your childhood. Although there's artists I haven't mentioned, Stills Gallery have put together a strong group show. With Warren's gross-out giggles, Vatanajyankur's self-deprecation and Eaton's deadpan, there's also a great deal of humour. From the highly performative self to the the disembodied self, in today's world self-portraiture in art and life is given more scope and power to reproduce.
Melbourne's shindig-instigators Northeast Party House will be dominating Beach Road, Newtown Social Club and The Lair with three downright hootenannies to launch their highly anticipated debut album. Any Given Weekend features dancefloor fillers such as 'Youth Allowance' and 'Fake Friends', which are sure to stir a rambunctious crowd. Latest single off the album, 'The Haunted', is a great example of the strong songwriting chops and poppy hooks you can expect from NPH's debut record as a whole. Forming in 2010, these six Melbourne lads began by throwing down sets at warehouse parties, and their reputation for delivering high-energy live performances has stayed strong. Northeast Party House's alternative dance rock is chaotic but never sloppy, and always wildly fun. So don your most easily-danceable outfit and gather the party fiends in your crew, these shows are set for serious shindiggery. Here's the rundown: Wed 25 June – SOSUEME, Beach Road Hotel, Bondi w/ High-Tails — Free Sat 28 June – Newtown Social Club, Newtown w/ High-Tails and Conics Sun 29 June – The Lair, Metro Theatre, Sydney w/ High Tails and Conics https://youtube.com/watch?v=yU63Pertfk8
Sydney lad Kilter (aka Ned East) is a beatmaker well and truly at ease in the current electronic scene. The locally-applauded producer has already supported Australian electronic bigwigs RÜFÜS, The Kite String Tangle and Art vs. Science, also remixing cuts from the likes of Duke Dumont, London Grammar and Jamie xx. But make no mistake; you won't see this 22-year-old Sydney producer playing a show solemn-faced behind the bright lights of a laptop screen. Kilter much prefers playing a more physical part in his live music, keeping mighty busy with all those keys and knobs on his MPC and microKorg, while working up a real sweat with synths and drum pads. Kilter's brand new EP Shades is released on July 11 — the same date that his 16-venue Australian and New Zealand tour hits the ground running. With the very talented producer Hatch playing in support, first stop for Kilter is Sydney where he'll be accompanied by guest vocalists Citizen Kay and Ngaiire. https://youtube.com/watch?v=fFHI_iyB6QM
From their now-famous Taco Tuesdays to Puerto Rico Day parties, The Norfolk's always been big on celebrating other countries' stuff. (Or they just know you'll take any excuse to scoff someone else's patriotic fare and a gratuitous foreign beer — culture, yo). Next Friday is the Fourth of July and they're taking cues from the Americans. Specials include $10 footlong hot dogs (that's a lot of hot dog), $5 Budweiser and $20 Americana jugs. We're not in America, so think of it as an acknowledgement of the best parts of the USA's national day, without the fireworks, parades and beer pong competitions.
Given the American food craze that swept through Sydney last year shows no sign of slowing, it's more than appropriate that one of our top US-inspired venues is throwing a Fourth of July party to celebrate those iconic stars and stripes. Independence Day at The Bourbon — the King Cross landmark with the shady past and shiny, New Orleans-style makeover — will be led by the soulful tunes of Chicago native Doug Williams. The live entertainment will continue with the Bourbon's weekly Freestylin' Sound System, showcasing live DJs, sax, percussion and guest vocalists. But a party at the revamped bar-bistro, which features James Metcalfe (formerly of Becasse and Charlie & Co) as its head chef, wouldn't be complete without a 13-strong canape selection. Southern-inspired Cajun shrimp will be served alongside mini chilli dogs, New York bagels and waffles with chocolate sauce — plus, you can expect a cocktail on arrival. Topping off the celebrations, the party promises a miscellaneous array of all things Americana. We're talking popcorn, fairy floss, cheerleaders, foosball tables and photo booths. Sounds like the Bourbon's got all of your Fourth of July good times covered.
This review was written about the Sydney 2012 run of this show at Belvoir St Theatre Downstairs. Before heading along to Belvoir St Theatre, I usually say to people, "Oh, I'm going to see one of those edgy plays downstairs at Belvoir, you know, the kind with some nebulous storyline, butt cheeks right up in your face and someone smoking weed on stage." But Food is different. Writer and co-director Steve Rodgers has still included all that wonderful Belvoir-esque wackiness, swearing and gritty arthouse Australiana, but there was a depth and meaning in this work that I had never experienced in this theatre before. At the crack of dawn, Elma (Kate Box) is kneading and slamming dough on the counter in a takeaway joint somewhere in the backwaters of middle Australia while her sister, Nancy (Emma Jackson) pulses and jerks the night away in a South-East Asian nightclub. For two years, Nancy went missing, but unlike in a 'normal' family, her absence was never reported. Time skips forward and now that Nancy has returned, the sisters are left to their own devices in a family of two where they work hard to supply the local town with a staple supply of spring rolls, dim sims and Chiko Rolls. Between the shouting and banter of kitchen orders, sisterly squabbles and head-gripping wrestling, their teen-hood pains and complications begin to rise up like leavened bread. To add a little spice to the mix, a foreigner arrives in response to their kitchen-hand job advertisement. Hakan Leventelou (Fayssal Bazzi), from Olympus, Georgia explains nervously that his first name means 'Emperor' or 'King' and his family name means 'Son of Handsome'. With natural exuberance, he seasons their day-to-day grind with delectable anecdotes, incessant singing and adorable jokes about mice and dogs. He is also a man who loves "to watch and admire the women all the day", he explains in his thick, rhythmic accent. Tension builds between Hakan's overarching romantic universal perspective versus the sisters' static obsession with "who once stole whose Uggies". Wary as ever, Elma warns Hakan, "Mind your manners and don't fuck us around or I'll cut off your button." "Button?" he asks. Co-director Kate Champion, with her strong dance theatre background, has cleverly planned the choreography to the point of seamlessness. Although the stage barely changed, scene changes took place through movement and short interludes of carefully thought-out lapses, thus entering new situations or moments through the make-believe of your mind. Hakan may have been baffled by Elma’s button reference, but his intuition told him to tread carefully with these women.
