At Any Cost?, the latest production from acclaimed Australian playwright David Williamson (Don's Party), tackles the emotive and controversial topic of euthanasia. The practice is illegal in most countries, yet I think the majority of us would agree that there are times when prolonging a person's life just because we can actually means just prolonging their suffering. The play centres around a family in a hospital waiting room, the mother lying gravely ill in intensive care. The question on everyone's minds is whether the time has come to let nature take its course, given the seriousness of her condition and the likely extremely poor quality of the life she would have, should she survive. For the husband, Des (Martin Vaughan), there is no doubt in his mind: He will not let go of the woman he loves, and for whom he has also been caring these last few years since she suffered a debilitating stroke. The children — Megan (Tracy Mann), Katie (Kate Raison) and Max (Tyler Coppin) — are able to evaluate the situation a little more rationally than their father. The tension is augmented as the duty doctor, Dr Sharif (Daniel Mitchell), drops by frequently to keep the family updated, gently suggesting the alternative of ceasing treatment. Family dynamics soon begin to come to the fore as skeletons are pulled out of closets and bombshells dropped, and it descends into a quite intense family drama. Dr Sharif is also used as a device between scenes, to distance the audience from the emotion being displayed on stage. As he lectures an imaginary class of medical students (us, the audience), he dryly hands out facts and figures around the cost of care, such as that it requires $50,000 dollars to keep someone alive in intensive care for a week and pointing out to us that "we offer care because we can, but seldom ask if we should." The acting throughout is superb on all counts and it is a very enjoyable play, both moving and served with a decent side of comedy. The interludes from Dr Sharif are thought-provoking and often funny, if a little shocking at times, making us think about the realities of keeping people alive long beyond their "use by date". However, overall, it possibly focuses a little too heavily on the family drama playing out in the waiting room at the expense of the subject at hand, euthanasia, thus rendering its didactic potential less powerful.
If you've ever wanted to peek behind the closed doors of parliament, eavesdrop on crooks and high-rollers, and find out what it takes to make it to the top, go see this. Hell, see it anyway... it's bloody good. Aidan Fennessy's delectable new Aussie script The Way Things Work is a stark, yet frighteningly accurate representation of deep-seated state government corruption. His characters could well be governing us, approving developments and building our highways. On opening night, investigative journalist Kate McClymont confirmed she's met almost identical 'characters' in the courtroom of the Eddie Obeid corruption case. Following the recent spate of state pollies' misdemeanours, this show is the perfect way to close 2014. It's directed by Leland Kean and also marks his departure as Artistic Director at Rock Surfers Theatre Co. Kean goes out wonderfully with this thought-provoking and timely reflection of the men we have elected leaders. Men who engage in bribery, blackmail and who will betray all to escape public scrutiny. Fennessy and Kean expose that more drama and animal behaviour occurs in parliament, than in the theatres or zoos. This play travels across three locations, three sets of characters linked by one certainty: "democracy dies behind closed doors." Fennessy's three scenes are different windows into the same, rotten-to-the-core social system, all encased by a concrete bunker, designed by Kean. The rough brushstrokes on the walls transform from designer stucco to dilapidation, as the scenes demand, just as Luiz Pampoha's lights transform from vertical blinds to prison bars. The script is quick, wry, malicious, and unmistakeably urban-Aussie, just as the two actors who perform it so well. Nicholas Papademerriou is Pat Barlow, the obscene politician who has lost (maybe never had) integrity, and makes everything a joke to survive the job's dirtiness. His gives a stupendous performance as Barlow, summoning maniacal energy that pays homage to Mr. Bean in some of its absurdity and scale. Ashley Lyons is just as dynamic as Barlow's evasive and morally-compromised secretary. Fennessy's writing is a gift to both actors: each scene full of status games, reveals and reversals. This race-to-the-bottom play reflects the dirty, disgusting aspects of human nature. The drowning man inevitably panics, blindly dragging his companion down in search of air. This is a society of selfishness, which runs on money. There's no loyalty and no escape, unless people start looking deeper than surface symptoms. But that's just not the way things work. Image credit: Zak Kaczmarek.
While heading to the beach might be the last thing on your mind in this chilly weather, Port Stephens is giving you a pretty convincing reason to head north this winter. Its annual month-long Love Seafood festival celebrates all things local, fresh and from the ocean — and sees seafood aficionados flock to the coastal town every August. From fish, prawns and oysters to crab and lobster, the seafood from around the region is mighty fine and well worth the two-and-a-half-hour drive from Sydney. Running over the month of August, Love Seafood is an indulgent food fair complete with long lunches, degustation dinners, galas, cruises and even town-wide jazz performances. If you make the journey up the coast, you'll be tucking in at top-notch restaurants, sharpening your cooking skills at weekly cooking classes and tasting seafood aplenty from local vendors. Once you've had your fill of local fare, you can head behind the scenes for a tour of fish farming and aquaculture, too. To entice you even more, we've teamed up with The Anchorage Hotel & Spa to give one lucky winner (and their mate or date) a night at its Hamptons-inspired digs. You'll be staying right on the water, with each room decked out with plenty of seaside (but incredibly luxe) charm and ocean views. You can claim your prize at any point until Sunday, September 1 (between Sundays and Thursdays). Plus, we're throwing in breakfast with bottomless bubbles and a two-course lunch at The Anchorage's Galley Kitchen — with seafood galore, of course. Love Seafood will take over Port Stephens from Thursday, August 1 to Sunday, September1. If you're keen for a getaway and stuffing yourself silly with seafood — which you obviously are — enter your details below to be in the running. [competition]731887[/competition]
