While it seems like we’re talking about asylum seekers all the time in Australia, we don’t actually get to hear from them directly all that much. For sure, there are organisations like RISE (which both advocates for and is made up of refugees and asylum seekers) and many harrowing media interviews. But there's a life after detention, in which a show like Art is Our Voice is still an unusual thing: bringing together the art of refugees and asylum seekers in Australia in their own artistic words. And coffees. Where Alwy Fadhel went before him, artist Masoud Akhava Ghassabzadeh will be showing off the hidden artistic benefits of instant coffee. Given the material restrictions of a detention centre existence (i.e. no paint) coffee is often a pigment of choice both inside and, later, outside. Alongside Ghassabzadeh's caffeinated pigments, the show will also offer up the output of artists with more traditional media like painting, sculpture or photography. Opening night is May 14 from 6-8.30pm. The exhibition is open 10am-5pm, Monday to Friday. Image: That Old Man by Homa Nozari.
In your early twenties, having packet mie goreng and goon for dinner is kind of cute. You can get away with a more bohemian (see: slapdash) approach to life — unironed shirts, week-old bread and overdue library books — because you're young and free. But once you have a good job, steady income and a nice place to live, there's really no excuse. It's time to pull up your socks — washed with no holes, please — and become a fully fledged adult. To help you move from being a twenty-something slacker to a productive grown-up, we've partnered with Belvoir St Theatre to bring you five ways to be more adult. Belvoir has just launched a brand new way to see more theatre in a very grown-up, yet bank account-friendly way. You can now get a three-show theatre subscription and add more culture to your life, without having to commit a large chunk of change — or worrying about future FOMO and ditching the shows you select (come on guys, committing to three performances is easy, especially those of this calibre). We're here to help you make your debut as a real-life grown-up. But don't worry you won't run up an adult-sized debt in the process; everything on this list is less than $200. You're welcome. [caption id="attachment_649545" align="alignnone" width="1920"] Brett Boardman: Barbara and the Camp Dogs showing in April at Belvoir.[/caption] GET SOME CULTURE AND SUBSCRIBE TO THE THEATRE Theatre is an incredibly powerful art form. Not only does it teach us lessons about life and society, but it also generates public discourse and forces us to self reflect. If that doesn't sound 'adult', we don't know what does. Getting a theatre subscription can seem like something that's out of your adulting league, but Belvoir has made it much more accessible for you in 2019. While you usually need to subscribe to a minimum of five shows, you now have the option to subscribe to a minimum of three — a much cheaper and easier option for those with commitment issues. Along with an overall discount on tickets to the shows, you'll get first dibs on seats and receive exclusive members-only perks likes deals on wine, discounted dinners and cheap tickets for family and friends — make it a group thing and round up the crew for a bit of culture and adulting. The three-play subscription package maxes out at $179.75, and if you're 30 or under, you'll only pay $113.75 — that's less than $38 a ticket. Check out the punchy 2019 program and get ready to expand your very adult mind. BUILD A WINE COLLECTION As we've established, goon bags are not kosher in your new adult life (except for maybe house parties and to make sangria). You need to start drinking the good stuff; not only will your hangovers become less severe, but you'll also appear more grown-up. Don't know where to start? Let us introduce you to loose-ends wine subscription service. For $150 a month, you'll have tasty, bio-dynamic, organic and sustainable natural wines (six bottles of red, white or mixed) delivered straight to your door. And if a monthly delivery is too much of a commitment, you can always opt for a one-off wine pack from DRNKS; they come in different sizes (from two to six bottles, usually), are always changing and always full of excellent natural wines. Once you've started to make a nice little collection for yourself, invest in a second-hand Vintec fridge or stylish wine rack to display your plonk and demonstrate your maturity and restraint. That's right; you didn't drink all six bottles in one weekend — pat yourself on the back. [caption id="attachment_689595" align="alignnone" width="1920"] Sky-Lab, Surry Hills.[/caption] START A HEALTHY HABIT Swap late nights and painful hangovers for energising early mornings and exercise-induced endorphins. There are a ton of refreshing, feel-good workouts to discover around Sydney, and they're nothing like the average treadmill slog. Ditch the weights, forgo the pullup bar and give something completely different a go. Try your hand at Brazillian Jiu-Jitsu in Camperdown, stretch out in midair at aerial yoga in Surry Hills, float like a butterfly and sting like a bee at Boxing Works in Kings Cross, scale the walls at Sydney Indoor Climbing Gym or step it out at Retrosweat in Waterloo. Keen to find some fitness pals along the way? Opt for some group exercise at your local Parkrun, join a basketball team, give into underwater rugby or gather at Coogee for some beach volleyball. Pick an activity, commit, sweat it out each week and, trust us, that glass of natural wine will taste that much better. SHARPEN YOUR CULINARY SKILLS To be a real grown-up, you need to be able to cook a good dinner. Forget about ordering your usual go-to on Uber Eats, and learn to make it yourself. Head to Vive Cooking School in Rosebery to add a few new recipes to your culinary repertoire. Here you can master pad thai, bao buns, tagine, bouillabaisse and even the art of the soufflé. At each class, you'll be guided step by step through the recipes to ensure you come out confident and ready to take on the world one red curry, paella and beef pho at a time. What's more, the classes are BYO so you can grab a top-quality tipple from the Drink Hive next door to enjoy with your creations. Classes are $140 and run for three hours. Check out the full calendar of cooking classes on the website. JOIN A BOOK CLUB Getting together with a bunch of other grown-ups to talk about books certainly sounds like very high-brow adult behaviour — luckily it's also fun and free. The readers' groups, which take place in various public libraries across Sydney, are a great way to share your thoughts and reading experiences with like-minded people in a relaxed atmosphere. And, trust us, book chat is so much more rewarding than chewing the fat about the most recent reality TV drama. If you're an introvert or not a fan of crowds, forgo the 'club' part and spend your time getting through our list of must-read books for 2019. Reach next level adulthood with a subscription to Belvoir, because nothing says sophistication like theatre. Top image: Barbara and the Camp Dogs at Belvoir by Brett Boardman.
An old man, haunted by history, leans forward and whispers almost imperceptibly to a young, wide-eyed boy: "…let me tell you a story". As a narrative device it's far from new, though few films have used it as effectively as 1987's The Princess Bride. For lazy writers it's an easy way of skipping from one big scene to the next without having to weave in difficult or dreary exposition. For clever ones, it's a chance to play with form and occasionally even wink at the audience. In The Lone Ranger, it's just plain unnecessary and entirely unwise, instantly robbing the movie of much of its tension by revealing in the opening scene that at least one of its two protagonists lives to be an old shirtless man. The Lone Ranger reunites actor Johnny Depp with producer Jerry Bruckheimer and director Gore Verbinski, whose last collaboration was the hugely successful Pirates of The Caribbean. Creatively, it seems none of them have quite been able to let go of the past, with The Lone Ranger adopting (to its peril) much of the Pirates franchise's aesthetic and form. Even Depp's character, Tonto, just looks like Jack Sparrow without his hat and for whatever reason, the style doesn't hold water when it's not set on it. The Lone Ranger is, quite simply, an overly long (149 minutes) series of exaggerated action sequences without much of a plot to bind them together. Now you may have noticed that, despite him being both the star and title of the film, this review has so far overlooked the actual Lone Ranger. Why? Because that's exactly what the movie does. From the first teaser it was clear this film was being built around its biggest star, Depp, and not Armie Hammer, who last had to share billing with himself as the Winklevoss twins in The Social Network. Hammer makes a fine Ranger: tall, charming and good looking — he's every bit the polite and polished hero that our mothers loved. But this is the age of the gritty reboot, and pitting a deliberately unarmed lawyer against a villain who literally eats parts of his victims was like slamming two entirely different movies together and hoping nobody would mind. The brutality of the film's opening stages is impressively unsettling and William Fichtner makes a fine bad guy; however, the darkness quickly gives way to quirkiness, robbing the Ranger of any chance to be a proper hero. The Lone Ranger has some great moments, and no matter how incongruous it feels compared to modern soundtracks, the eruption of the iconic William Tell Overture during the film's climax will bring a smile to most faces. But it's just too long, and without any truly defining back story or characteristics, the Ranger will struggle to find an audience calling for this one-off to become a franchise.
When it comes to fashion, staying ahead of the pack can be a mighty tough feat. But if you're keen to kick monochromic minimalism to the curb, while giving a little back to your global community, we've found just the bold West African label to help you do it. YEVU, which means 'foreigner' in the local Ewe language, is a socially responsible clothing line bringing the wild traditional wax prints of Ghana to Aussie shores. Linking local African tailors with style-conscious global customers, founder Anna Robertson is creating serious change for Ghanaian seamstresses living on the poverty line. You can read more about the company's social impact here. After launching its sell-out debut range in October 2013, the company has gone from strength to strength, hosting pop-ups around the country, selling out eye-catching pieces and garnering a cult following along the way. Now, YEVU returns to Sydney, hosting a ten-day pop-up filled with its new summer range, limited-edition prints, archival pieces and samples — just in time to stock up for summer. From December 6–16, the store will also be filled with plenty of foliage, thanks to Leaf Supply — and, yes, every plant on display in the store will be available to buy. So both you and your house can acquire some fancy new accessories. The YEVU Pop-Up is open from 10am–7pm, Monday–Saturday and 11am–5pm, Sunday.
Don’t know if it’s meant to be, but his stage name is pretty apropros. Pitchfork points out that it’s partly because Alex Zhang Hungtai spent the majority of his life feeling “unmoored and adrift”, but also his music is like all the other sun-soaked beach-inspired music acts that have been cropping up as of late had a delinquent distant relative who was a bit moodier and sometimes even a little menacing. Hungtai’s music looks beyond the psychedelic ’60s and back to 1950s rock ‘n’ roll, before cranking up the distortion so it comes out sounding even older again. On top of this add his grungy falsetto vocals and you have something that should come across as dated, but “timeless” is probably a better word. On his debut album Badlands the tracks bounce jerkily between poppy and powerful, sometimes even sad, but the one thing they all have in common is that they don’t sound like anyone else’s songs. Though the ideal listening situation would involve a rumbling ute, a dusty road and complete isolation, these songs are also quite good when you’re indoors and around other humans. Get to FBi Social on February 11th for proof.