When it comes to short-lived pop-up outlets, there aren't really any official rules. Yet it seems that Poepke must be breaking a few with their Archives pop-up, returning this June. Firstly, the Paddington boutique plans to host the temporary vendor within the four walls of their existing store. "Does that even count as a pop-up?" I hear you cry. "Isn't it just like having the same store, but with a different name?" Well, not quite, since part of the deal is that they'll be selling your stuff for you. That's right, you can submit items for consideration before Sunday, June 22 (dry cleaned, of course), from labels Peopke has carried or is currently carrying. Then they'll sell them on a consignment basis, and you'll pocket the cash. It's like a giant community garage sale, but instead of scoffing neighbours pretending they're from Antiques Roadshow, they'll just be other Poepke fans hungry for that silk shawl you snapped up last winter. It's part op-shop, part stocktake sale, part elusive event. Whatever it actually is, you'll be able to turn up and nab both unworn and pre-loved clothes, shoes and accessories. The pop-up opens on June 28, and will continue running over the coming months.
Another overachieving youngster to add to the Hall of Stop Making Us Feel Past It. Cranking a bigger beat than most people who can get into bars, 17-year-old Jacob Grant calls himself Just A Gent and packs a punch on the ol' d-floor. EDM's answer to the Lordes and Baros doing their underage thing aroundaboutown (you know, finishing Year 11 and working in the local toy store), this youngster from Newcastle recently signed to big deal agency WME to many a bubbling "who dat?" reaction. Already counting a bunch of nationally-applauded remixes and Hype Machine-charting edits in his repertoire (one of which Ultra Music Festival cranked in their promo video), JAG dropped a hugely-anticipated remix for The Aston Shuffle in June. Dropping into Sydney's World Bar in the midst of his national debut headlining tour, JAG is textbook one-to-watch material. Avicii better hold on to that little dog of his, this Novocastrian is on track for limelight (read: Oliver the Fox) stealing.
Sydney's multifaceted bass producer Meare is set to thrust new EP Eyes On/So Fine into public consciousness on July 3 at Oxford Art Factory. The up-and-comer is marking the occasion with an epic launch party promising sets from Moonbase Commander, Roleo, Papertoy and Kid Fiction. For a preview, jump onto Meare's Bandcamp page and download tracks for a price of your own choosing (throw the guy a decent dime). His dynamic mix of bass, trap, electronic and chillwave has been receiving oodles of attention from triple j and FBi Radio. Meanwhile, Moonbase Commander will be throwing together the beats, hip hop and footwork that has lately seen the Sydney producer packing out the likes of Goodgod; Roleo will be taking a break from his Thursday night late stint at FBi with his ever-evolving repertoire of new beats and remixes; Papertoy will be delivering his combo of hip hop, trap and R&B; and rounding out the night will be the relentlessly creative Kid Fiction (aka Louis Isaac).
A gay intergalactic wizard breastfeeding a baby alien, an orphaned monster plotting revenge in a thick Latin American accent, the search for your robot best friend — Nick Coyle does not come up with normal things. Whatever you usually see at the theatre, if you see anything at the theatre, Coyle's work is not much like it. Yet his brand of comedy weirdness has proven widely palatable to us normals; his shows have toured Australia and won him two FBi SMACs for Best on Stage (2011 and 2013). Now he's about to take one such funny/sad, sweet/mad, limitless/lo-fi work, Double Tribute, to the Edinburgh Fringe Festival. But it needs a little dust-off at the Giant Dwarf first. Double Tribute is a tribute to dead girlfriend Jenny. But one tribute leads to another, and to find out about that one, you'll just have to hop on this journey of "sexual awakening and grief".
Physical theatre is one of those things that has the timeless ability to move and entertain us. Something about its characters' lack of language is instantly relatable; Charlie Chaplin's tramp, and Jacques Tati's M. Hulot remain classic characters untarnished by time. Leo, by Montreal's Y2D Productions, follows their footsteps into the theatre, in the form of an hour-long one-man show. The twist is, through ingeniously simple techniques, the show shifts gravity around the performer: on one half of the stage is the actor, in the flesh, and on the other half is a live projection whose perspective swaps wall for floor. Suddenly, a whole new physical dimension is opened up for the performer and character. But acrobatic feats and mute pratfalls do not a theatre show make. Making these tools work toward the expression of an idea (Beckettesque absurdity, in this case) or an emotion is what makes Leo promise to be a richly entertaining hour of theatre.