Wolf Lullaby brings an Aussie murder story (by Hilary Bell) to the New Theatre, revealing impressive voice work by the actors, but a few of the small theatre’s limitations when exploring the horror genre. This production would make an incredible radio play. As it is, the macabre subject matter keeps the audience intrigued — a two-year-old boy is murdered and the main suspect is a little girl. Far from the big budgets and sensory saturation of horror films, Wolf Lullaby still makes some outstanding choices. The set (designed by Allan Walpole) is cleverly divided into three parts: the cosy domestic space of the Gael family, with nostalgic Aussie rock blasting from the ‘wireless’, sits opposite the ordered space of the small town’s police office. A prison cell behind is either revealed or obscured by lighting. In the middle sits a graffiti wall and concrete slab (the exact shape of a small child’s coffin — an eerie reminder of the dead child), which is the scene of the murder. It is here that young suspect Lizzie Gael (Maryellen George) struggles with night terrors, visions of ‘the wolf’ coming, and an ever-increasing tangle of lies and stories. The scenes shift between these three areas, generally with a blackout or sound cue as a diversion. The sheer number of these interchanges is a little jarring, both to story and character development. In moments when the characters are left quietly on stage in the near-dark, there is better dramatic flow, allowing us to connect to the characters and their dilemmas. This is Emma Louise’s directorial debut at New Theatre and her expertise in voice training shines through. The clarity, quality and richness of the actors’ voices really make the play, with George providing a very convincing nine-year-old voice. However, casting an adult actor in the child’s role does reduce the fear factor of seeing an actual child capable of killing. This is the pay-off for the maturity needed for the role, and George finds a medium between over-exaggerated childish physicality and charming slumps to the floor. Peter McAllum and David Woodland bring to life Sergeant Ray Armstrong and Warren Gael respectively as complex and sympathetic characters. The actual mystery of this murder mystery is revealed early, which leaves mother Angela Gael’s (Lucy Miller) internal struggle between her conscience and her maternal instinct as the play’s focus. Miller doesn’t always manage to communicate this emotional tug-of-war, sometimes seeming too detached. Wolf Lullaby has some valuable questions to ask society: are some children born evil? Do we teach our children to lie when we use scare tactics as discipline? What about how we treat children with mental illness? Bell’s tragic murder story is timeless and this production is challenging and energetic.
In case you've been living under a huge soundproof rock, Sydney WorldPride is set to release an outpouring of queer energy across the city and beyond. For three weeks (Friday, February 17 to Sunday, March 5), there'll be Pride events and parties happening in every corner of town. Among them includes a series of parties and celebrations of Australia's queer community courtesy of Absolut Vodka — a brand that's been a vocal supporter of the LGBTQIA+ community worldwide since the 1980s. First up is the cheekily named Rainbow Routes. You know the double-decker sight-seeing buses that cruise the city? Picture that, but for WorldPride. The Rainbow Route bus tours are running on Thursday, February 23 and Friday, February 24, and will take you on an insightful (and entertaining) tour through the history of Sydney's queer culture curated by the one-and-only Kat Dopper of Heaps Gay and Pleasures Playhouse. Travel through time from 1978 to 2023 and learn about parties, places, marches and moments while enjoying live entertainment from renowned queer performers. For something less mobile, you can head to Merivale's The Alex in Alexandria for 'House of Home' — a unique transformation of the upstairs room into an immersive, museum-like experience in tribute to Ballroom Houses. These singular LGTBQIA+ community events date back to the 1950s and are built around the families you choose, not the ones you're born with. Beyond that, you can go into the running to instantly win $20 drink vouchers. Vouchers you could use to cover refreshments at any of 30+ venues around Sydney that have partnered with Absolut for the festival, and you'll be able to make use of an interactive map on the website to help you find those venues – AKA your next party – in a heartbeat. For more information on Rainbow Routes or The House of Home, to book tickets and to see all participating venues for Absolut Vodka x Sydney WorldPride, visit the website.
Whether you're a skier, snowboarder or hiker, New South Wales' Snowy Mountains are an adventure-lover's playground. But if you're fond of traversing the rocky region on two pedal-powered wheels, the Thredbo Valley Track has just upped the ante. While the beautiful mountain biking trail has long been one of the area's most scenic features, the Kosciuszko National Park spot is now more than twice as long thanks to a new extension. Increasing in length by 18.4 kilometres — to 35.1 kilometres in total — the lower Thredbo Valley Track extension winds from Bullocks Flat to Gaden Trout Hatchery. Mountain bike enthusiasts can now ride through mountain gum forests, pass by woodlands filled with snow gums, and cycle along open grasslands. In the process, you'll cross six bridges, enjoying alpine views and soaking in the splendour of this gorgeous patch of the country. Now open and welcoming mountain bikers from November to May each year, the extension connects to the existing 16.7-kilometre track at Bullocks Flat, with the original leg starting at Thredbo Alpine Village. Traversing tight bends, climbs and descents, the new section is particularly suited to experienced riders. In total, the whole thing should take around eight hours to complete one-way. [caption id="attachment_755080" align="aligncenter" width="1920"] Robert Mulally, NSW National Parks and Wildlife Service[/caption] Folks eager to take it easier will find milder sections of the total trail around the two tracks' midpoint at Bullocks Flat. And, whether you're up for the more manageable parts or the entire thing, guided tours are also available. Prefer rambling through the region on your own two feet? Come 2022, the Snowy Mountains will also be home to the Snowies Iconic Walk, 44-kilometre multi-day trail spanning from Thredbo to Lake Crackenback. The Thredbo Valley Track is open from November to May yearly. For further information, visit the NSW National Parks and Wildlife Service website. Images: Robert Mulally, NSW National Parks and Wildlife Service.
The best thing about film festivals? The surprises. And boy oh boy does the 2017 Russian Resurrection Film Festival have a great one. The touring fest has plenty of ace picks, including a drama set inside the Bolshoi Theatre, aptly called The Bolshoi; Attraction, the first Russian flick about aliens landing in Moscow; and the innovative Tolstoy adaptation that is Anna Karenina: Vronsky's Story. It also has the 1989 action flick Tango & Cash starring none other than Sylvester Stallone and Kurt Russell. Why is this big hair-loving, US-made buddy cop movie on the bill? Because it was primarily directed by Russian filmmaker Andrei Konchalovsky, who collaborated with the great Andrei Tarkovsky early in his career, and then spent a big chunk of the '80s and '90s working in America. It's the kind of nostalgic selection that is best appreciated with retro fun in mind (and a few beverages in hand). It's not quite so-bad-it's-good, but it is something that has to be seen to be believed. In more serious offerings, Arrhythmia explores the erratic pulse of a complicated marriage, Spacewalkers jumps into the Cold War space race, and the comedic The Kitchen: Final Battle pits chefs against each other. Catch them and more at Event George Street from October 26 to November 5, and Event Cinemas Burwood on October 28 and 29 as well as November 4 and 5.