After more than two weeks without any new COVID-19 cases, and the final active case now recovered, Prime Minister Jacinda Ardern has announced that New Zealand will transition to the lowest possible alert level from midnight Monday, 8 June. All current rules and social distancing restrictions will essentially be lifted. The move means that gatherings of any size are allowed to take place, restaurants and bars can operate as usual without seating limitations, and large public spaces including retail outlets and cinemas won't be required to count heads. Alert Level 1 also sees everyone being able to return without restriction to work, school, sports and domestic travel. Stringent border controls remain for those entering New Zealand, including health screening and testing for all arrivals, and mandatory 14-day managed quarantine or isolation. Which, sadly for Australians, means the trans-Tasman travel isn't quite on the cards — yet. First floated back in back in late-April, the 'travel bubble' was flagged as a potential in step three of Australia's COVID-recovery road map, which could come into place as early as July. Last week, though, when asked about opening NZ to Australian tourists, Ardern said told 7 News reporters: "We're on a great track. Australia is still dealing with cases, so just a little bit more progress is required...It's fair to say we are all eager, but we're eager to do it safely." Australia currently has 455 active cases out of a total 7260. While travel to NZ may still be off the cards for now, the Australian Health Protection Principal Committee — which advises the government on decisions during health emergencies, such as pandemics — is meeting today to discuss "stage three and beyond" of the road map, so it's possible we could find out about other eased restrictions relatively soon. For more information about the status of COVID-19 in Australia, head to the Australian Government Department of Health's website.
When The Fast and the Furious took Point Break's premise and swapped surfing for street racing, it seemed like one of those easy Hollywood knockoffs that would speed into cinemas and then race right out of viewers' memories. Eighteen years, seven sequels, plenty of Coronas and a whole lot of talk about family later, we all now know that wasn't the case. It's the high-octane franchise that just keeps tearing up tyres and tearing across silver screen, and it has yet another new addition. The first Fast and Furious spinoff, Hobbs & Shaw reunites two of the series' newer players: Dwayne Johnson's Luke Hobbs, the government agent who has been a F&F staple since 2011's Fast Five, and Jason Statham's Deckard Shaw, the villain from Furious 7 who starts buddying around the gang in 2017's The Fate of the Furious. Directed by John Wick and Atomic Blonde's David Leitch, it's basically an excuse to put the two action heroes in the same movie again, watch as they bicker and banter like a muscular odd couple, and throw in the usual world-saving, car-racing antics. It also sounds like box office catnip. Because two of today's biggest stars isn't enough for this initial foray outside of the main F&F stable, Hobbs & Shaw also features Idris Elba as the flick's villain — plus Helen Mirren reprising her role as Shaw's mother, and The Crown's Vanessa Kirby joining the fold as his sister. Johnson reportedly wanted Hobbs to have some family, too; however bringing Aquaman's Jason Momoa on board didn't work out due to scheduling conflicts. Fans of Vin Diesel and the original gang, don't worry. Ninth and tenth F&F films are due in 2020 and 2021 respectively, so Dominic Toretto and company will be back to live their lives a quarter mile at a time once more. Also on the agenda is a female-focused spinoff focused on the ladies of the franchise, because this series remains furious about stretching out its run for as long as possible. Watch the trailer for Hobbs & Shaw below: https://www.youtube.com/watch?v=5Lxu75r3-kI Hobbs & Shaw opens in Australian cinemas on August 1.
It’s interesting what happens when you throw a whole bunch of disconnected ideas into a skip and see what comes out. Let’s say you had an idea for a story about an isolated girl learning to connect with a family she’s never met before. Or you have an idea about what it’s like for a group of kids to survive in the country when nuclear war hits the capital. Or you have a forbidden love idea about cousins falling for one another. Or you want to write about a sullen teen with psychic abilities. Rather than writing four different books, why not just put them all in the same book and hope for the best? On the outside, How I Live Now looks like a mess. Part Tomorrow When the War Began, part The Shining, part 28 Days Later, it’s a hodgepodge of concepts that don't completely gel. So it’s weird that the film is actually quite good. Part of the reason it works is that it’s compellingly all over the shop. You genuinely don’t know where it’s going to go next, and that sort of haphazardness keeps your attention. Even when some of the storylines — hell, most of the storylines — remain unsatisfactorily unresolved, it still makes for a tale that’s far more than the sum of its parts. It’s directed by Kevin Macdonald, best known for 2007’s The Last King of Scotland, and he establishes an unsettling and powerful mood throughout. Saoirse Ronan (The Lovely Bones, Hanna, The Host) is good as ever, creating a thoroughly unsympathetic moody teen and then making us sympathise with her. Young actors Tom Holland, George MacKay and Danny McEvoy acquit themselves very well, especially the exceedingly young Harley Bird (known to a very specific portion of the world as the BAFTA award-winning voice of Peppa Pig), who has to play an enormous range of emotions in increasingly difficult circumstances. The consequences of war — the violence, the sex, what happens when the rule of law collapses — are presented in an extraordinarily unvarnished manner. It’s almost difficult to believe this is based on a Young Adult book; it’s so intense at times that, were the protagonists all adults, this would surely be considered unsuitable for anyone under the age of 18. But make your characters teens, and it’s suddenly relatable. That’s the theory, at least. In practice, audiences will likely be divided. It will be an unsatisfying experience for those who require an explanation for some of the more outlandish setups this film gives us, but for others, the story’s uniqueness will overcome these issues. Its untainted look at the realities of war, and the suspense this creates, will make this a firm and enduring favourite.
For around 100,000 people annually, Sydney’s Tropfest is a chance to enjoy a day of live music, cold drinks, good company, and some of the best short films made that year. For a slightly smaller number it’s also a chance to delve beneath the immediate surface of filmmaking. Tropfest's Roughcut program is probably the festival's main draw for filmmakers and other cinephiles and will return in 2013 to pick apart the idea of collaboration as the key to creativity. Each session will focus on a different aspect of the filmmaking process, with speakers ranging from high-profile Australian actors to Natasha Pincus, aka the brain behind the world-dominating video for Gotye's ‘Somebody I Used to Know'. This year organisers have managed to pull together a lineup with more famous names than the Ocean's trilogy. Tackling the subject of taking Australian productions overseas will be writer/director Michael Petroni (Narnia) and producer Jamie Hilton (The Waiting City, Sleeping Beauty), while writer Erica Harrison and animator/director Simon Rippingale will discuss how they collaborated on crowd-funded animation A Cautionary Tail. Helming the requisite social media section will be Thomas Mai and Hattie Archibald of FanDependent, exploring how new media can help finance, market, and distribute film content. Cutting Edge will delve into post-production, and Aussie export Sam Worthington will rekindle his long-standing relationship with the festival (he took out Tropfest's Best Actor award in 2001 before going on to score the leading role in Avatar) by returning as a speaker. Tropfest Roughcut will be held in Monkey Baa Theatre Company at Darling Quarter on Saturday 16 February. A limited number of tickets are on sale via Monkey Baa's website.
The time has come again to celebrate the world’s largest LGBTQI celebration, the 37th Sydney Gay and Lesbian Mardi Gras Parade. The march up Oxford and Flinders Streets in Darlinghurst commemorates the 1978 demonstration of a few hundred people standing up against discrimination and has become a celebration that draws tens of thousands onto the street. Get up to Oxford Street early on in the afternoon to take in the visual extravaganza of costumes, floats and fabulous fun.
Drum roll please: Groovin the Moo is here, and 2014 looks like a real crowd-pleaser. The big guns on the lineup this year include a few topnotch international acts, like electronica king Robert Delong (USA) and Dizzee Rascal (UK), as well as some of our well beloved locals like Karnivool, Illy and Architecture in Helsinki. The Naked and Famous (who we'll probably end up claiming as Australian soon) are making their way across the ditch, too. A fair slab of the artists announced have really proved their worth lately, taking out a number of spots in triple j's Hottest 100 of last year, including the winner of the coveted number one spot, Vance Joy. Rounding out the first announcement are Action Bronson, Andy Bull, Cults, Disclosure, Holy Fuck, The Jezabels, The Jungle Giants, Kingswood, The Kite String Tangle, Loon Lake, Parkway Drive, Peking Duck, The Presets, Thundamentals, Violent Soho, Wave Racer and What So Not. Groovin the Moo will hit Maitland Showground on Saturday April 26. This year marks the move towards something new as well, with the very first Groovin the Moo art exhibition. It's running in conjunction with the Maitland Regional Art Gallery, making a space for images, graphics, objects and a mishmash of multimedia from the Groovin the Moo archives to show off the colourful history of the festival itself. It runs from March 7 to May 25, and entry is free. Over the last couple of years we've seen huge changes on the Australian music festival scene, losing some stalwarts and seeing some youngsters really come to fruition. Since its inception, Groovin the Moo has been one of those festivals that really looks like sticking around, bringing the best in Australian and international talent to the country, to the people who can't get to shows in the big smoke. Tickets are now sold out for Maitland and there's more information available at the Groovin the Moo website. https://youtube.com/watch?v=uJ_1HMAGb4k
It has been 28 years since the first Jewish film festival reached Australian screens, and the annual cinema showcase is still going strong. If a movie hails from Israel or explores Jewish culture, it's likely to end up in the Jewish International Film Festival's program — including opening night's Yiddish-language drama Menashe, Orthodox community-set screwball romantic comedy The Wedding Plan, the intimate exploration of grief and connection (and baked goods) that is The Cakemaker, and the Kevin Spacey and Nicholas Hoult-starring JD Salinger biopic Rebel in the Rye, which closes out the fest. They're just some of this year's JIFF's highlights, and there's more where they came from. In fact, the complete 2017 lineup boasts 65 films from 26 countries, including features and documentaries from Israel, Australia, Argentina, Denmark, France, Germany, the Netherlands, Poland, Spain, the UK and the USA. If you're a fan of Jewish-themed cinema, prepare to settle in for the long haul when JIFF does the rounds from October. Sydneysiders can get their fix at Event Cinemas Bondi Junction from October 26 to November 22, and at the Hayden Orpheum from November 11 to 22 as well.