Days after winter has officially landed, HBO has gone and announced something totally off The Wall. The giants of television are bringing us Game of Thrones: The Exhibition at Sydney's Museum of Contemporary Art Australia from July 1-5. Presented by Google Play, the immersive exhibition will highlight all key GoT locations, characters and narrative ERHMAGHERD moments, with nearly 100 props, weapons, costumes and bits and pieces from the show — season four included. Because they're Stark raving mad legends, Game of Thrones: The Exhibition will be open to the public FO FREE. It's been confirmed that the exhibition is the same one that has been touring the globe of late, so we're in for a big ol' dragon-sized treat. The existing HBO exhibition started in New York in January then moved on to Mexico City, Austin, Rio de Janeiro, Oslo, Toronto and Belfast and Vancouver. Included are cloaks galore, an Iron Throne you can sit on and an interactive virtual reality experience powered by Oculus Rift. If the exhibition saw numbers anything like those from the Powerhouse's past Harry Potter, Lord of the Rings or Star Wars blockbusters, Google Play and HBO will rub some gleeful paws in the merchandising aftermath. With the amount of gore and boobery in GoT, however, major kiddie target markets are almost totally ruled out. For all the details, check out the exhibition website. Read our interview with Game of Thrones actor Liam Cunningham here.
Why, exactly, do people start sentences with the qualifier, “I’m not racist, but...” only to continue with some kind of preposterous generalisation in which a particular race is linked to a particular trait or behaviour? If you’ve been wondering the same thing and wanting to talk about it, here’s an event for you. Titled I’m Not Racist But..., it’ll be an interactive evening during which four speakers give top-speed ten-minute talks before host Tom Tilley opens up the floor for discussion. The special guests are comedian Ronny Chieng, Australian Human Rights Commissioner Tim Wilson, Co-Chair of the National Congress for Australia’s First Peoples Kirstie Parker and John Safran, who recently published his first book Murder in Mississippi. Presented by the NSW Reconciliation Council in conjunction with Sydney Ideas, the event hopes to inspire open, critical discussion concerning racism in Australia.
Art plus bar. This almost universal gallery opening deal is a pretty tasty mix already. But the MCA adds extras to this time-honoured tradition with its now SMAC-winning series ARTBAR. They’re evenings of strange and interesting things at play among the art, recurring monthly and curated by a rotating cast of local artists.
Go to the movies and feel good doing it. Now in its seventh year, The Human Rights Arts & Film Festival will once again shine a light on contemporary human rights issues through a carefully curated lineup of socially conscious films. Rich Hill takes place in the titular Missouri mining town and follows three young men struggling with poverty, mental illness and the turmoil of adolescence. Praised for its empathetic touch, the film won the Documentary Jury Prize at Sundance earlier this year. Everyday Rebellion has a somewhat broader subject, highlighting nonviolent protests happening all around the world. From Occupy Wall Street to the Iranian democracy movement to topless activists in the Ukraine, it's a truly global story about people united by courage. Another standout, Light Fly, Fly High offers a unique tale of female empowerment. A member of India's 'untouchable' class, Thulasi dreams of becoming of a professional boxer, only to find many of her toughest bouts being fought outside the ring. For the full Human Rights Arts & Films Festival program, visit www.hraff.org.au.
Brisbane's hyped-up and Island-signed foursome The Cairos are about to embark on a national tour that you cannot afford to miss but certainly can afford to attend. Immediately following a national support slot for Sydney big timers The Holidays, the triple j Unearthed-winning newbies to Island Records are taking their celebrated sound across the country with their own headliner tour. The Brissy lads are keeping the motor running off the back of releasing their brand new debut album Dream of Reason. Tracks 'Desire' and 'We All Buy Stars' just scream "hear me live" and if the feedback coming out of their recent Asia tour is anything to go by, this is going to be one of the most justified sub $30 spends this year (now you can't even use budget-related gripes as an excuse to not go). Plus they just got a new keyboard. Now you're really obliged to head along. Make sure to get there early as Chinese psych band Nova Heart kicks things off. Seems Beijing psychedelia proves a perfect support pairing ahead of the Brisbane up-and-comers, so pop in early for a crispy Good God cocktail and a fully-fledged bliss out. https://youtube.com/watch?v=LAsjO3UIUsY
Robert Pattinson is speaking at Vivid Ideas. This is not a joke. Although not known predominantly for his intellectual achievements, Pattinson is part of the all-round clever Australian project The Rover. Playing in competition at the Sydney Film Festival, it is the latest film from Animal Kingdom director David Michod and takes place in a dystopian near-future where the world's downtrodden flock to Australia's new gold rush. Stars Pattinson and Guy Pearce, together with Michod and producer Liz Watts, will speak about the film at Sydney Town Hall. It'll be worth tolerating the Twihards to hear this tale. Inside the Rover is one of our picks of the top ten events at Vivid Ideas. Check out the other nine.