First, Vivid made its big comeback after a couple of years on hiatus due to the pandemic. Soon, Sydney Film Festival will return to its usual wintry slot following a chaotic period for the same reason, too. Then, come mid-August, Sydney Fringe Festival will also hit the city in-person — and, for its first physical fest since 2019, this celebration of independent arts has huge plans. Get ready for six hefty weeks of performances, exhibitions, music, theatre, comedy, visual arts, film, dance, circus, literature and poetry, with Sydney Fringe beginning two weeks earlier than normal because its 2022 event will be that big. Running from Tuesday, August 16–Friday, September 30, it'll feature more than 500 shows. No, you won't be lacking things to see to wrap up winter and kick off spring. The reason that this year's Sydney Fringe will be so enormous: all those shows that've been gestating while theatres were shut. So, the 2022 lineup will be the fest's longest and biggest ever — with its full lineup set to drop on Monday, August 1. A few highlights have been announced already, though, so you can start getting excited. They include the return of Bernie Dieter's Club Kabarett after a run earlier this year — and the return of the Runaway Gardens and Spiegeltent as well. That means more circus, cabaret, aerial feats and fire-breathing, plus food and drink pop-ups. Also on the list: cabaret company YUMMY teaming up with the Darlinghurst Theatre Company on a new show; micro-festival Limitless, which is all about celebrating performance and visual artists with disability; and an inflatable artwork by Goldberg Aberline Studio that'll take over World Square. Or, there's Babylon, which'll take over Chippendale's Kensington Street and Spice Alley with light installations, tunes, dancing, soundscapes, food, booze and performances; three days of eats and live entertainment in Marrickville's Smidmore Street; and plenty of free events, street parties and activations around town. Love hitting up festival hubs? Sydney Fringe loves hosting them, and will also include a bigger touring hub at The Seymour Centre that'll showcase award-winners from Adelaide Fringe, Perth Fringe, Melbourne Fringe, New Zealand Fringe and other fests. And, you'll be able to check out the emerging artists sharehouse at Erskineville Town Hall, too, plus the massive 100-plus comedy lineup at the Factory Theatre — while the musical theatre hub will sit at City Tattersalls and the cabaret hub at The Castlereagh. [caption id="attachment_856313" align="alignnone" width="1920"] Seiya Taguchi[/caption] Announcing Sydney Fringe's 2022 plans, CEO and Festival Director Kerri Glasscock said that the fest has "had an overwhelming response to our artist call out this year and are shaping up to be bigger than ever. This is really an incredible testament to the resilience and passion of the indie arts sector in Sydney, they are chomping at the bit to have their return moment and present all the work that has been bubbling away under the surface during the past two years." "There has never been a better time to get out and explore Sydney Fringe — this is our city's festival and a celebration of all we stand for," Glasscock continued. Sydney Fringe Festival 2022 will take place between Tuesday, August 16–Friday, September 30, with the event's full program set to be announced on Monday, August 1. For further information in the interim, head to the fest's website.
What's the deal with trivia nights based on pop culture commodities? They're great, that's what — and with events based on everything from Friends to Brooklyn Nine-Nine, they're clearly a hit. This time, it's Seinfeld's turn in the quizmaster's spotlight. The show about nothing has inspired an evening about everything that made its nine-season, 180-episode run so great. The fun unravels at the The Governor's Ess rooftop from 7pm on Wednesday, May 22. Entry free (just as George Costanza would like it), but you should book a table in advance as these trivia night usually book out. Lock in some mates who think they know every conceivable detail about the hit 90s sitcom — and about Jerry, George, Kramer and Elaine. The quizmaster will put your affection to the test, potentially covering everything from soup to sponges, puffy shirts to Pez dispensers, and even the parade of famous faces that played Jerry's girlfriends. Yada, yada, yada — you get the picture. Of course, the bar will also be serving their usual array of drinks, in case those pretzels make you thirsty.
Spring has sprung and the weather's only looking up from here on out. But if you fancy getting things moving a little faster, you can go ahead and spice up your life at this weekend's annual Sydney Chilli Festival. Heating up Parramatta's Albion Hotel on Sunday, September 8, the fiery festivities are back for a second year, promising a day of spicy fun that'll raise much-needed funds for drought-affected farmers through Buy A Bale. Entry is by gold coin donation and you can also buy tickets for a raffle that'll be drawn throughout the day. Taking over the pub and its outdoor carpark from 11am, you'll catch a huge array of market stalls slinging top Aussie chilli products, from barbecue rubs, to hot sauces, to chilli beer. Taste, browse and buy, and make sure you visit one of the event's cool-down pit-stops, like Underground Coffee, Mr Whippy and the bar. There'll also be live tunes and a program of food competitions, including the 2pm Chilli Chocolate Challenge. Careful, though — this one's so intense entrants will need to sign a death waiver.
If you still think you could've done a better job at the How I Met Your Mother ending, been practising your Oscar acceptance speech for years or think Australian radio airwaves are in desperate need of some new voices, we have some welcome news. The Australian Film, Television and Radio School is gearing up for its biggest summer season with AFTRS Summer Intensives — a series of short courses running from November 2018 to February 2019. Whether you're brand new to the industry or just want to step-up your existing skill set, the suite of AFTRS courses will have you covered. All courses are taught by expert practitioners and provide students, ranging from beginners to those already in the biz, with the practical skills they need to succeed in their chosen field. On the technical side of things, there's prop and scenic art making, digital production and filmmaking courses, where you'll get hands-on experience in operating cameras and shooting, editing and publishing a short film. You can also learn to use your voice for radio and TV presenting (with an advanced course tutored by renowned journalist Tracey Spicer) or in written form with television and comedy screenwriting. Each intensive course spans five days. If you book 28 days or more in advance, you'll also receive a ten percent discount. Not sure which course to go for? Head to the website to check out the full range of courses on offer.