Sopheap Pich is an artist who's had it particularly rough. Born in Cambodia in 1971, Pich and his family fled the genocidal Khmer Rouge in 1979. The group made their way by foot to a refugee camp on the Thai border before resettling in the US. He began pre-medical studies but dropped out to attend art school where he attained his BFA and MFA. In 2002, the artist moved back to Cambodia and began working with local materials, primarily bamboo and rattan (a slender, wood-like plant). As a child, Pich had spent a great deal of time making toys and hunting devices by hand. He explains, 'when I first started using rattan to make sculptures, I was reminded of the adventures I had as a kid. I try to approach my new works with the same curiosity and openness to possibility. Aside from their useful qualities, bamboo and rattan are also very satisfying to work by hand and the simple techniques I employ allow for complex shapes and thoughts to come through'. Pich's works are staggeringly eloquent with a marvellous sense of lightness and are steeped in references to Cambodia's cultural and political history. They range in scale, but the centrepiece of the exhibition, a woven statue of Buddha, is about three times the size of a person. The walls of SCAF have been painted a rich, dark maroon. The colour envelops as you move around the space and the lighting has created fabulous shadows that appear against the walls. The shadows themselves feel like an integral part of the works. Pich is perhaps Cambodia’s most internationally regarded artist. He received a solo show at the Metropolitan Museum of Contemporary Art earlier this year, pretty much the Holy Grail for any artist. Sopheap Pich's exhibition at SCAF is part of Collection+, a new project that sees curators choose individual artists whose work is represented in the Gene and Brian Sherman Collection. The curators then use their selections as a jumping off point to build an exhibition by sourcing other pieces by the artist from local and international collections.
NAIDOC Week is a time to recognise and celebrate the history, culture and achievement of Aboriginal and Torres Strait Islander Peoples, and the theme of the week this year is Get Up! Stand Up! Show Up!. On Saturday, July 9 East Village Shopping Centre is hosting a jewellery-making workshop in partnership with Boomalli Aboriginal Artists Coop. The workshop will be led by Wiradjuri woman Sharon Smith. Through her work as a painter and multimedia artist, Smith has created countless works exploring her culture, heritage and identity. The workshop is popping up in front of East Phoenix on level three of the shopping centre. Book a spot for an easy $20pp, with two session times across Saturday at 11am and 1pm. Plus, all proceeds will be donated to Boomalli Aboriginal Artists Coop. Spots are expected to fill up quickly so head to the East Village website to secure your place. View this post on Instagram A post shared by East Village (@eastvillagevp)
While 'Thrift Shop' swaggers to the clumsy mash of spiky melodic contours and full Ab minor chords, triple j's other Hottest 100 collaborative effort rambles confidently through soulful grooves and grazing vocals. The grooves come at the hands of 9-piece funk/soul/psych/mod Melbourne outfit The Bamboos and the vocals from You Am I frontman Tim Rogers, and the result is one big track that's even bigger live. This month the temporarily ten-piece lineup will take 'I Got Burned' across the country along with some unheard originals and a whole heap of new covers. With Rogers voice and Lance Ferguson's guitar punctuated by the spectacular larynxes of resident Bamboos Kylie Auldist and Ella Thompson plus a handful of brass things and a Hammond organ, the Soul and Rock 'n Roll show should give you plenty of material with which to argue that maybe genre is kinda redundant anyway. Read our interview with Lance Ferguson of The Bamboos here. https://youtube.com/watch?v=hZEN_l4j6mY
If you, like us, long to spend every evening in the cinema but also need to preserve your doubloons to pay rent, this is the competition for you. To celebrate the release of Suburbicon, we're giving away 104 double passes to an early screening of the film. Suburbicon, just to pique your interest, is a film about dirty deeds happening in idyllic 1950s suburban America. In true Clooney style, it's not heavy, but more a dark comedy (that would be the influence of the Coen brothers, with whom he co-wrote the film). Matt Damon and Julianne Moore play a family who get in over their heads with with mob and are forced to navigate their way through some comically dark situations. They're supported by Josh Brolin and Oscar Isaac, all set against a vintage backdrop. Even though it's a little heretic to put George Clooney (silver fox and everyone's favourite Nespresso advocate – sorry Penelope Cruz) behind a camera, instead of dancing in front of it, the man has directing chops. And a double pass (for you and a lucky date) will let you watch his latest offering before the rest of Australia at the EVENT cinema on George Street at 6.30pm on October 25. Truly, a very swanky way to spend a Wednesday night. To enter, see details below. Suburbicon is out in Australian cinemas from Thursday, October 26. [competition]640995[/competition]
There are many ways to do Vivid. But not many combine gazing at the epic views and escaping the crowds while sipping premium wines — until now. Premium wine producer Grant Burge Wines is packing up some of its best stock and bringing it up from the Barossa Valley to host a pop-up cellar door at The Squire's Landing during the festival. You'll have just five nights to join chief winemaker Craig Stansborough for a wine tasting backdropped by incredible views of the Sydney Opera House and Harbour Bridge swathed in light. You'll start your evening with sparkling wine and canapés before Stansborough guides you through a flight. The list features premium drops from Grant Burges Wines' most coveted ranges. And to celebrate this special wine tasting series, we're giving away three double passes, worth $100 each, to the final session at 7.30pm on Sunday, June 2. Enter your details below for a chance to win. [competition]717195[/competition]
When it comes to finding a delicious bourbon, we tend to turn to makers with a whole lot of experience — like our mates at Buffalo Trace who have spent over 200 years mastering whiskey making in Kentucky. And this month, Buffalo Trace is giving away a barbecue and bourbon-filled night at NOLA Smokehouse and Bar for you and a mate (or date). Whether you're a bourbon brainiac or total rookie when it comes to American-made whiskey, you're sure to discover something delicious on your night at this Barangaroo bar and restaurant. You'll start with a St Louis sour cocktail on arrival followed by a Weller Special Reserve old fashioned to enjoy with the pit-master's selection of succulent barbecue meats, tangy house pickles and a selection of tasty sauces for dinner. After dinner it'll be time for the all-important tasting session where you'll get to sample some of NOLA's extensive range of American whiskeys — the largest selection in Sydney, no less. The whiskey flight will include tastings of some of the rarest bourbons in Australia including Buffalo Trace, Weller Special Reserve, Eagle Rare 17 and the 20-year-old Pappy Van Winkle. Afterwards, you'll be heading home with a bottle of Buffalo Trace in hand for next time. And the best part? You won't have to pick up the tab. Sounds pretty incredible, right? To score this prize, see details below. For more information on Buffalo Trace, follow them on Instagram. [competition]830128[/competition]
Art & About 2013 is shaping up to be another festival of fun, accessible and thought-provoking art. With the focus on creation and storytelling, one of this year’s expected highlights is the unique interactive work I Think I Can. Terrapin Puppet Theatre artistic director Sam Routledge and interdisciplinary artist Martyn Coutts have co-created a whimsical project that offers viewers the opportunity to become an imaginary resident in an imaginary railway town. To take up this virtual residence in Springfield Junction, the participant completes an iPad personality test and is subsequently allocated a character (and a passport so you can return!). Of the dynamic town community, you could live vicariously through the Queen, a hitman, a reality TV star, or perhaps even President Obama. Your tiny puppet avatar will then be animated, magnified and broadcast live onto large screens above the model town. You can also read about the latest news and scandals happening in the miniature community via the online newspaper.
It's hump day, which means it's time to start thinking about the weekend (if you're not already). And, excitingly, the weekend coming up is a long one. With all states, territories and capital cities copping an absolute scorching over the past couple of weeks, we thought we'd take a look at what's on the menu for the Australia Day long weekend. Our capital is going to be bearing the brunt of the heat with the Bureau of Meteorology predicting Canberra will remain in the near-40s from Friday through Saturday, with Sunday dipping to 35 with 30 percent chance of rain. We suggest hitting the sand in the early morning before it gets too hot (and before the UV peaks). Down the coast in Melbourne, Friday is expected to be a fiery 41 — luckily this all-vegan gelateria is giving out 1000 free ice creams to make it slightly more bearable — but Saturday's only hitting a max of 26, with 40 percent chance of showers. Sunday and Monday will also hover around the mid-20s, with minimal showers predicted, so it'll be perfect weather for a hike or splash around in a body of water. There'll be no near-40 temperatures in Sydney, instead just mid-to-low 30s across the board, with little chance of rain. Our mates at BOM are predicting extremely high UV during the day on Friday and Saturday, so do cover up (with clothes, zinc or sunscreen) if you plan to head outdoors to the beach or to Yabun Festival, an all-day celebration of Aboriginal and Torres Strait Islander cultures. Brisbane is expected to be equally subdued, with 33 degrees predicted all weekend. If this sounds like perfect gin-drinking weather to you, you'll be happy to know that two juniper-heavy parties will, in fact, be taking place across the weekend, as well as GABS' much-hyped top 100 craft beer countdown. Across the country, Perth is expected to be dry and balmy, sitting in the mid-20s, while Darwin should expect rain and thunderstorms every day for the next week. Adelaide folk will be cranking their air-cons with 45 predicted tomorrow, before it eases off to the mid-30s for the rest of the week. Hobart will be ten degrees cooler, with mid-20s expected across the weekend. To help you plan your beach trips, we've rounded up our favourite ten spots in Sydney, Melbourne and Brisbane. Images: Lorne by Robert Blackburn; Manly by Paros Huckstepp; Currumbin via Flickr.