Two things that nearly all humans like are clothes and getting really awesome ones at heavily reduced prices. If you're someone who likes both these things, then you've probably already heard about the Big Fashion Sale, which is your best chance to get amazingly fantastic threads from some of Australia's top cult designers at prices you'd be hard-pressed to find on eBay. Now in its fourth year, the sale has amassed the most designers in its short history and will be packing them all into the Fashion Institute at 17 Arthur Street, Surry Hills. These designers include Karla Spetic, Rittenhouse, Emma Mulholland, Benah, Hayley Elsaesser, Roopa Pemmaraju, Man the Label, Bec & Bridge and Elke Kramer. But be warned — insane prices do not peaceful environments make. This sartorial wonderland is probably going to be one that's crazier than Zara circa May 2011, so arrive prepared to fight for your right to own beautiful things. Opening hours are: Wednesday 4 June - VIP Night (Invite Only) Thursday 5 June - 8am – 7pm Friday 6 June - 8am – 6pm Saturday 7 June - 10am – 6pm Sunday 8 June - 10am – 3pm
In celebration of the Aboriginal and Torres Strait Islander culture held on the traditional lands of the Gadigal people in Sydney, Koori Radio 93.7FM presents the annual Yabun Festival. The largest one-day celebration of its kind, the festival seeks to showcase some of the best Indigenous music, speakers and creative talent in the country. Get cultured in traditional dance as performers kick up the dust; wander the market stalls of Corroboree Ground; or be enlightened by some of Australia's leading artists, authors and thinkers at the SpeakOut Tent.
Reach the top of one of Australia's most iconic structures and then celebrate with a song. For the second year in a row as part of Sydney's Chinese New Year's celebrations, BridgeClimb Sydney are offering Karaoke packages at the summit of the Sydney Harbour Bridge. The Karaoke Climb will run throughout the first three weeks of February, with climbs departing at 9.30am, 3pm and 7.30pm each day. Once you've reached the top of the bridge, you'll be given a selection of Chinese and K-Pop songs to choose from, for you and your friends to belt out at the top of your lungs. Your performance will be captured on an eight second video – although whether you want to share it will probably depend on your singing ability. Now before you go out and book yourself a spot, you should know that these climbs are being run exclusively in Mandarin. Still, we're hoping they offer an English option down the line, if only because we've got about fifty different song ideas. Starting with this one. https://www.youtube.com/watch?v=OjGoJFgI71I If you're not much of a singer, Bridge Climb will be offering a number of other themed experiences this year, including climbs for Mardi Gras and Vivid Sydney. You can even get married up there, although how you're expected to keep your hair straight we just don't know. For more information about the Karaoke Climb, go here.
When writer Herman Melville (Ben Whishaw) knocks on the door of retired sailor Thomas Nickerson (Brendan Gleeson), he's chasing a white whale. The year is 1850, and the author is writing a novel that he'd like to base on his own time at sea as well as another true tale. When Nickerson eventually agrees to share the story of the ship he worked on three decades earlier, he's fleeing the same beast. The Essex, a Nantucket whaler, had dallied with the giant sea creature — and Nickerson had refused to talk about it since. So starts In the Heart of the Sea, Ron Howard's account of the real-life events that inspired Moby-Dick. Based on the non-fiction book that gives the film its name, the movie both searches for and tries to escape the monstrous animal in its midst. In the narrative, it tells of men charging forward and then retreating — though as anyone familiar with Melville's epic would be aware, the whale isn't the only thing they're seeking or running from. In the feature's approach, it rises and falls in its energy and bobs and sways in its style, ensuring that the to-ing and fro-ing of story comes through in the mood and visuals. The Essex had set off in 1819 to gather barrels of oil, with melted-down whale blubber the preferred source at the time. Two men led the crew: the untested Captain George Pollard (Benjamin Walker), who received his position due to his family name, and first officer Owen Chase (Chris Hemsworth), who boasted plenty of experience but lacked a wealthy pedigree. Their clashes rocked the boat figuratively and literally, leaving the likes of young Nickerson (Tom Holland) and second mate Matthew Joy (Cillian Murphy) caught in the middle. Keen to complete the job and get away from each other as soon as possible, Pollard and Chase ventured 10,000 leagues along the equator to find a pod of sperm whales, ignoring warnings about an unfriendly mammal that had terrorised other vessels. While In the Heart of the Sea is framed as a showdown between Pollard and Chase, their combined foe becomes that cinema cliché — the third character in their battle. Thankfully, Howard and screenwriter Charles Leavitt (Seventh Son) know that less is more, teasing the impact of the animal more than they show it. Though the film doesn't miss a chance to flaunt its use of 3D or the aesthetic jerkiness that stems from its watery setting, this isn't a creature feature. Instead, it’s seafaring fare that's littered with more than a few arresting moments, while remaining more concerned with the trouble the whale both causes and amplifies than it does with the whale itself. With Hemsworth playing up the drama that results, it makes for a brooding clash of egos and a blustering tale of humanity versus nature. His accent may waver, but he's a solid lead, even if he's often shouting, scowling and staring out to sea. With Gleeson, he's also an anchoring presence in a film that swims between a drunken retelling, unleashing the chaos and the fury of the ocean; and showing the kind of drifting seen in other recent seafaring films like Unbroken, All is Lost and Life of Pi. A rough but most rousing journey.
If you've ever dreamt of a Sydney made of chocolate, you're in some serious luck. Founded by Sydney pastry chef and scientist Tahra Camidge, Sydney Chocolate is a new local company making chocolate bars out of Sydney suburbs — and they're pretty spot on. Seeking to accurately reflect the personality and distinct crisscross of patterns that make up Sydney's varied suburbs, Camidge's flavours are guaranteed to make you smirk. Bondi Beach? Milk chocolate, salted caramel and organic quinoa ('Don't in-salt the hipsters'). Vaucluse? Golden lumps of crunchy honeycomb smothered in couverture with a dash of sea salt ('Are you a gold digger?'). Marrickville? Milk couverture filled with dark ganache made from microbrewed ale, sprinkled with black sesame nougatine ('Are you a gin mill cowboy?'). Sydney Chocolate know their product is quite the perfect Christmas present, so they're doing a pop-up at Bondi Junction Westfield for the silly season. They'll be giving away samples and setting up Christmas gift packs, and they'll be there seven days a week until December 20. Check out our feature interview with Sydney Chocolate over here. Each bar will only set you back $10.90, available here.