Apart from public holidays, Melbourne Cup Day is the one weekday of the year where it's understood that, for some industries, no work will get done (or, at least, not much). You may not be that into watching the main event — but if you do want to sneak out of the office a little early on Tuesday, November 5, you'll find plenty of bars and restaurants across Sydney with stuff happening. In fact, there are almost too many places and styles of parties to choose from. To give you a place to start, we've teamed up with Merivale to take a look at what some of its popular venues are offering — from buzzing Mexican fiestas and suave rooftop parties overlooking the beach to epic eleven-course feasts. Whether you want to have a big blowout, a more affordable affair or decide to just pop in for a drink somewhere spontaneously, this list has you covered.
Do you ever find yourself tuning in to your favourite podcast and then tuning back out again because you're fantasising about being on the podcast? Laughing along with the host, practising your hot takes on controversial topics, and, of course, planning your humble-brag post for when you announce it on social media? Come on, we all do it. If you're that passionate about your podcasts, you should consider turning that passion into a profession. Plus, it'll bring you one step closer to an invitation to speak on the podcast of your dreams. Sure, launching into unknown career territory can be daunting, but it can also be rewarding. Luckily, Open Universities Australia (OUA) helps you find a degree to fit your goals, and study it online. So, no matter your physical proximity to the university running the course, or your life commitments, you can make it happen. Whether you're a first-time student, an aiming-to-finisher, or just looking to extend your career options by adding another notch to your belt, we know that half the battle is figuring out what you actually want to study. So, why not use the hours you've already dedicated to your favourite podcasts? Chances are your favourite genre might give you a pretty good clue as to what you're into. Read on to discover eight possible careers based on what you love to listen to. TEACHER'S PET Consider studying: Bachelor of Criminology and Criminal Justice with Griffith University or Bachelor of Criminal Justice with University of South Australia. First up: excellent taste in podcast. Secondly: you're not alone in your ghoulish interest in murders and whodunits. This Aussie crime podcast has taken the world by storm — we seem to be morbidly fascinated in murder, assault and a bunch of gory details. Basically, Teacher's Pet gives you an insight into humanity's dark side. And if that presses your buttons, it could make you a great candidate for criminology or a criminal justice degree. If you're into uncovering bloodthirsty crimes, consider studying a criminology or a criminal justice degree online through OUA. It'll open you up to career opportunities in areas such as policing, correctional services or intelligence analysis. 7AM Consider studying: Bachelor of Communication with Griffith University or with University of South Australia. This news and current events podcast, produced by the crew behind publications The Monthly and The Saturday Paper, is a surefire way to know what's up. If you're an avid listener, it's likely that you're keen to keep up with what's going on in the world. Plus, if you're drawn to its punchy interviews and alternate analysis of news events, then you should strap in for a wild ride in communications and journalism. You'll learn all the tools you need to hold your own in interviews and produce stories that are engaging and that matter. And, when you study online through OUA, any previous relevant work experience you have may be counted, too. SCIENCE VS. Consider studying: Diploma in Science with University of New England. If you were the kid who debunked Santa Claus with cold, hard reasoning, you probably now listen to Science Vs. And, if you get riled up by the hosts debunking science's greatest myths and fads, pitting them against scientists to get to the facts straight, then you should be firing up the bunsen burner. Or, you could start by studying a Diploma in Science. Studying will give you a broad understanding of all things science but, more importantly, train you to think with scientific reasoning. Once you've got that down pat, every day will be like an episode of Science Vs. And, when you enrol through OUA, you can get started on your tertiary path even if you don't have an ATAR or any relevant work experience. STARTUP Consider studying: Bachelor of Business or a Master of Business Administration (MBA), available from a range of universities. Longtime listeners of Startup will be able to appreciate that running a business is not as easy as having a good idea — it takes an amazing amount of grind, too. Sure, there are office ping pong tables, nap pods and fridges full of beer (sometimes). But when working at one, you'll often need to wear a lot of hats. From HR issues and strategic planning one minute to thinking outside of the box and crunching numbers the next, the roles in newer companies are often blurred, so finding the right hat stand can be hard. But, if you're serious about joining a startup or building something of your own, a great place to start is with a Bachelor of Business. Or, you can level-up and undertake a Master of Business Administration. Plus, if you study through OUA, you'll be studying online, which means more time for you to work on your main hustle: building your very own startup. TRAVEL WITH RICK STEVES Consider studying: Language subjects with Australian National University or a Graduate Certificate in TESOL with Bond University. We're very visual creatures — now more so than ever before. So, you wouldn't think a travel podcast would have a hope in hell of hitting 500-plus episodes, let alone have a huge following. But Rick Steves' unambiguously titled podcast, Travel with Rick Steves, tells such rich, practical and linguistically driven stories that virtually transport you to another country instantly. It's also far more informative (and interesting) than envying your mate at Yacht Week via Instagram. So, if this podcast gives you itchy feet, consider planning a more immersive travel experience by learning another language. Or, if you're a native language wiz, consider studying a Graduate Certificate in TESOL so you can help others learn English. Not only will you be able to teach English as an additional language in Australia, but it may also open up teaching jobs around the world. STUFF YOU SHOULD KNOW Consider studying: Bachelor of Education in Primary, Secondary or Early Childhood Education with Curtin University. Stuff You Should Know has been around for a while now. Investigating everyday topics and ideas, it teaches you a lot. If you've been tuning in to this podcast, chances are you're a keen learner — and you know a bunch of stuff. So, why not apply all this knowledge by educating the future generation. Your mates are probably bored of you monologuing at them about esoteric topics by now anyway. That said, you'll need a degree to be a teacher. You can undertake a bachelor degree in primary, secondary or early childhood education and, if you struggle to decide between them, enrolling through OUA allows you to study single subjects and make up your mind once you've completed a few. GASTROPOD Consider studying: Bachelor of Food and Nutrition with La Trobe University. Hey, you. Yeah, you over there. The one listening to Gastropod while scrolling through food-based Instagram accounts and eating a cronut. Your love for food is commendable. Not only are you probably able to justify splashing some serious cash at a new restaurant or breaking the bank on your weekly grocery run, but there are also so many career avenues that food can lead you to — think careers in nutrition, public health, agriculture or government. To get there, you can start by studying a Bachelor of Food and Nutrition with La Trobe University online through OUA. Also, studying online means you're not bound to eat at an on-campus cafeteria, which can only be a good thing. Explore hundreds of degrees from leading universities, available online through Open Universities Australia. You could have a new skill by the end of the year. Hop to it.