Ever wished you were around for — or wanted to return to — the 80s boss board room style of power suits, shoulder pads and three-martini lunches? Chin Chin is aiming to do just that this June. The always-busy Surry Hills eatery is joining forces with Sydney-based fashion designer Frida Las Vegas (aka Stavroula Adameitis) for its next immersive dining experience, dubbed Smoke and Mirrors. Chin Chin's basement event space will be dolled up with Frida Las Vegas' neon and acrylic artwork, along with decadent furniture and interiors. The Sydney-based pop artist and avant-garde fashion designer has been commissioned by the likes of Katy Perry and Client Liaison, so you can expect some serious statement pieces in tow. Alongside this bright and punchy remodelling will be a special menu featuring some of Frida's favourite dishes and cocktails. Those include an apple jelly pavlova with minted dragon fruit, whipped rose cream, fairy floss and popping candy, and an absinthe and melon martini. You can go a la carte or do the Frida Me set menu which, for $69.50 per person, gets you the lot. It's the same price as Chin Chin's regular set menu, so it could be a good chance to try something new if you've done it a few times already. The Smoke and Mirrors menu will be available every Wednesday through Saturday from 5pm between June 12–29. Bookings are crucial, so get on it over here. It follows Chin Chin's last immersive art and culinary experience, Hyper Real, which just took place in April. You can expect to see more of this sort in the coming months, so keep an eye out.
Sydney's much loved LGBTIQ+ party collective and publisher Heaps Gay is celebrating four years of being a major thing with an all-day banger of a party on Saturday, November 18. Presented by FBi Radio, the event — which will be decked out like a big gay wedding party — will kick off at Sydney Portuguese Community Club from 1pm and feature musicians and DJs like GlamouRatz and Haiku Hands. There'll also be art, Portuguese chicken, vegan nosh, and potentially even puppies (well, probably not — but organisers are working on it). Beyond Heaps Gay's stellar rep for throwing rowdy parties, the site has established a formidable online presence spotlighting the brilliant work of Aussie LGBTIQ+ folk, such as playwright Charles O'Grady, sex worker and lyric prose Instagram caption master Tilly Lawless and former pro-surfer turned filmmaker Cloudy Rhodes. The party falls on the weekend after the marriage equality result is announced, so bring your love and celebrate the hell yes outcome or — and we're hoping this isn't the case — come commiserate in a safe, inclusive, glittery space.
Oxford Street's staple Della Hyde is teaming up with comedy collective LaughMob to host a monthly comedy night in its basement bar. Down for Good Laughs will see a lineup of Australian comedians from around the country come together in a night of booze, American-style eats and (hopefully) a lot of laughs. Doors open at 4pm and comedy kicks off at 7.30pm. Tickets are a tenner online or $15 at the door, with the additional option to pre-purchase the snacks and show package for $39 — this includes entry, reserved seating and a seven snacks. Think cheeseburger sliders, mac and cheese balls, guacamole with black corn chips and brownies for dessert. Plus, on Wednesdays, the bar does $1 wings (as long as you're buying a drink). Tickets for the first three comedy nights are currently available on the website, with dates and lineup for future months yet to be announced.
Whether you're spending this year's Melbourne Cup with your mates, office crew or loved ones, you've got to plan in advance. With so many spots offering up ticketed events, set menus and parties, choosing can easily take the fun out of the day before it even begins. Luckily, hospitality group Merivale has you covered, with happenings going down at 70 of its venues. It's got it all — from just a few cheeky pints, fancy hats and champagne or all-out party vibes. But we don't blame you if 70 venues is just too much to sort through. That's why we've chosen just a few of our favourites for you to check out — and book immediately. KEEP IT CASUAL AT THE VIC ON THE PARK The Vic on the Park has all the makings for a rowdy Melbourne Cup Day at the pub. This year, it's not just taking walk-ins — for $45, you can nab a table on the deck or in the bistro and settle in for the afternoon with a three-course set menu and a schooey of Furphy (or glass of Chandon Brut for the traditional types). The share menu is served 'family style' and starts with a Mediterranean dip platter (baba ganoush, tarama, beetroot and labne) along with falafel, pickled veg and pita chips. For mains, think rump steak with salsa verde and rotisserie chicken with gravy, plus a wood-grilled veggie side and strawberry cheesecake dessert for all. DJs will spin classic vinyl to keep the atmosphere alive well into the night. GET INTO THE PARTY SPIRIT AT MS G'S MsG's regular party vibes make it a Melbourne Cup go-to, and the team has created an eight-course banquet menu just for the occasion. The venue's famed cheeseburger spring rolls sit alongside crumbed pink ling banh mi, albacore tuna tartare with rendang dressing and tamarind-caramel pork ribs. Dessert brings you the inventive Thai milk tea custard tart with burnt lemongrass cream and milo crumbs to boot. It'll cost you $95 per person, and also comes with a glass of Chandon Brut or Furphy beer. GO ALL OUT AT BERT'S BAR AND BRASSERIE If a fine and fancy Melbourne Cup is what you're after, then you deserve waterfront views to accompany your Champagne sipping. Look no further than Bert's, with its sparkling Pittwater outlook and a brasserie set menu for the finest of dining. For $185, guests will begin with a glass of Veuve Clicquot Yellow Label and canapés, which include fresh oysters with a chardonnay mignonette and marinated trout roe with chicken butter on brioche toast. It'll be followed by a three-course feast by executive chef, Jordan Toft — from king prawn and crudo entrees to vine-leaf snapper and wild mint vinaigrette spatchcock for mains, plus three vegetable sides and peach melba for dessert. It's definitely a dressed-to-the-nines affair, and prizes will go out to the best of the bunch. For a full list of Merivale's Melbourne Cup happenings around the city, head over here.
Ever wanted to go back in time to see just how far we have — or haven't — evolved as a society? Well, at Riverside Theatres you can do just that via its upcoming cabaret production, 30 Something. Set on New Years Eve 1939, the show follows a Hollywood star and a mischievous local maestro as they join forces in Kings Cross to count down to a brand-new decade. Follow the pair of performers as they reminisce on the dramatic happenings of an era defined by The Great Depression, politics and booze through traditional and reimagined music interspersed with cheeky social commentary. It's part party, part immersive theatre production, featuring two of Australia's finest stage stars, Catherine Alcorn and Phil Scott. Get ready for an incredible night at the theatre loaded with historical celebration, big laughs and a damn good time. Keen to party like it's 1939? 30 Something is playing at Riverside Theatres in Parramatta at 8pm Friday, July 22 and 2.30pm on Saturday, July 23. For more information and to book your tickets, visit the website.
This week at Firstdraft sees the opening of three new shows. Galleries 1 and 2 provide Karena Keys and Helen Shelley with the space to explore faith and constructed belief systems as physical representations in paint and its lateral definitions. Their two-person exhibition, The Otherings conjures up images of tribal ambiguity asking us to explore our own worship, religious or secular. Similarly, Tye McBride asks us to question the way in which we construct our knowledge of the world. Her exhibition, 149597870 references the number of kilometres it would take to traverse the distance from the earth to the sun. As a child, I used to lay in bed at night getting myself lost in conceptual knots over how stories could exist right here in my house and not elsewhere (don't you wish you knew me at 10!) and then I would forget the question and I would lose my place and not be able to get back to where I started from or had got to. Anyway, I feel that McBride's offering may be a little like this — it seems that the sun is so very far away from here and now — all 149597870 kilometres away — and yet how the hell did they work that out? I can see Indiana Jones starting out from Antarctica, stepping off as the crow flies with his wooden measuring wheel. Ah yep. Last to tie that conceptual knot is Ben Byrne with Tumult in Gallery 4. Here Byrne explores noise — the noise within us, outside of us — we are surrounded but not really listening at all. We cannot shut it off for we are a part of every sound ever present. I often think of this idea in connection to our eyes. How is it that our eyes see everything within their vision and yet it is our brains that fail to pick up the slack — how in fact could we ever miss anything? And so ends Big Questions 101 for this week. You never know, some answers might lie at Firstdraft. That's where we will start anyway.
Wander into the Contemporary galleries on lower level two at the AGNSW and you'll come across a video of a young Judy Garland coming face-to-face with her adult self. You'll find photographs that recreate the imaginations of people who've never seen the world through their own eyes. And you'll find out what it might look like if we could see an echo. Shadow catchers is a four-room exhibition of abstract photography, creative video art, sculptural works and historical objects that play with the idea of split selves and twinned time, mirrored images and the eerie experience of seeing body doubles. Curator Isobel Parker Philip has pulled together works by more than 57 artists who've explored these themes in visual art, including New York-based Australian duo Soda_Jerk, French artist Sophie Calle, and Lismore-born multidisciplinary artist Julie Rrap. [caption id="attachment_764545" align="alignnone" width="1920"] Soda_Jerk 'After the rainbow' from the series 'Dark matter' (2009); Art Gallery of New South Wales, ViktoriaMarinov Bequest Fund 2016 © Soda_Jerk[/caption] Parker Philip says that ever since photography was invented it has recorded and distorted reality in a way that both seduces and disconcerts audiences. She's chosen works that focus on identity and multiplicity (subjects might be cloned or conjoined) and ones that play with reflection and the concept of time. If you're not ready or able to visit the Gallery in person just yet, there are other ways to engage with Shadow catchers online, too. As part of the Gallery's Together In Art project, a number of local musicians were invited into the empty exhibitions to perform. You can watch singer Sarah Belkner perform alongside herself in this exhibition. The result is a haunting vocal improvisation that plays with the themes of split selves. Plus, you can take a private tour of the exhibition with its curator; Parker Philip filmed a digital tour of the space just four days before the Gallery's closure — and whether or not you've visited the exhibition since, you'll come away with a renewed sense of wonder about the video works, photography and sculptures you've seen first-hand. And, in collaboration with Red Room Poetry and Sydney Writers' Festival, the Gallery invited six poets to respond to selected photographs in the exhibition, which you can read and listen to here. Writer, human rights activist and documentary filmmaker Saba Vasefi's poetic responses, called 'Segregation', 'The portable home', 'Minerva', speak to the void she feels about being between worlds and the injustices of displacement, whereas poets Ali Whitelock, Joelistics, David Brooks, Melinda Smith and Maddy Godfrey have taken different approaches to works they connected with most. As the poems are available online, including audio via Soundcloud, why not take them into the Gallery on your next visit to experience their power near the artworks that inspired them. Top images: 'Handwalk' (2015) by Ronnie van Hout courtesy Art Gallery of New South Wales and Julie Rrap 'Body double' (2007) by Julie Rrap, courtesy Roslyn Oxley9 Gallery, photo: AGNSW, Mim Stirling. And Sarah Belkner performing in 'Shadow catchers' as part of Together In Art. Photo: Matt McGuigan, Hospital Hill.