This Australia Day, meet Australian cinema's new heroine. Myrtle 'Tilly' Dunnage (Kate Winslet) wouldn't consider herself a star at anything other than making stunning dresses, nor does she try to conquer anything but her own doubts and cruel small-town gossip. However, she's the guiding force in a film that warmly embraces local flavour, deftly navigates everything from drama to mystery to comedy, and serves up an offbeat, engaging time at the movies. Tilly is the titular figure in writer/director Jocelyn Moorhouse's The Dressmaker, which charts Tilly's homecoming to outback Australia after being driven away as a child. And specially for Australia Day, two openair cinemas are showing it in Sydney — St George Openair Cinema and Moonlight Cinema. Read our review — we bloody loved it.
Dreams have an intangible, bewildering magic that's nearly impossible to put into words. In their latest production, Perth theatre company The Last Great Hunt attempt to do just that. Falling Through Clouds, running across three nights in this year's Sydney Festival, sees the weird and wacky world of our unconscious come to life in this ambitious on-stage production. Drawing on the talents of performers Adriane Daff, Chris Isaacs and Tim Watts — the folks behind previous festival hits The Adventures of Alvin Sputnik: Deep Sea Explorer and It’s Dark Outside — Falling Through Clouds follows the story of Mary, a bird-loving dreamer with an overactive imagination. The action seamlessly unfolds through a mixture of puppetry, animation, music and live video. Featuring everything from huge paper puppets to spectacular archival footage sequences, the performance engages audiences and challenges viewers to ponder the possibilities of the uninhibited mind. A dark cautionary tale, this piece of Australian theatre pushes the boundaries of what we believe can be possible, both on and off stage.
Guys, it's okay. The fruitless days of trying to teach yourself all the moves to 'Single Ladies' in your bathroom mirror are over. Goodgod have announced not one but two follow-ups to their unbelievably sold out, first ever beginners' dance class, dedicated to angel-among-mortals and Queen of the World Beyonce. Get ready for some serious hair flicks and endorphin-release over one of two hour-long Queen Bey-inspired classes lead by instructor extraordinaire Amrita Tennant (maybe take both if you're a true Survivor). Personally, I'm tempted break out my gold power suit and top hat in the hope that this routine will make the cut. (I just hope they have a wind machine this time.) If the promise of learning to dance like an actual queen isn't enough, there'll be drinks, projections (hopefully of Beyonce's face/body/general aura) and cocktail jugs to win. Invite your friends, or don't, and prepare yourself for the colossal levels of jealousy and respect from them next time you're out and bust out these bootylicious moves. Take your pick of the post-work 6:30pm session or the partystarting 8:30pm session, just put a ring on one of them. These spots are going to sell out fast.
This multisensory spectacle by Indian director Roysten Abel are sure to impress any seen-it-all arts-goer. Twelve drummers on copper mizhavu drums provide the background soundtrack to a wordless performance that brings new meaning to the ritual of cooking. Visual effects, smells and sounds come together as a man and woman make payasam, a traditional Indian dessert, in this unique show that fuses folk traditions and dramatic performance theatre. And yes, you do get to eat the fruits of their labour at the end.
Hot on the heels of last year’s Emerald City from Griffin, the Sydney Theatre Company have exhumed another child of the '80s with a production of Andrew Bovell’s awkward comedy After Dinner, directed by Imara Savage. The setting is a dreary pub bistro (is there any other kind?) in which a lacklustre mural of ferns and a trough of dishevelled foliage compete to look the least like living objects. At two separate tables, the patrons — Gordon (Glenn Hazeldine), a bespectacled, timid-looking fellow on his own, and a waspish woman, Dympie (Rebecca Massey), and her fidgeting, energetic companion, Paula (Anita Hegh) — complete the ghastly aesthetic of pink tablecloth, fake flowers and leather-bound menus in their own ways; the former folds a small flock of paper cranes from the napkin supply, and the latter contemptuously pitches the plastic flora in with the flagging plants behind them. But it is only when the girls are joined by Monica (Helen Thomson), and Gordon by Stephen (Josh McConville), that the play truly gets under way. It is revealed that this is Monica’s first night out since the death of her husband and that Gordon has been coaxed into the open with promises of deep discussion about his recent divorce. Neither are in for much sympathy; it’s difficult to tell whether Dympie is ordering dinner or trying to run a small dictatorship, and the only talking Brendan wants to do is with someone he can have sex with anywhere between shortly and immediately afterwards. But as friends trade ugly truths and despair sets in, the two groups find themselves drawn together by more than terse pleasantries and the odd, disastrous pick-up line. It never really seems like love is on the table, but comfort, whether physical or emotional, is definitely up for grabs. After Dinner has aged pretty well. With its soundtrack of '80s hits and deafening costumes, there is a strong sense that the nostalgia card is being played to its full value, but Bovell’s text is still a wonderful farce and is faithfully (read: uproariously) portrayed by a cast of great comic actors. There’s a bit of a sag in the middle and some of its bawdiness wears pretty thin, but the night I saw it, the audience laughed right through to an ending which set them cheering. There’s comedic embellishment aplenty here, but there is also an inelegant honesty to the characters which keeps the play grounded. Don’t get me wrong, pineapple fritters are still the bomb. But After Dinner is the best thing I’ve found at a pub bistro in years.