Food. Wine. Art. If any of these words pique your interest, then Sydney's five-day French celebration is for you. Uniting people in the spirit of Bastille Day, the popular event is back again in 2021 — after sitting out 2020 for obvious reasons. This year's street fest will take over Circular Quay with everything from live tunes to wine tastings. Expect a big emphasis on the latter, of course — and food, too. All that wandering and watching is hungry (and thirsty) work, after all, so there'll be around 70 pop-ups keeping guests fed and watered. From Wednesday, July 14–Sunday, July 18, you'll be able to tuck into fresh raclette, feast your way through plenty of other cheeses, fill out your wine-tasting passport and enjoy a few crepes. Or, pick up a couple of macarons, grab a glass of sparkling from the champagne bar, sip the best craft brews France has to offer and warm up over a mulled wine — or several. If previous years are anything to go by, Bastille Festival is set to be an epic showcase of food, wine and art. That said, this year's event will be a little smaller in scale than previous years in order to provide attendees with a COVID-safe experience.
Music panel shows weren't invented when Spicks and Specks and Rockwiz started airing in Australia back in 2005, but the two series became Aussie icons quickly. Seemingly everyone watched one, the other or both, with the pair earning a devoted following by realising a pivotal fact: as well as seeing musicians live, audiences also love watching them banter, bust out their smarts and just generally connecting over music. Also taking that idea and running with it is Georgia Mooney's Supergroup, which originally debuted in Sydney in 2019 and is now taking its live variety show on the road. It's inspired by Spicks and Specks and Rockwiz, obviously; focuses on stellar songwriters; and also includes live music and interviews as well. If that sounds like your kind of night out, music fans in Sydney will get to rediscover Supergroup's wonders at the Factory Theatre from Saturday, August 13–Sunday, August 14, with an impressive lineup that includes Tim Minchin, Hannah Joy from Middle Kids and Ziggy Ramo on the first night, then Josh Pyke, Ngaiire and Martha Marlow on the second. But before that — and for the first time ever — Supergroup will also head to Brisbane and Melbourne for two shows in each city. In Queensland, from Wednesday, July 27—Thursday, July 28 at The Triffid, Ball Park Music's Sam Cromack will do the honours with Elizabeth and Seja, as will Jeremy Neale, Hope D and Evil Eddie from Butterfingers. In Victoria, Brunswick Ballroom will play host to Ruby Gill, Bob Evans and KYE on Thursday, August 4, and then to Mo'Ju, Maple Glider and Ryan Downey on Friday, August 5. Here's how it works: on each evening, the guests come together to form a band, with support from the Supergroup House Band. They'll only play together for that one night, with each high-profile songwriter taking turns to perform songs while their colleagues join in. And it's all spontaneous — with no rehearsals and absolutely zero prior planning. That means that guests get an experience that's never been seen or heard before, and won't ever happen again with the same songwriters and tunes, either. "There is something quite magical about it," says All Our Exes Live in Texas' Mooney. "It is communal and whimsical and musical in the purest sense. I have a feeling this tour will take that to a new level. It's going to feel incredibly poignant to connect again in this way, after the two years we've all had." SUPERGROUP 2022 TOUR DATES: Wednesday, July 27: The Triffid, Brisbane — with Sam Cromack (Ball Park Music), Elizabeth and Seja Thursday, July 28: The Triffid, Brisbane — with Jeremy Neale, Hope D and Evil Eddie (Butterfingers) Thursday, August 4: Brunswick Ballroom, Melbourne — with Ruby Gill, Bob Evans and KYE Friday, August 5: Brunswick Ballroom, Melbourne — with Mo'Ju, Maple Glider and Ryan Downey Saturday, August 13: Factory Theatre, Sydney — with Tim Minchin, Hannah Joy (Middle Kids) and Ziggy Ramo Sunday, August 14: Factory Theatre, Sydney — with Josh Pyke, Ngaiire and Martha Marlow Georgia Mooney's Supergroup tours Australia in July and August — head to Georgia Mooney's website for further information and to buy tickets.