While going outdoors at the moment is mostly restricted to outdoor recreational activities, work and grabbing essentials, you'll need to throw on an extra jumper and bring an umbrella to do just that for the rest of this week, with the Bureau of Meteorology predicting rain, thunderstorms and frosty temperatures across most of Australia. A series of cold fronts are set to sweep the country and have, in fact, already hit Victoria. Last night, Tuesday, May 19, Melbourne copped damaging winds, heavy showers and hail, with a second cold front set to bring more showers and even snow to the Alps from later today. The rest of the week is looking, well, wet and cold. Temperatures are expected to hover around 13–14 until Saturday — which is three degrees under the average maximum of 16.7 for May — and there's a medium–high chance of showers every day for the foreseeable future. https://twitter.com/BOM_Vic/status/1262585286254567427 Moving slight north to Sydney, today's clear skies will be swapped for a high chance of rain and fog tomorrow, with the rains expected to persist for the foreseeable future, too. Temperatures are expected to sit around the average for May 19.5, with low 20s predicted until next Tuesday. So, if you're going to get wet anyway, now might be the time to go and swim a couple of laps at one of the newly-reopened ocean pools. https://twitter.com/BOM_au/status/1262568843853139968 Queensland is already getting a soaking, with 100-300 millilitres falling between Cairns and Ingham. The rains are set to continue for the rest of today and tomorrow, but will clear on Friday, ready for a cloudy but mostly dry weekend. The mercury isn't planned to rise as high as usual, though, with the BOM predicting temperatures six–ten degrees below average for parts of the state. If you go out on a hike or a day trip, pack a couple of extra layers. As is usually the case when rain and winds are predicted, keep an eye out for flood watches and severe weather warnings on the BOM website. For latest weather predictions and warnings, head to the Bureau of Meteorology website.
At Griffin after premiering last year at Perth's Black Swan, Aidan Fennessy’s The House on the Lake is an admirably streamlined thriller devoid of the Important Issues that bedevil Australian theatre, but it doesn’t quite stick the landing. Still, it’s never less than involving, thanks chiefly to the wonderfully detailed performances from Huw Higginson as a man who wakes up in a psychiatric facility and Jeanette Cronin as his assessor. Higginson’s David has lost his short-term memory in some sort of accident, and Alice, a psychologist, is trying to help him recover it. Or is she? Fennessy takes his time peeling away the fog of confusion. Where is David? How long has he been there? How did he lose his short-term memory? As many commentators have pointed out, these are all questions Christopher Nolan asked 15 years ago in Memento, and this play feels like a mash-up of that film with The Usual Suspects. But for all its Russian doll-like construction, The House on the Lake isn’t nearly as ingenuous or as unpredictable as either of them. Its incremental revelations don’t add up to the final reveal, they just lead to it, and Cronin has a slab of exposition foisted upon her late in the game that’s all too pat. Still, it’s hard to think of a better production being done of the play than this one, directed by Kim Hardwick. Both actors are superb in roles that require them to be reticent and open (or seemingly so) at the same time, and designer Stephen Curtis has arranged them on a bare white stage that’s both evocative and fluid. The transitions as Martin Kinnane’s lights dim are smoothly efficient; clever nods to the central character’s state of perpetually waking up. And though the play they’ve chosen to mount isn’t quite one for the ages, it’s a tonic to see a show dedicated to nothing more than to entertain. In the end The House on the Lake is nothing more than that, but nothing less, either.
It is a truth universally acknowledged that the alternative music scene that came before is unquestionably better than the scene right now. It's something we've all grown up crowing (no matter if we said the same thing a decade ago). So we know that the tendency towards nostalgia and a willingness to make heroes out of drunken twenty-year-olds who only released two records is damn near irresistible. For the semi-autobiographical film Lucky Them, this kind of nostalgia is both the target and the appeal. Loosely based on the experiences of screenwriter Emily Wachtel in the New York music scene, the film is set in Seattle, the birthplace of grunge, and spends equal time exposing nostalgia and falling right into its trap. Lucky Them tells the story of an aimless music journalist, Ellie Klug (Toni Collette), as she searches for an acclaimed Seattle musician, who supposedly died years earlier. Ellie is initially reluctant to uncover the whereabouts of her former lover and music idol, and she struggles to find closure, while her ex-boyfriend Charlie (Thomas Haden Church) films an amateur documentary about her efforts. While the film supposedly runs close to Wachtel's own personal experiences, in taking on the mythology behind Seattle's music history (where director Megan Griffiths lived for many years), the film manages to feel like a broader story of music nostalgia. The character of the lost musician, Matthew Smith, makes references to the early deaths of Pacific Northwest music idols Kurt Cobain and Elliott Smith, and the whole film is layered with Seattle alt-rock nostalgia. The soundtrack that plays over the sweeping shots of the wet, dreary landscape hints at riffs from Nirvana's 'All Apologies', and memorabilia lent to the film by the iconic local record label Sub Pop line the walls of almost every scene, from original Mudhoney posters to gold records from the Shins and Postal Service. These pleasant hometown references make Seattle feel like an extra character in the film. Alongside this, Church gives an excellent comic performance as the eloquent but music-illiterate Charlie and the fantastic Oliver Platt appears as Ellie's editor Giles, the surprisingly patient, ageing pot-smoker forced to deal with shareholder demands that he boost circulation in a fading print music journalism industry. All this makes it easier to stick with Ellie, whose relentlessly immature decisions, alongside the uncomfortably petulant tone Collette uses, make it difficult to connect with her. Although there's a surprise cameo that manages to be charming rather than distracting from the story, it's a shame that Lucky Them finishes in almost rom-com cliche terrain. It's enough to make you wish you were watching Charlie's fictional documentary instead, like the real nostalgia junkie that you are.
John Pilger's steadfast commitment to Indigenous affairs over the past 30 years has won him international recognition as an investigative journalist and filmmaker. Passionate about communicating the plight of Aboriginal Australians and rallying for change, he returns with new documentary Utopia, which he describes as "one of the most urgent films I have made". Utopia takes its name from the vast region in Northern Australia that is home to the oldest continuous human culture. The film traces the theft of a continent and the subsequent atrocities of the colonial regime. Extreme poverty, death in police custody and concentration camps are just some of the atrocities highlighted. In presenting two clashing portraits of Australia — one of Gold Coast resorts and mining wealth, the other of abject poverty in rural Aboriginal communities — Pilger is out to expose Australia's own secret apartheid, a 'lucky country' stained by human rights violations. With the desperate state of Indigenous affairs, this important film promises an enlightening and moving experience. To get the film seen and spread, there will be a free, open-air screening on Friday, January 17 at The Block in Redfern, a site loaded with Indigenous significance. A series of public screenings will also take place at the MCA, concluding with a special event on Australia Day, otherwise known as 'Invasion Day'.
Mexican holiday Dia de los Muertos, or the Day of the Dead (Saturday, November 2), is a celebration of long-standing tradition that is, first and foremost, a way for communities to honour family and friends who have passed on and to celebrate life both past and present. But the holiday has also come to represent the very best of Mexican culture — from tasty food to elaborate costumes, motifs and music. So, to celebrate the day, The Argyle has teamed up with the world's oldest operating tequila distillery Jose Cuevo to put on a two-day fiesta. Head down to the Rocks' historic building and you'll be able to get in on the festivities on Friday, November 1 and Saturday, November 2. For two nights, performers, UV face-painters and themed decor will fill both storeys of the bar. There'll also be specialty cocktails featuring Jose Cuevo tequila. Better yet, grab a Los Meurtos margarita and you'll get a token you can redeem for a Jose Cuevo-based drink. The Argyle has got some top-notch music acts planned for the occasion, too. On Friday night, you can catch DJ Keyes and R&B acts Mike Champion and DJ Helena Ellis. Or if you go on the Saturday night, you'll be dancing to the tunes of DJ Tigerlily alongside some other local acts. If you arrive before 9pm on the Friday — and are in suitable dress — entry is free. Or you can join the guest list here. Saturday is a ticketed event; to nab yourself a ticket, head here.
From the poster, you’d assume The Haunting of Daniel Gartrell is a one-man meditation on the perils of drinking solo and shirtless after Mardi Gras. In reality, the lights go up on a gleefully naked Daniel Gartrell (Mark Sheridan) sitting in a vinyl lounge chair. He is playing the famous bush poet of the title, a reclusive but remarkable wordsmith who is – in Gartrell’s hands – alternately whimsical and venomous. The writer, Reg Cribb, is a NIDA graduate who co-wrote the Bran Nue Dae screenplay. He is arguably best known for his feature film adaptation, Last Train To Freo, which was nominated for an AFI award for Best Adapted Screenplay, and went on to win the 2005 WA Premier’s Script award. It seems fitting that Cribb is now dealing with the poetic pretensions of the deeply disturbed Daniel Gartrell given that his play Last Cab to Darwin won the 2003 Patrick White Playwright’s Award, a prize one presumably has to be as stubborn-minded as Patrick White himself to win. At the Old Fitzroy Theatre, the width of the stage is the width of the seating, and the set design is used to great effect to pull you into the characters’ past. A towering pile of moldering books and collapsing chairs cover the stage, signaling Daniel Gartrell's decrepit mental and physical state. Craig Castevich (Joshua Morton), an ambitious actor who is preparing to play the haunted hermit in a forthcoming biopic, arrives with industrious intent to gain intimate insights into the man's poetry, and is clearly immediately out of his depth. Gartrell’s stormy bush poetry stems from disappointment and heartbreak, and once Castevich starts dredging up dissolving details, it's uncertain whether he'll deal well with his discoveries. Despite the poetic intensity of the script, there is a lot of humour to be found in this play, particularly in the daughter who provides psychologically creepy comic relief. The impressive mirroring of the two men’s characters is done subtly - after all, only one of them gets naked.