For the uninitiated, Nas’s debut album Illmatic is widely regarded as his magnum opus, if not one of the best rap albums ever created. Songs like ‘Halftime’, ‘It Ain’t Hard To Tell’, and ‘New York State Of Mind’ are both ageless and highly representative of their time. In other words: it’s gold. To celebrate the record’s 20th anniversary, Nas has been touring Illmatic, playing it start to finish, all over the world. Now, it’s Australia’s turn. Nas will be headlining Sugar Mountain Festival in Melbourne, but also playing solo shows in Brisbane, Sydney and Perth. As well as tearing through Illmatic, he'll be performing a few other hits from the records that followed. While Illimatic may have been groundbreaking, the albums after that certainly weren’t shabby either, and this is a rare chance to relive something truly great in hip-hop history.
Dig out the Thai fisherman pants from the back of your closet, Woodford Folk Festival is back for another year. If you've never been, Woodford is the perfect place to disconnect from the daily grind, become one with nature (read: mud) and check out some of Australians best musicians with a chilled and festive vibe. This year's offering is no exception; the lineup has 'best summer ever' written all over it. Festival mainstays like The Cat Empire and Lior will be back once again. They will also be joined by an A-list crowd of Australian ladies like Kate Miller-Heidke, Bertie Blackman, and Mia Dyson. But the real crowdpleaser will come from The Violent Femmes. Who wouldn't want to listen to 'Blister in the Sun' while dancing in the wilderness in the height of summer? Bliss. Though The Violent Femmes may be a little past their prime, there will also be a bunch of up and coming musicians on stage. Husky and Hiatus Kaiyote will be representing Melbourne talent and The Cairos will be playing to what's basically a home crowd. With over 400 acts jammed into the full program, Woodford is all about discovering new sounds. As well as music, the festival covers visual arts, circus, comedy, vaudeville and dance. Set up camp, let your hair get knotty, and roam the makeshift tarpaulin towns of this super chilled festival. It's time to channel your inner hippy. WOODFORD FOLK FESTIVAL 2014 LINEUP: Archie Roach Bertie Blackman The Cairos The Cat Empire Christine Anu Darren Middleton (ex-Powderfinger) Del Barber The East Pointers Hiatus Kiayote Husky Jeff Lang Jenn Grant John Smith Kate Miller-Heidke Lau Led Kaapana Lior Matt Anderson Mia Dyson Nahko and Medicine for the People Shooglenifty Sticky Fingers Tiny Ruins The Topp Twins Violent Femmes We Two Thieves Woodford Folk Festival is on from December 27 - January 1. Tickets are on sale now.
At this time of year, its all too easy to get caught up in our own Christmas wish lists, hoping Santa has delivered on our latest must-haves. Sometimes we forget that at Christmas, it’s generosity and community that matters most – and no party celebrates those values better than The Wayside Chapel's Christmas Day Street Party. For over 40 years, the iconic Sydney charity has provided crucial support for the homeless and disadvantaged, with its Christmas party an annual highlight since its humble beginnings as a back-lane BBQ in the 1960s. Today, Hughes Street in Kings Cross is transformed each year, with a morning streetside service, followed by dancing, carols and a sit-down lunch for 800. Managed entirely by local volunteers, the party serves up no less than 50 hams, 40 turkeys and 500 plum puddings for the homeless or lonely souls of our city. Entertainment includes a jumping castle, fake tattoo parlour, Christmas Choir and plenty of quality time with Santa. This year, all Sydneysiders are encouraged to join in the day's festivities. You can also contribute to the feast by donating a plate – a $25 donation provides one guest with an entree, while $50 will provide another with 'The Works'. To donate, go to www.thewaysidechapel.com/donateaplate
This Christmas, Goodgod intends to remind you of that time you wore your Ren & Stimpy t-shirt while you unwrapped a Tamagotchi under a tree decorated in misshapen, handprint-shaped reindeers you made yourself. They're regressing you back to a '90s Christmas through the blessed art form of '90s dance and R&B. Having packed out the Danceteria with the '90s dance-fuelled 'Rhythm of the Night' party all year, Goodgod are putting on a special Christmas edition of their most denim-on-denim inducing event on the GG calendar. This is going to be the last event at Goodgod before they close down for Chrissie holidays and the team plan to fill out the whole venue for the year's last dance-splosion. There's going to be '90s R&B out the front and '90s dance hits out back in the Danceteria, prizes for best dressed and a DJ lineup featuring Levins, Ariane, Captain Franco and a whole heap more. Time to dust off your old copy of Hanson's Snowed In and prepare to throw shapes to Mariah Carey, Wham and every '90s Christmas special you thought you'd buried deep.
In an Australian exclusive, Paris's famed Theatre des Bouffes du Nord will come to Sydney Festival to stage a rarely seen one-act play by Chekhov. On the Harmful Effects of Tobacco, one of the earliest plays by the Russian great, will be brought to life with exquisite 19th-century-style costumes by Christian Lacroix and the lauded French comic Michel Robin in the lead role. Performed in French with English surtitles, the play follows the monologue of an old man who begins by lecturing on the effects of smoking but quickly turns to railing against his domineering wife and wasted dreams instead. Robin's sense of comic timing is as sharp as ever and his hilarious performance will be staged with lively musical interludes of Bach, Tchaikovsky and Berio. Home to legendary artistic director Peter Brook for decades, the Theatre des Bouffes du Nord is known worldwide for its engaging and dynamic performances. On the Harmful Effects of Tobacco promises nothing less.