UPDATE: MARCH 22, 2020 — Waverley Council has announced that Bondi, Tamarama and Bronte beaches all closed on Saturday, March 21 in response to the 500-person restriction. Randwick City Council announced that, because "favourable weather conditions on Sunday means we're likely to see more than 500 visitors to our beaches", beaches at Clovelly, Gordon's Bay, Coogee, Maroubra, Malabar, Little Bay, Congwong, Frenchman's Bay and Yarra Bay are all currently closed. And the Woollahra Municipal Council has also closed a number of beaches and harbourside pools until further notice, including Murray Rose Pool and Redleaf Beach, Parsley Bay Beach, Camp Cove Beach and Watsons Bay Baths. To check the status of beaches in both areas, keep an eye on the Waverley Council, Randwick City Council and Woollahra Municipal Council Facebook pages. Over the past week, the Australian Government has drastically ramped up its efforts to stop the spread of COVID-19, including stressing the importance of social distancing, staying at home and not congregating in big groups in public. But despite non-essential mass events being banned, indoor gatherings being restricted, anyone arriving from overseas being forced to self-isolate for 14 days, and the country's borders closing to non-citizens and non-residents — and festivals and gigs cancelling and postponing en masse, cultural institutions shutting down and moving their activities online, restaurants and bars transitioning to takeaway options, and Aussie airlines suspending all international flights, too — people have still been flocking to Bondi Beach. In response, the New South Wales Government has now ordered the popular spot's closure. Announced by NSW Minister for Police and Emergency Services David Elliott today, Saturday, March 21, the iconic waterside stretch will shut down immediately. The temporary shuttering comes after mass crowds packed out Bondi Beach on Friday, March 20, behaviour that has been widely called out — including by Federal Health Minister Greg Hunt, who said it was "putting others at risk". "This is not something we are doing because we're the fun police. This is about saving lives," Elliott said in a press conference. A timeframe for Bondi's closure wasn't revealed, but Elliott did advise that closures will be on the cards at any beaches across the state where the public isn't complying with the mass-gatherings bans. Asked how beach bans will come into effect in a practical sense, Elliott explained they'll occur when numbers on any given beach reach more than 500. The NSW Government will work with NSW Police and Surf Life Saving New South Wales in monitoring crowd numbers, with surf lifesavers undertaking head counts and shutting down beaches when more than 500 people are present — and the police being called if crowds fail to move on when asked. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
They can't all be treats. That's true each time October 31 hits, sending children scurrying around the streets in search of sweets, and it's true of the film franchise that owns the spookiest time of year. Since debuting 43 years ago, the Halloween series has delivered both gems and garbage — and off-kilter delights such as Halloween III: Season of the Witch — but its latest and 12th entry carves a space firmly in the middle. Halloween Kills ticks plenty of boxes that a memorable Halloween movie should, and is also a horror sequel on autopilot. Somehow, it's also a Halloween movie lacking purpose and shape. It has The Shape, of course, as Michael Myers is also known. But it's more an exercise in spending extra time in Haddonfield, in its boogeyman's presence and in world inhabited by franchise heroine Laurie Strode (Jamie Lee Curtis, Knives Out) than a compelling slasher flick on its own. After giving the Halloween realm its second-best chapter in 2018, it's easy to see why returning writer/director David Gordon Green (Stronger) and his frequent collaborator Danny McBride (The Righteous Gemstones) have taken this approach. When you've just made a classic follow-up to a stone-cold classic — again, only John Carpenter's iconic franchise-starter is better — you keep on keeping on. That's not quite how Halloween Kills turns out, though. It picks up immediately where its predecessor left off, lets Michael stab his way through small-town Illinois again, and brings back Laurie's daughter Karen (Judy Greer, Where'd You Go, Bernadette) and teenage granddaughter Allyson (Andi Matichak, Son) from the last spin. It also pads things out with a vengeance storyline that endeavours to get political, yet proves about as piercing as a butter knife. In the last film — called Halloween, like the flick that started it all — Laurie faced the man who turned her into a victim back when she was a 17-year-old babysitter. She unleashed four decades of rage, fear and anxiety during a moment she'd been preparing for across all of that time, and it proved cathartic for her and for viewers alike. This saga was always going to add another sequel, however. As the second part of a trilogy under Green and McBride's guidance, Halloween Kills will also gain its own follow-up in a year's time. When it arrives in 2022, Halloween Ends won't actually live up to its name. No horror movie lover would want it to. Still, it already haunts Halloween Kills — because, like the townsfolk that the latex mask-sporting, overall-wearing Michael just keeps stalking, it feels uncertain about where it should head. First, Halloween Kills sends its three generations of Strode women to hospital, riffing on 1981's Halloween II. Sadly, it also replicates one of the latter's missteps, leaving Laurie there as her nemesis keeps slicing — and splitting its attention around Haddonfield. Here, both Karen and Allyson have also had enough of Michael's nonsense. So has Tommy Doyle (Anthony Michael Hall, The Goldbergs), one of the kids that Laurie babysat on that fateful night all those years ago. So, he rallies a mob and transforms the grieving and scared locale into a haven for vigilante justice; "evil dies tonight!" is their cheer. Evil won't die tonight, which isn't a spoiler. Again, Halloween Ends is coming — and evil won't end there, either. As this franchise has kept looping, twisting and constantly resetting its prior timelines every few films or so, the fact that its source of evil keeps slashing in movie after movie has been one of its strongest thematic weapons. Indeed, Halloween circa 2018 keenly understood that trauma such as Laurie's doesn't fade. It festers; its survivors might learn to cope beneath their PTSD, but their lacerations still pulsate with pain. Halloween Kills tries to expand the idea by focusing on communal rather than individual wounds, and on its setting's shared past; however, thanks to heavy-handed insurrection-style imagery, it plays less as a musing on its underlying suburban nightmare and the distress rippling from it, and more as a weak comment on America today. They can't all slay, obviously — Halloween movies, that is. Michael clearly can and does keep slaying, his body count rising swiftly. When it comes to his murders, Halloween Kills is gory, bloody and gruesome, with Green at his best when he's honing in on the mechanics of its masked maniac's reign of terror. It'd be repetitive if it wasn't so effective, even if it's packaged with smaller doses of tension and suspense. The OG Halloween spawned a spate of imitators for a reason, and still does, but this latest successor lacks its slasher elegance and economy — because Green also enjoys getting flamboyant with Halloween Kills' kills for the sake of it. Perhaps he's trying to make up for sidelining his star, the white-haired Curtis, for so long. Steely as ever, she remains the film's undisputed highlight in the screen time she has, but Halloween Kills doesn't feel like Laurie's story. Or, perhaps Green is trying to distract from the bold move he didn't make. Even in a franchise that plays so fast and loose with its continuity, not managing to bring back Paul Rudd, aka Halloween: The Curse of Michael Myers' version of Tommy, is a huge missed opportunity. Halloween Kills re-enlists other familiar faces, spanning both 1978's and 2018's Halloween flicks. It adds backstory all over the place, much of it filler. It gets Carpenter, his son Cody and godson Daniel Davies to rework the synth and piano-heavy tunes that've served the series so well, after they did the same last time around. Like its predecessor, it slinks and stalks with unease. It pushes women to the fore again, too — women who refuse to simply be mere final girls. But it's also the jack-o'-lantern of Green's trilogy within the broader Halloween franchise: there's enough light flickering in its carved-out pumpkin eyes, but there's also an inescapable by-the-numbers emptiness as well.