The newest addition to Sydney's annual blockbuster cultural and arts festival, Vivid Food has just dropped its full program, announcing a slate of events celebrating the best of New South Wales' culinary scene — and pulling together big-name chefs from Sydney, Australia and beyond. As with the previously announced lights, music and talks programs, Vivid Food will run across the duration of the fest between Friday, May 26–Saturday, June 17. "This is a celebration of NSW food culture. If tourists are not coming to NSW for our food, they should be," said Minister for Jobs and Tourism John Graham. The lineup is multi-faceted, headlined by a two-week residency from New York chef Daniel Humm at Matt Moran's Aria. Humm, the owner of the three Michelin-starred Eleven Madison Park, a restaurant that has previously sat at number one on the World's Best 50 Restaurants list, will take over the Aria kitchen between Tuesday, June 6–Saturday, June 17. Humm and company will be offering a nine-course tasting menu for $550, and a reduced lunch menu for $395. If you want to secure your spot, tickets go on sale on Friday, April 28. Similarly, international chefs will be taking part in a range of collaborations as part of the Vivid Chef Series. Singapore's Rishi Naleendre (Cloudstreet) is working with boundary-pushing plant-based fine diner Yellow, London's Jackson Boxer (Brunswick House) teaming up with Fred's, and Jeremy Fox (Rustic Canyon and Birdie G's in Los Angeles) cooking up a series of dinners at the Ace Hotel's new sky-high Mitch Orr-led eatery Kiln. The Vivid Fire Kitchen will be keeping you toasty throughout the winter festival with a selection of the world's best pitmasters including Firedoor's Lennox Hastie, Jess Pryles of Aussie Barbecue Heroes, Dave Pynt of Singapore's Burnt Ends and Byron Bay's Pip Sumback all cooking up a storm at The Cutaway in Barangaroo. Following a successful debut edition as part of last year's Vivid, the Vivid Sydney Dinner will return to the Ivy Ballroom in 2023. Eddie Perfect will host the night with performances from Montaigne, Julian Belbachir, Christine Anu and Kate Monroe being paired with eats from Merivale Executive Chef Ben Greeno and Danielle Alvarez (ex-Fred's). Rounding out the program is Chefs on the Harbour, a view-heavy overwater dinner on the luxury superyacht The Jackson with Nel's Nelly Robinson, plus popular chefs Khanh Ong and Mark Olive; Carriagework's Warakirri Dining Experience, at which the founder of Mudgee's Indigiearth Sharon Winsor will take you through a five-course meal celebrating Gadigal ingredients; Mary's Group's one-day HERE NOW food, wine and music festival; and the Vivid Rooftop Experience 32 floors up at Aster Bar. [caption id="attachment_898422" align="alignnone" width="1920"] Aster Bar[/caption] Vivid 2023 runs between Friday, May 26–Saturday, June 17. Browse the full program at the Vivid website.
It's possible that after directing the pastoral idyll that was the Olympic Opening Ceremony, Danny Boyle felt the need to dirty things up. That would explain Trance, a gangster/heist movie that takes a turn into the unexplored psychosexual corridors of Inception. James McAvoy stars as a young art auctioneer, Simon, who gets mixed up in some bad business. Charged with hiding the most valuable artwork on the auction block in the event of a heist, Simon cops a severe bump on the head after Franck (Vincent Cassel) and his men breach the building. He now has amnesia and doesn't know what's what. It's soon made clear to him, however, that this was an inside job of his orchestration, and that he's the only one who knows — knew? — where the painting is hidden. In an attempt to retrieve the buried information, Franck sends Simon to a hypnotherapist, Elizabeth (Rosario Dawson), who soon inserts herself into the gang. Things get crazy from here on in. Boyle might never have made a bad film (or play or Olympic spectacle). His titles range from Trainspotting to 28 Days Later and 127 Hours (how is that range possible, even?). Slumdog Millionaire was universally adored. But Trance will divide people. A film like this really rests on the payoff of its twist, and the Trance twist is limp and signposted early on (and I'm not one of those actively thinking cinemagoers who can usually guess the ending). There seems no good reason for the lack of subtlety throughout. On top of that, some debasing things are inflicted on the single female character, and you'd really like that kind of treatment to only happen with good narrative cause. That said, Trance is definitely interesting. You should see it just so you can have a healthy argument about it with your movie date. It's dark, complex, challenging and so inventive as to demand attention. Above all, it has a distinct and mesmerising visual style. Most of the shots you see are indirect; you are not looking at the actors as they stand in front of the camera lens but at their image as reflected off potentially several mirrors or other reflective surfaces. At one point, it's such that I swear I can see a pool cleaner crawling along the kitchen ceiling. What we think we're looking at is literally not what we are looking at. It could be a kitchen. It could also be a pool. It's a beautifully accomplished metaphor for the hypnotised state that Boyle has realised together with cinematographer Anthony Dod Mantle, a frequent collaborator. Their saturated blue-orange colour palette is a stunner. Another frequent collaborator of note is Rick Smith of Underworld, the iconic electro band who have worked on Boyle's Trainspotting, Sunshine and, yes, the Olympic Opening Ceremony, among other things. Smith adds another literal dimension to Trance — the music. Those demanding, racing beats are one unsubtle touch that works. Read our interview with Danny Boyle and the cast of Trance here. https://youtube.com/watch?v=L4_bdS3_gr0
Sydney's permanent ice rinks tend to be pretty far out in the suburbs, so for the most part ice skating is one of those things you did in school holidays or for birthday parties as a kid then forget about when you grow up and move near the city. Luckily, there have been a few pop-up ice skating rinks around inner-city Sydney in the past few years, and the latest is set to open at World Square. It's cheap, too — $10 will get you 45 minutes on the ice. It's open until 9pm so it's a perfect after-work or uni-break activity and easy to combine with dinner or drinks at nearby bars and restaurants, including a Belgian chocolate cafe serving fondues, waffles and hot chocolate to keep you warm post-skate.
This year, one of the biggest events on the Sydney calendar is a joint birthday party for an 18-year-old and a 40-year-old. Homebake has announced their 2013 lineup, and while there's plenty of bands to get excited about, the biggest changes are to the festival itself: to celebrate their 18th birthday, the festival's been expanded to three days instead of one, and the location's moved from The Domain to the forecourt of the Opera House, which is celebrating its 40th anniversary around the same time. As usual, the lineup celebrates the best of Australian music, both past and present. The 2013 lineup includes The Presets, Paul Kelly, Eskimo Joe, Beasts of Bourbon, Gurrumul, Architecture in Helsinki, Birds of Tokyo, Bernard Fanning and The Rubens. Tickets go on sale at 9am Wednesday, 26 September (so prepare to set your alarm for 8.50am and press F5 repeatedly until you see that 'Buy Tickets' link), and they're expected to go fast. While the smaller space will definitely make for a more intimate festival experience, it does mean that tickets for each day will be strictly limited due to capacity. You can check out the full lineup here.
The latest edition of Firstdraft Gallery's Night Depot series focuses on the idea of advanced technology, inspired by an article written by Sydney writer and thinker, Nick Keys, in which he explores the links between humanity and technology. The event will feature artists who have created sound-making devices using everyday objects — 'advancing' both their own creative goals, and technology in general. Curated by Tom Smith as a sideline to ISEA, the event will consist of performances by artists Benjamin Kolaitis, Peter Blame, Alex Cuffe, Pia van Gelder and Firstdraft's current resident artist collective, Golden Solution, all on Saturday night. Then artist talks on Sunday afternoon. The artists will be in conversation with Keys, discussing their practices, processes and strategies. As well as their thoughts on the technology they use to create their art.
Start spreading the news, because the Art Gallery of NSW's summer film season is here. Running from November 8 to February 4, Lost New York will showcase landmark gritty street films depicting New York City in the '70s and '80s — and all screenings are free. The season kicked off with Midnight Cowboy (1969) and will feature cinema classics from pioneering directors such as Scorsese, Lumet and Cassavetes. For the sweet price of $0, you can see films like Cassavetes' Gloria (1980) and Scorsese's Taxi Driver (1976) in rich 35mm. Films will show on Wednesdays at 2pm and 7.15pm and Sundays at 2pm. In addition to those screenings, AGNSW will host a series of special Saturday events. The next is a screening of Charlie Ahearn's landmark hip hop film Wild Style (1983) on November 25. Clear your Saturdays in January too, as there will be two weekends dedicated to showcasing the radical feminist cinema of the period, including a screening of Bette Gordon's landmark film Variety (1983). Lost New York screens in tandem with the gallery's current exhibition of Robert Mapplethorpe's photography from the '70s and '80s New York art scene. A huge Rembrandt exhibition has also kicked off so you can really make a whole day of it. But you can't book online — tickets will only be available at the gallery's Domain Theatre one hour before each screening.
Come into the Sol LeWitt’s world of ideas. It’s a pretty nice place — one of artworks devoid of decoration, but not of beauty. The beauty's there, just look harder: it's in the systematic and the cerebral. Massive kudos to the AGNSW for allowing free entry to Your Mind is Exactly at That Line, a retrospective from the artist who dubbed the term ‘conceptual art’ and indelibly imprinted himself on the rest of 20th and 21st century art history. LeWitt was all about the idea, the concept, taking precedence over the execution of the artwork. He aimed to scrub out all sign of the artist’s hand and was obsessed with linear, geometrical forms — the ones least open to expressive interpretation. As you'd expect from someone so devoted to paring back and shaving down, the works in exhibition ranges from the dull-y intellectual to the quietly sublime. LeWitt spent years dedicating his artistic practice to the square — that most basic of geometric forms. During his life and since his death in 2007, he permitted other artists or even technicians to recreate his works from instructions, and some local ones have done so in the AGNSW (Wall Drawing No. 303), in the same way that musicians interpret composers’ works. Think of these massive instructed wall drawings as ‘linear ultra’. They’re cold, impenetrable and alienating in the same way that some installation art can be. But that's LeWitt's aim: to extinguish all emotion from art. But it's not all slick and distant. Other works like Wall Drawing #1274 invite the viewer into what seems like an expansive cosmic oblivion, but up close is really fine-point irregular curves. Either way, those whose tastes curve to narrative imagery, sublime symbolism and romantic spontaneity should look elsewhere. As with all things careful and considered, pleasure is derived from diving into the detail, like the tiny cubic white-on-white shadows of Tower 1, 2, 3, 4, 5, 6, 7 (2000). It’s reductive, essential, clinical. And yet amidst the OCD-like attention to detail, there’s something beautifully child-like in the grown-up lego vibe of Incomplete Open Cube (1974) and the fine Etch A Sketch-like Yellow Circles and Arcs from Four Sides (1972). The show goes beyond the usual retrospective thing by displaying some works by Aboriginal artists from LeWitt’s own collection. These help us make sense of LeWitt’s. Emily Kam Ngwarray’s abstract paintings debunk the idea that Indigenous art is in its own, passed historical bracket of pre-history; in fact, they are as contemporary and of-this-moment as anything you’ll see in the Museum of Contemporary Art. I've always thought Indigenous artists abstracted their works in a way that reminded me of viewing the patched land from a plane — a view clearly impossible in pre-colonial Australia. It's nice to see the work of Indigenous artists like Gloria Tamerre Petyarre alongside LeWitt's — to provide context and parallels, and also to say that Indigenous art is contemporary art, not some ancient relic. I found one final, unexpected parallel in this exhibition. Though LeWitt’s work is most clearly aligned with architectural carving of space and mathematical metering of time, there is also a parallel with the natural world. LeWitt’s “structures” (he refuses to call them sculptures) are their own ecologies with their own strange set of logics and recurring forms — in the same way that the wilderness is ostensibly without structure, it reveals upon closer analysis Fibonacci numbers, gravity-led spheres, perfectly symmetrical helixes and spiral patterns. That parallel with nature allows an unexpectedly sublime experience. Look closer at the work of LeWitt. This is big work for quiet contemplation.