Following on from a killer season at Sydney Festival 2014, LIMBO will return to the Festival Village in 2015, taking up residence in the new Spiegeltent, the Aurora. With awe-inducing acrobatics, breathtakingly brilliant manoeuvres and a serve of cheeky cabaret, LIMBO is circus like you’ve never seen before. Presented by Strut & Fret (producers of Cantina), Underbelly Productions and Southbank Centre, LIMBO has all of the danger — but much more sexiness — of your regular night at Cirque du Soleil. This is circus with grit, set against the funked-up, old-time jazz, oompah, rap and bossa nova of Sxip Shirey's electric live score.
Artbank understand us so well that they've packaged up their latest exhibition in one thing always guaranteed to turn our heads: sex. Conjuring up the perforated pages of a naughty mag, this bastion of Australian contemporary art is giving us the Sealed Section exhibition — a chance to ogle at the juiciest bits of our recent art history as it has wrestled with those most indecent of subjects: sex, politics and religion. Included are works by ?Brook Andrew, Penny Byrne, ?Abdul Abdullah, ?Sarah Contos and ?Richard Larter. Established by the Fraser Government, Artbank is government-funded and dedicated to keeping Australian contemporary art thriving. Collecting and curating more than 10,000 works of Indigenous and non-Indigenous works over the years, it sustains itself by leasing out these works to government and corporate institutions or even members of the public to hang in their homes (should that kind of thing be in your budget).
Pulling together a dazzling glimpse of more than a century of historic photos, the CLICK! exhibition at Badger & Fox Gallery has many a story to tell. The exhibition features original vintage prints (some signed) from as far back as 1853 and features renowned Australian photographers Bill Henson and Narelle Autio, as well as international photographers from Germany to Japan. There is a story behind each of these photos, be it the mystery behind the stunning Japanese Sitting Nude, taken sometime in the 1880s by an unknown photographer, or the pinholes left in Max Dupain's Your Girl Is Cheating, an early piece by the Australian photographer — famous for his iconic shots of Bondi beachgoers — left marked from being hung at a 1960s Royal Easter Show. The Badger & Gallery, usually open by appointment only, will share the CLICK! exhibit with us Wednesday-Friday 6pm-9pm, Saturday 11am-6pm and Sunday 11am-5pm until December 21. Image credit: Women Are More Beautiful than Men by Gary Winogrand.
Dig out your high-tops, pick out your baggiest T and start rehearsing your Funky Charleston: DJ Jazzy Jeff is coming to town. Summer is finally, officially, upon us, and The Soda Factory crew is so happy about it that they’re throwing you a free (FREE!) party, hosted by the creator of ‘90s hit ‘Summertime’ himself. After booking Jazzy for a December 6 boat party and selling it out in record time, the Soda team decided that they’d do the generous thing and invite him to play an extra, one-off, midweek date, on Thursday, December 4. Doors open at 5pm. The ‘Welcome to Summertime’ party is one date in Jazzy’s Australian tour, which also takes him to Melbourne and Perth. It’s also the first in a series of hot weather-inspired events to be held at the Soda Factory, all driven by some serious international talent. You’ll be able to catch Ladyhawke and New York founding father of hip hop Grandmaster Flash later in the month.
Massive, philanthropic art foundations had always seemed to belong to faraway cities, like New York or Madrid. Then they started popping up over here as well. A four-storey converted knitting-factory wedged at the edge of the Carlton Brewery site and the Mortuary Station, the White Rabbit Gallery showcases a massive private collection of modern Chinese art. Finding it can be a challenge, but the exhibitions are free and the quality is staggering. It's a busy place, hosting monthly talks and a book club on Chinese themes. First Sunday of the month, they run a Film Club featuring Chinese movies. Previous screenings have included Eat, Drink, Man, Woman and Hero. This month's film — Still Life — exists in the shadow of the unfathomable Three Gorges Dam. A decades-long hydro-electric project that flooded villages and cities, relocating over a million people. Directed by Jia Zhang-Ke, part of China's "sixth generation" of realist film-makers, the film follows two love-stories through the surreal changes brought about by the dam's construction. Environment, internal migration, government bureaucracy — the big themes in modern China are all there, waiting. So hop up to the second floor, and get a closer look.