Calling all sleuths of Sydney — again. If you haven't fulfilled your murder-mystery fix on the big and small screens over the past few years, and if you missed a whodunnit play hailing from the one and only Agatha Christie last time that it came to town, then you'd best make a new date with The Mousetrap. Here are two questions for you to solve before you get there: why is it a big deal when is it coming your way once more? The answers: as well as being penned by Christie, it's the world's longest-running play; and past seasons have proved such a hit — and sellouts — it's playing Glen St Theatre from Thursday, August 15–Sunday, August 25. Initially premiering in London's West End in 1952, The Mousetrap has been treading the boards in the UK ever since, only pausing during to pandemic venue closures. When theatres reopened in Britain, so did the show. Indeed, when it arrived in Australia in 2022, The Mousetrap did so 70 years to the month that it first debuted. Unsurprisingly, that hefty run means that the show has enjoyed the longest stint for any West End production, and for any play anywhere in the world. So far, there's been more than 28,500 London performances. To answer the other obvious question, yes, it's all about an unexpected body. The murder-mystery starts with news of a killing in London — and with seven people snowed in at a guest house in the country. They're strangers, which is classic Christie. When a police sergeant arrives on skis, they're told that the murderer is among them (which, again, is vintage Christie). They all have wild pasts, too, and all those details are spilled as they're interrogated, and also try to work out who among them is the killer. Those guests at Monkswell Manor include a pair of newlyweds who run the house, a spinster, an architect who is handy in the kitchen, a retired Army major, a man who says his car has overturned in a drift, and a jurist. Naturally, there's another death as they're all puzzling it over — and a twist conclusion, which audiences have been requested not to reveal after leaving the theatre for seven decades now. Images: Brian Gleach.
Bottomless cocktails, waffles and beats... it's hard to think of a better way to banish a hangover on a spring afternoon. Introducing Since I Left You's monthly Beats 'n' Brunch. Doors will open at midday, which is when the bottomless cocktails will start to flow — lasting an hour-and-a-half and helping everyone to settle in, before giving way to drinks specials. Keeping everyone's hunger at bay will be a selection of SILY's waffles (including waffalafels) and a massive dish of something delicious — this month's its a shakshuka, which could well be a contender for the world's biggest. Meanwhile, on the SILY stage will be taken up with live music and/or DJs. Karaoke too depending on how loose things get. Even though this thing's called a brunch, like the others, it'll inevitably carry onto into the late, late afternoon.
Alexander the Great is not your friend. A winner, a military genius, maybe a bit of a multiculturalist. Generations have tried to cast him as a hero, but the gist of his life is much more Game of Thrones. His conquests were a travelogue of ancient, fourth-century life, crossing Greece, Egypt (where one of his generals later started Cleopatra’s dynasty), devouring the ageing Persian Empire and even touching on the edge of India (and, famously and allegedly, its elephants). Alexander has been a symbol of strategy, lateral thinking and gay pride. Over the Sydney summer he's being cast as a bit of a blockbuster, as the Australian Museum and the Ark-worthy, Russian Hermitage Museum have put together a local incarnation of the exhibition Alexander the Great: 2000 Years of Treasures. This show is divided into three big main sections. The first concentrates on Alexander himself and his upbringing. The second looks at the people and places that suffered his military attention across what the Greeks regarded as Asia. The third, and possibly most interesting, of the larger sections concentrates on what Alexander left behind on his death, age 33. (One of the most immediate things being a bunch of generals suddenly at a loose end, with a ready-assembled military machine.) What this collection is definitely not about is everyday life as a Persian or Greek, or even as a Greek soldier. Most of these dazzling Alexander artefacts come from the Hermitage, a collection originally gathered together by another empire builder, Catherine the Great. And this is definitely a monarch's collection, seemingly drawn from the cabinet of curiosities of a powerful woman enamoured with the glories, and past, of a powerful man. This is not necessarily a bad thing. These treasures are glorious. And a modern Australian's look at this period from a lifestyle that is probably much closer (warfare aside) to that of the fourth century BCE's ruling Greeks, than hoi polloi of ancient Hellenism. The gold in this exhibition speaks power. The power of the cultures who made them, the cultures that bought them with conquest and the power of the woman who owned such things, and so many of them. Despite this, what strikes you most among the ancient statuary — their fugitive heads, armour fragments, gorytos or motive vases — is the humanity of the people depicted. Early on a happy Heracles (Hercules), casts his eyes about pleadingly for drinking company. Eros (Cupid) cocks his bow, dropping his visage into his work face. Demosthenes looks pissy. Meleager is zen. In a cabinet of uncannily preserved fourth-century BCE Scythian armour, a breastplate-drawn medusa sticks out her tongue. One of her eyes are missing, but her leer is full of play. The aftereffects of his rule is probably the most interesting of all. It includes ancient artefacts from India, the emergence of hybrid religions and ruler cults, and the occasional Serapis or Priapus (ancient NSFW). There's also an excellent final annex on (very recent) modern representations of the conquering monarch. This is a huge exhibition. It's easy to lose hours just looking at the ancient artefacts while missing some of the more recent or modern pieces hidden alongside. Details like a fragment of an ancient water clock, innumerable coins or immaculately preserved links of Scythain mail armour are apt to get lost along the way. Not to mention the brief video essays along the show's walls assembled from interviews with local (world-class) university scholars. (Or the exhibition's linked program of events and conference.) These interviews provide any number of surprising tidbits, not least Prof. D.T. Potts' reminder that in many places, like Iran, Alexander is not seen as 'the Great'. Why? He reminds us: Alexander killed a lot of people. Image shows a 19th-century reproduction of the Battle of Issus Mosaic © The State Hermitage, St Petersburg, 2012