Jennifer Lawrence, Bradley Cooper and a panther circle around a film, and each other. Who will come out alive? That’s the crux of Serena, a romantic melodrama tantalisingly bleak, though too beholden to its too-obvious symbolism. It strives for the emotional complexity of times and films long since passed, but can only offer a shaky — albeit pretty — approximation. Starting in North Carolina’s golden-hued Smoky Mountains in 1929, a wilful woman and a wild cat enter the life of a Depression-era logger; of course, for all their sleek allure, they’re both omens of worsening times. She is the titular Serena, determined to become involved in a waning timber empire beyond the bounds normally expected of her gender. He is George Pemberton, in love not only with his new wife but with making as much money from his woodland as he can. The feline threatens their livelihood, but no more so than their own vices. Adapting Ron Rash’s 2008 novel of the same name, Serena charts the troubles and tragedies that spring in their wake: feuds, premonitions, medical emergencies and illegitimate children among them. Tangled up in the drama are a jealous business partner (David Dencik), interfering sheriff (Toby Jones), single mother (Ana Ularu), and loyal enforcer (Rhys Ifans). If that sounds over the top and outlandish, that’s because it is. A host of problems and people test the lovers’ fates well into the realm of contrivance and convenience. Serena aims to hark back to features of the Golden Age, where spirited femmes headlined tales of moral corruption as fully realised figures. Here, as the catalyst for drama, the central sultry dame is only ever painted as brash or unhinged. As a love interest, she is only ever idolised or maligned. Starkly absent is the nuance needed to render the film a throwback in anything more than superficial terms — and the insistence upon linking Serena’s untamed nature with the creature stalking through the trees certainly doesn’t help matters. With 2010 foreign-language Oscar winner In a Better World among her output, director Susanne Bier is no stranger to heightened circumstances and the quandaries that arise as a result, though her pedigree amounts for little. A clumsy script proves her undoing, alongside an approach favouring slow reveals at the expense of tension. Plot machinations aplenty aren’t the same as a genuinely involving narrative. Reunited after Silver Linings Playbook and American Hustle, both Lawrence and Cooper are effective, suffering as they are from the same over-stretched material. Too often, they are reduced to smouldering separately or sliding through a series of sex scenes, always looking the part but never really fitting in. Alas, that’s the attractively shot and staged Serena from start to finish, lumbering along and constantly felling any source of interest. As everything builds towards the inevitable finale, audiences will strain to care just who lasts the length of the feature’s running time.
When Surry Hills' Golden Age Cinema and Bar peers backwards into film history, Sydney cinephiles should take notice: whatever it finds, curates and fashions into a new retrospective movie program, it's always a treat. The latest impressive blast from the past: Japan Underground, aka a deep dive into Japanese cinema's cult classics. J-horror? Tick. An ace recent Godzilla flick? Tick again. The most hallucinogenic forest you've ever seen, on-screen or IRL? Keep ticking. Kicking off on Friday, August 11 and screening on various dates until Saturday, October 28, this lineup is a treasure trove of Japanese features that everyone needs to watch once. Ringu, Ju-On: The Grudge, Audition, Pulse, Retribution: they all have the thrills and scares covered (and if you've only caught the English-language remakes of some of them, this is your chance to enjoy the originals). The Japan Underground program also heads back to the 60s with Funeral Parade of Roses, Branded to Kill, Tokyo Drifter, Youth of the Beast and Kwaidan. Love kaiju? Shin Godzilla and Shin Ultraman have that part of Japanese cinema covered, both sending the genre roaring into the 21st century. Also recent-ish: Beyond the Infinite Two Minutes, Funky Forest: The First Contact and its pseudo-sequel The Warped Forest, Pornostar and Videophobia. Spanning iconic directors such as Takashi Miike, Seijun Suzuki, Masaki Kobayashi and Kiyoshi Kurosawa, every title here is a must-see.
In films, the plight of the widowed and bereaved is to see their current moments combine with their cherished memories. When Garrett (Ed Harris), husband of Nikki (Annette Benning), drowns, her mournful gaze looks beyond her constant glass of wine and her no-longer-used backyard pool, everything in sight sparking recollections of his untimely passing. Five years later, the pain may not be as prominent, but in places and people she remembers his presence. Visiting an art exhibition aptly entitled The Pursuit of the Past, Nikki spies a man who could be Garrett's doppelganger (also played by Harris), then seeks him out to start a relationship. Thick, syrupy grief seeps through every frame of The Face of Love, in idea and execution. In the story, the unlikely nature of the central concept is glazed over in favour of furthering that oft-used romantic utopia — the ever-lasting connection. In the style, all things soft invade the parade of sentimental imagery, every sequence lensed with the warm hue of the fetishised. There's never any question that the film is presenting an exercise in wish-fulfilment of soap opera proportions, albeit with more restraint and overt attempts at evoking an air of resonance. It has been a long time between cinematic drinks for director Arie Posin, with his first and only other feature, The Chumscrubber, released in 2005. His return to filmmaking marks an obvious change of pace, and it seems ill fitting, not just in the contrast but also in the heavy-handed approach to the content. While The Face of Love endeavours to dwell in quiet moments of contemplation, it shouts its themes with the loudest voice possible. There's no emotion left unturned, nor any effort to elicit sympathy missed. Perhaps much of the misfiring emanates from a premise that, if gender roles were reversed and the narrative still rendered in the same fashion, would be seen as creepy rather than compassionate. The idea of obsession beyond the grave is hardly new, but outside of movie-of-the-week territory the bulk of comparable offerings have aroused something other than mawkishness and misguided melodrama. Bening and Harris certainly try to rise above the schmaltzy material, their performances tenacious even when uttering the most ridiculous lines of dialogue. Shades of subtlety exist in both portrayals, reaching past characters written by Posin and co-scribe Matthew McDuffie (A Cool Dry Place) in a single dimension. Alas, not even the most invested portrayals — or the strangest of supporting slots, with honours going to Robin Williams as an interested but rebuffed neighbour — can salvage an effort concerned only with the most blatant emotional manipulation. The depiction of mourning on screen, as well as the cast, simply deserve better than this broad, bland fantasy. https://youtube.com/watch?v=Dwpt8LiiSMc
Want to spend your summer in the cool aircon of an art gallery? The Art Gallery of NSW's blockbuster exhibition, Japan Supernatural: 1700s to now, is a pretty good place to while away the holidays (and humidity). The tenth Sydney International Art Series, it's an exploration of the spirit world in Japanese art, made up of more than 180 works from all over the planet. And, to celebrate this massive showcase of legendary Japanese art, we're giving away ten double passes. Leading the show is a monumental piece by Tokyo-born (and international rockstar) Takashi Murakami, who's renowned for bringing together fine art and popular culture — much like Jeff Koons, Damien Hirst and Andy Warhol. Look out, too, for works by historical artists Utagawa Kuniyoshi, Tsukioka Yoshitoshi and Kawanabe Kyosai, as well as contemporary pop artist Chiho Aoshima and photographer Miwa Yanagi. So, expect an immersive experience involving paintings, sculpture, prints, film, animation, comics and games. The exhibition is running until March next year. So, should you get your hands on this prize, you've got plenty of time to make your way to the gallery. If you're keen to head to one of this year's most anticipated art shows — which you obviously are — enter your details below to be in the running. [competition]748534[/competition] Images: An installation view of the exhibition Japan Supernatural at the Art Gallery of New South Wales, November 2, 2019 until March 8, 2020. Photo: AGNSW/Jenni Carter
Opened in early 2017, London cocktail bar Scout quickly made the World's 50 Best Bars list. It stands out for two main reasons: every ingredient in every cocktail comes from the British Isles and every leftover ingredient (every straggling bit of garnish) goes into the food. To put that in more trendy terms, Scout is hyperlocal and closed-loop. Last year, Sydney hospitality heavyweight Maurice Terzini — founder of Icebergs, Bondi Beach Public Bar and the Dolphin Hotel — let slip that Scout founder Matt Whiley is coming Down Under. More specifically, he's setting up a Sydney outpost of Scout in a disused section of the Dolphin's top floor. And if you've been eagerly awaiting the results, Scout Sydney will open its doors on Wednesday, February 28. That means you'll soon be drinking highly unusual cocktails made with native ingredients in a space that's being described as part science laboratory, part bar. In the purpose-built lab, which Whiley hopes will become a training ground for Australian bartenders, the Scout Sydney team will whip up Aussie-focused drinks list. Although the full list of local recipes hasn't been revealed as yet, expect a vodka and soda made with green ants and strawberry gum, and new takes on trusty classics like the ever-popular espresso martini and old fashioned. Also on offer: drinks using distilled versions of pepperberry, watermelon and wax leaf. One of Scout's huge hits in London, its fruit wines, will also be featured on the Sydney menu. They include a banana 'wine' , which is made from bananas that've been roasted, juiced and fermented with wattle seed and macadamia, creating a rich fruit wine with banana, chocolate and nutty flavours. There's also an orange variety, using fermented orange, mandarin and cumquat, as aged in an oak barrel. In London, tipples such as the Apple of God (a savoury concoction of butternut squash liqueur, disarmed chilli, coriander and sparkling wine) and the Black and Yellow (bee pollen, sunflower seed, Deawars 12, meadowsweet and liquorice) have graced the lineup — so whatever the final local rundown turns out to be, it won't be like anything you'll find elsewhere. Scout Sydney will also sling an accompanying food selection, with Monty Koludrovic cooking up a range inspired by Whiley's beverages. Prepare to tuck into a modern take on small plates, bar snacks and finger food. Although Scout shares space with the Dolphin, the two will operate as independent businesses, with separate entries and aesthetics — with Whiley leading the charge in the design stakes, too. It's Sydney's latest venue-inside-a-venue with Mary's Pizzeria opening inside the Lansdowne Hotel last year, and Terzini opening Bonnie's Wine & Food inside Bondi Beach Public Bar. Scout Sydney opens inside the Dolphin Hotel, 412 Crown Street, Surry Hills, on Thursday, February 28, with bookings now available Monday–Sunday from 5pm.