Some 33 years after his death, Charlie Chaplin is breathing new life into an Indian community. This incongruous tale is presented in the Kathryn Millard's charming documentary, which follows a pilgrimage of sorts, from Australia to The Charlie Chaplin Circle in western Gujarat town of Adipur. They're gearing up to celebrate his 116th birthday, and Millard has said she'll bring the cake. If Gujarat rings a bell, it's because the region made headlines back in 2001, when a devastating earthquake claimed the lives of over 20,000 people, and injured over 160,000 more. The haunting effects of this calamity form the poignant foundation of this documentary, where Chaplin's infamous shoe eating scene from The Gold Rush takes on an affecting contemporary resonance. The Charlie Circle is lead by an Ayurvedic doctor and die hard Chaplin fan, Dr. Aswani. Here is a man who literally prescribes Chaplin movies to his patients, easing their suffering with some silent cinema. He and aspiring actor Prevan Mumbai are also joyful impersonators, and Millard intersperses these shuffling antics with moving accounts of how Chaplin has shaped their lives. Of course there's the eponymous cake to consider as well, and Millard brings some self-deprecation to her hunt for the correct method for crafting a boot cake that will survive in Adipur's steamy conditions. In fact this quest becomes a little confused at times, for Millard stays resolutely behind the camera, yet intones an increasingly personal narration of what this 'pilgrimage' has meant to her. Had she stepped in front of the camera, and given the audience more context to her fascination with Chaplin, such revelations might have fallen on more inquiring ears. Like the boot cake itself, a slightly odd jumble of ingredients has gone into shaping this documentary. But it is, if you'll pardon the pun, a unique slice of life that will leave you smiling, and hunting around for your Chaplin DVDs. https://youtube.com/watch?v=BxaZxKsGlOw
What was the last Japanese film you saw? Perhaps the Oscar nominated Departures? Maybe some old school Ozu? Precious few Japanese films actually make it to Australian cinemas, which is why the Japanese Film Festival is such an important addition to any cinephile's schedule. Selling out screenings around the country, the festival looks set to do the same in Sydney. Tickets to the box office hit Hanamizuki (Flowering Dogwood) are almost gone, and no doubt the opening and closing night fare About Her Brother and A Lone Scalpel can't be far behind. Tetsuya Nakashima's (Kamikaze Girls, Memories of Matsuko) disquieting revenge tale Confessions was Japan's entry in this year's Academy Awards, while Dear Doctor has taken out a host of national film awards. Iron Chef fans may want to check out Flavor of Happiness; definitely not a film to watch with an empty stomach! November 27th is the day for anime fans to flock to the festival, with a two-part line up including: Time of Eve, animated music video Precious, Tokyo Marble Chocolate and Oblivion Island: Haruka and the Magic Mirror, including a Q&A discussion with animator Naoyoshi Shiotani. Another exciting panel discussion will take place on November 23rd, after the double bill of Kyoto Story and short Wish You Were Here. Running with the topic "Fostering new filmmakers in Japan", Kyoto Story co-director Tsutomu Abe will be joined by film critic Tadao Sato and industry pioneer Shigeki Chiba. Here's hoping Australian cinemagoers do their bit to foster Japanese filmmakers as well. https://youtube.com/watch?v=Vnws8ZymxME
I like to think of Metronomy as the nerdiest music imaginable: their songs are pure brilliance. Somewhere between bit music and The Cure, they've managed to discover the musical equivalent of rocket science. Intersecting polyrhythms keep you guessing and dancing furiously at the same time, while melodies rise and recede, each more enticing than the last. The purity of their sound is a dead give away that this band doesn't mess around with lo-fi posing. And on this tour, they'll no doubt be taking this all to the next level as they debut new material for their fans. In short, you should think of Metronomy as Chromeo's cooler cousins. I'd suggest you don a lab coat immediately and head on down to the OAF to dance the night away. https://youtube.com/watch?v=uYB2Mqs24ss
Recently returned from a run at the Edinburgh Fringe, the Seymour Centre's one-woman A Solitary Choice stars Tamara Lee as the sheep-contemplating Ruth. Ruth has a problem. In fact, Ruth has many problems — she has a husband lost in an interminable PhD, she's stuck working in the unsympathetic world of finance and is unexpectedly pregnant. The story of Ruth slowly discovering her child within is run in parallel to the story of her husband Christopher looking for unlikely pleasure in the world of real-estate and also running into his own inner tyke. The set of the play is sparse. A bench, a chair, a table, a newspaper and a small, checked-green suitcase. Lee cuts Ruth and her world cleanly from these spare ingredients, creating places as easily with the set as her voice carves out silhouettes of Ruth's loved-ones. Lee's effervescent face and bell-like song are engaging, and she draws sympathy for Ruth's life and yearnings. But it's not a happy story. For Ruth, the world seems split into people living safe in boxes, and wilder creatures with the ferocity to live a harder life. Her fantasies are bleak dreams of far away places, welling-up into a torrent of words and joie de vivre bursting to escape into her day-to-day life. The twin themes of choice and inevitability dominate Sheila Duncan's play. The author of the epic Sandman once said that the eight-year saga came down to a single decision its protagonist makes late in the piece. A Solitary Choice is also about a choice — ostensibly an abortion — but her decision comes down to something even more significant. Ruth is torn fiercely between her loves and her needs, and at the end of the play it's hard to tell whether she chooses the right things. But the path she takes to get there is persuasive and watching her is no mistake.
The New Pornographers tread a categorical line between rock and roll's grungy distortion and pop pleasure — basically they're contemporary pop musicians in the true form. So if we were to categorise theirs as pop music, let's distinguish it from the fake, plastic kind. With rich harmonies and vocal layers, there's no chance of an auto-tuner being tucked into their luggage, there's no lip-syncing and they're certainly using real instruments — you won't find anything more electrical than a guitar in their set up. After releasing album number five, Together, they're touring Australia and New Zealand; 1) because who wouldn't want to take a holiday while you work and 2) because we love them and can't wait to see them perform their new album live, in the flesh. Sure, you'll tap your foot while listening to them while you work but when you're stretching your lungs to sing along to them in the car, there's no denying how good this pop really is. Seeing them in the flesh will only make you wish they were playing two dates instead of one — make sure you don't miss it. https://youtube.com/watch?v=bxMCaU83QKs