Dynamic young company Sydney Chamber Opera teams up with Sydney Theatre Company resident director Sarah Giles for a Sydney Festival contemporary double bill. First up is Gyorgy Kontag's ... pas a pas - nulle part ..., a contemplative yet virtuosic solo piece inspired by Samuel Beckett's absurdist poetry. Second is George Benjamin's Into the Little Hill, presented as the score to a new version of the Pied Piper, as interpreted by playwright Martin Crimp. He's taken the legend and transformed it into a politically themed tragedy. Expect an immersive journey into sound and drama. Formed in 2010 by artistic director Louis Garrick and music director Jack Symonds, Sydney Chamber Opera is committed to presenting fresh takes on the opera repertoire. They put together two to three performances each year in a program featuring Australian composers, new international works, song cycles, cantatas and daring interpretations of the classics. We loved their production of Exil, performed at CarriageWorks in December. Want more Sydney Festival events? Check out our top ten picks of the festival.
Theatre companies set their programs often a year before a play opens, and sometimes it means the things we see on stage don't directly speak to current events. Not so Fury, the Sydney Theatre Company's commission from prominent Australian playwright Joanna Murray-Smith. Opening, coincidentally, in the same week as the heartbreaking Boston Marathon bombings, it deals deeply with the mindsets of teenagers who commit ideologically driven acts of violence. Eighteen is the age of criminal responsibility, we know. But how do we judge a culprit who is seventeen? How about nineteen? Fury's central character is Alice (Sarah Peirse), a scientist about to be honoured with an award for her contribution to cancer treatment. She and her supportive novelist husband, Patrick (Robert Menzies), lead beautiful, privileged, liberal-leaning lives — and those lives are shattered when their only son, Joe (Harry Greenwood), is caught graffiting a mosque. They don't know what to blame: Evil nature? Their failed nurture? The influence of Joe's meathead best friend? Their troubles are made even more fraught by the hovering of Rebecca (Geraldine Hakewill), a student journo with a rigour more suited to Four Corners. Critics seize on Murray-Smith for her middle-class preoccupations, and it's hard to argue with that via Fury. Her one attempt to introduce salt-of-the-earth working-class types is definitely the low point of the play, a crude stereotyping that's uncomfortable to watch alongside the individually shaded educated characters that get to occupy the rest of this world. Still, you can't dismiss Murray-Smith; she is a formidable writer. The story is fierce, the dialogue electric. If the characters act in service to big ideas, in Fury at least, it's a symbiotic relationship. Peirse's Alice is a big, seductive, mercurial character, and Menzies' Patrick is the warm, empathic heart of the thing. But the most compelling figure on stage is actually teen riddle Joe, brought to life in a breakthrough main-stage debut from NIDA grad Harry Greenwood. Whether he's being introduced to us in sullen silence, going off on bigoted rants or naively big-noting himself to pretty strangers, there are always further layers to the character glinting just beneath the surface, and it makes a huge impact on the play as a whole. Hakewill is a similar talent, but some of her scenes seem undercooked; Rebecca is a loose cannon in these people's crystal lives, and her manipulations rarely get a chance to reverberate. All up, I found myself both loving and hating Fury, which is much better than those plays that make you feel nothing at all. I disagree with what could be called Murray-Smith's 'theses' here — that the root of youthful idealism is in rebellion against one's upbringing, that left-wing and right-wing radicalism are equivalent — but they're part of an enjoyable, challenging, satisfying ride. I loved small things — Alice's clean-lined Jil Sander outfits and grey-streaked blow-wave for starters (my upper-middle-class bias comes out that way). And I loved weighty things — the critical confrontations between characters tear you apart with their moral dilemmas. Fury is a mixed bag, but a mixed bag worth chewing over.
Sissy Ball, one of the biggest events on the Mardi Gras Festival calendar, is taking over Carriageworks once again on Saturday, February 23. Hit the ballroom-inspired dance floor and spend the night making shapes to a 'disco house bounce pop' soundtrack powered by international DJs. Plus you'll watch an epic vogueing championship, which will see four houses compete across six categories. Curator Bhenji Ra and Red Bull Music have lined up sets from New Jersey-based ballroom DJ MikeQ, New York ballroom DJ Byrell the Great, Brisbane-based Fijian rapper Jesswar and American ballroom rapper Precious. Meanwhile, the four houses of Slé, Fafswag, Luna and Iman will be battling it out to prove their mettle as hand performers, runway models, glam faces, sex sirens and voguers to judge Leiomy. With the action kicking off at 5pm, you can grab final release tickets for $75.
Vivienne Walshe's poetic drama This Is Where We Live (winner of the 2012 Griffin Award) is set in a country town where nothing happens, a lonely place for a nubile, dyslexic, 'polio poor' girl who gets beaten at home. Chloe (Ava Torch) pairs up with the reclusive Chris (Yalin Ozucelik), who also has a crappy home life, involving relentless badgering from his pompous curmudgeon of a father. She rescues him from his self-doubt and he her from the taunts of the schoolyard 'skanks'. Walshe has captured the impulsiveness of adolescence without condescending to her subject matter. She uses rhythmic motifs like 'gravel, gravel crunch' to propel the actors through the schoolyard and beyond. Torch and Ozucelik succeed in maintaining a tight rhythm and through line amid the poetic meanderings from inner thought to memory to immediate dialogue. Walshe's writing is unashamedly pretty in parts, with lines like "laudable, audible, laughable love" standing out as consciously flowery prods. She happily uses rhyme in obvious places and the piece has a sense of humour about its form; this is not an attempt to emulate Martin Crimp. Thanks to the quality of the acting, these poetic bouquets are never too obtrusive. Francesca Smith has directed (or, pretentiously, "shepherded" according to the program notes), the piece with effective simplicity, but there are some jarring incursions of glitter and chairs. Chloe sprinkles glitter across the stage in a rapture, only to turn around and sweep it up. Chris sets down four chairs to signify a classroom that has already been established and then retrieves them sharpish. The Griffin's black wedge of a stage requires no adornment with these two capable actors treading its boards. Torch and Ozucelik get to show off their impressive acting chops in their transformations into other peripheral characters, as well as in the movement sequences, which support the story for the most part. In particular, Torch's abstracted rendering of the violence inflicted on her is excellent. Chloe explains that violence is bound to sexual attraction for her, it's part of her "white trash DNA" and the undoing of her innocent romance with Chris. Walshe threads this into the play casually and Torch embodies it with appropriate offhandedness, only wondering briefly, what happens to girls with this kind of attraction? In a story about teenagers, sexuality and violence, it's impressive that there's not even a whiff of paternalism present. Props to Walshe and the team for talking about teenagers as young humans, not aliens. Image by Peter Greig.
Songs for the Fallen is one of those excellent finds that gives you faith in human ingenuity. It is one of many artistic imaginings of the life of Marie Duplessis, the 19th-century Parisian courtesan best known as the protagonist of Moulin Rouge. Sheridan Harbridge has devised the original piece with fellow actors Ben Gerrard and Garth Holcombe, director Shane Anthony, and composer/musican Basil Hogios. The team is obviously dynamite together as the result is a hilarious, self-aware piece of sophisticated debauchery. We enter the dinky Old Fitz Theatre to find designer Michael Hankin has decked it out with a luscious, satin-covered bed of sin in front of a gorgeous red velvet backdrop and theatrical 19th-century music hall facade. There is of course also a fourth wall, but this is taken down pretty quickly, as Harbridge declares to delighted audience member Linda that she's "taken it down and it's not going up again!" Self-reference in theatre can sometimes be painful and indulgent, but here any references to the show itself are pointed and funny. For example, as Harbridge switches from a French accent to posh Australian, she tells us she simply can't be bothered keeping the French up. Fair enough, she has a lot else keeping her busy. Men, in particular — many men. Gerrard takes the lion's share of playing the gentleman customers, while Holcombe narrates nobly from upstage, translating the words pomme and frites ad infinitum. This farrago of a show has pop tunes galore, most of which have been composed by Hogios with Harbridge's lyrical input. Using a microphone bound in pink velvet and white satin ribbon, Harbridge bursts into song in many awkward positions and is supported royally by Hogios at his little musical station in the corner. His opening sequence is particularly clever, as he morphs his way seamlessly between baroque interpretations of Nirvana and Blondie on what sounds like an electronic harpsichord. Like the burlesque master Meow Meow, Harbridge has a gift for being at once vulgar, intelligent, and elegant. It's a rare thing. She and her gang of bohemians have produced a triumph of indie theatre. This is a review of the first run of Songs for the Fallen, which ran at the Old Fitz from December 5-16, 2012. The show returns for an encore at the Seymour Centre's Reginald Theatre.