The Chaser and One Man Show's Chris Taylor is kindly taking us on a tour down Oxford Street. From Woollahra down to Hyde Park by street number. Here we go. 315 - For lease 312 - For lease 307 - For lease 305 - Fashion boutique staffed by a lonely and sad-looking attendant 301 - For lease 295 - For lease 292 - Fashion boutique staffed by an attendant uploading Facebook photos of herself from a party at Backroom last night 284 - For lease 282 - Fashion boutique staffed by an attendant uploading Facebook photos of her recent “modelling assignment” for a student hair show 278 - 280 For lease 259 - For lease 257 - Fashion boutique staffed by an attendant hanging up a 'Back in 5 mins' sign so she can go and have her eighth smoko break of the morning with her friend down at MAC Cosmetics. 231 - For lease 229 - For lease 227 - The sole food shop in the area for 20 blocks 225 - For lease 221 - Multinational fashion store selling the kind of tops and skirts that the Ascham and Kambala girls go shopping for on Saturdays. 219 - For lease 217 - Paddington pub full of middle-aged men watching a Waratahs game 213 - For lease 205 - Multinational fashion store selling the identical tops and skirts that Ascham and Kambala girls go shopping for on Saturdays. 201 - For lease. 193 - Multinational fashion store that still thinks it's cool to play Jamiroquai on the in-store sound system. 185 - For lease 179 - Paddington pub full of middle-aged men watching a Swans game 173 - For lease 168 - MAC Cosmetics where, in the absence of customers, the three attendants take it turn to do each other's makeup. 162 - For lease 157 - Cockroach-infested cafe that offers patrons a choice of nachos or fettucine carbonara. 155 - For lease 143 - Sleek independent bookshop where a half-dozen introspective browsers thoughtfully thumb the new releases, before leaving with the latest Jamie Oliver. 139 - Rival independent bookshop where a half-dozen introspective browsers thoughtfully thumb the new releases, to pass time before their film session at the Verona begins. 138 - For lease 126 - Formerly popular and iconic gay bar that's now a multinational shoe shop. 122 - For lease 116 - Formerly popular and iconic twin cinema whose landlord is so greedy that not even a multinational shoe store can afford the rent. 112 - Pie Face 105 - Empty Brazilian restaurant 102 - For lease 95 - Empty Balkan restaurant, despite owners' best attempts to make it look busy by sitting on the one lone table out the front. 93 - Subway sandwiches 87 - Empty struggling bar and nightclub that clearly must be a front for something else. 84 - For lease 82 - Iconic gay bar full of heterosexual tourists. 78 - Fast food and kebab store where everything in the bain-maries looks as if it’s been there since 1987. 68 - For lease 62 - Pie Face 56 - For lease 54 - Pie Face 49 - Pie Face 45 - Pie Face 38 - Hipster bar that the real hipsters stopped going to 18 months ago because something better, or at least newer, opened up in Redfern. 33 - Pie Face 28 - Hipster bar full of people who couldn't get into Shady Pines. 26 - Gloria Jeans. 24 - Hungry Jack's 22 - Subway sandwiches 15 - Nightclub that’s bizarrely still in business even though no-one's ever seen or met anyone who's ever gone to it. Presumably it has a Pie Face inside it. 13 - IGA store that’s exclusively patronised by the mentally unwell. 301 - For lease 8 - Pie Face 6 - For lease 5 - For lease 2 – City of Sydney sign welcoming people to "Sydney's iconic Oxford Street – the pulsing heart of the city!" 1 - For lease You can currently see Chris Taylor in One Man Show, on in Sydney at the Metro Theatre on May, The Concourse Chatswood on May 2 and the Factory Theatre on May 24. Tickets are on sale now via Ticketek.
In today's unpredictable world of infighting, internets and readily available guitar tabs, it's more probable than ever before that the biggest fan of a band will end up actually in the band. Ron Wood joining the Rolling Stones, Robert Trujillo joining Metallica, and now Jon Davison joining English progressive rock legends Yes (that's right, Yes) as their latest vocalist. "I'm still a Yes fan," he says from somewhere in Los Angeles. "I can't help it, these things happen. In instrumental sections where I'm holding back, I get caught up in thinking 'wow, here are these amazing musicians I've always admired just a few feet away from me — and I have a better view that anyone in the audience!'" With the sprightly American as frontman, the 50-million selling princes of prog are heading to Australia to perform their two finest releases, Fragile and Close to the Edge, from start to finish. I've played with bands for which these albums were like holy texts, and Davison doesn't dispute it. "Close to the Edge is, I think, based on the teachings of Siddhartha — a soul's journey through many lifetimes. It's very beautiful but there's a lament in it, about what the soul must endure, the challenges and the hard lessons we face as we go on. That's how I interpret it." There has been a "touch of the metaphysical" in most of Yes' output, and Davison still decodes their evocative and often cryptic lyrics from the stage. "It's not always a clear meaning. I approach the lyrics more emotionally I guess, but there are parts of songs that I very much relate to. 'And You And I' is heart-expanding, and I love 'Starship Trooper'. Those uplifting ones." Dotted throughout Fragile, meanwhile, are tracks focused on individual band members, the vocal showcase being 'We Have Heaven' — a gloriously overdubby affair. "I'm working on my own version of it now actually, in my home studio. I won't do any of [founding member of Yes] Jon Anderson's tracks, but I'll loop my voice a lot, and possibly Steve and Chris will do some other vocals too. We're going to make it as much of a live track as it can be." Anderson was an expectedly huge influence for Davison while he was finding his own voice, though they haven't become acquainted at any Yes parties yet. "I haven't had the privilege of actually meeting him, but a few who know him quite well say we would be good friends. I hope it happens eventually." The upcoming album will be the band's first with Davison, and they're champing at the bit to keep being, well, progressive. "I was very much encouraged by the others not to try to reference anything in the past, because then you compare and end up restricting yourself creatively. We've been aiming to only move forward and break new ground. Even in their heyday the band were making mindblowingly distinct albums, and we're aiming for that now. There's a real freshness to it; it moves in a new direction and accurately reflects this five-member line-up, just as it should." Despite being the lone American in a band comprised of people old enough to be his English dads, Davison is unfazed. "It's surreal but I seemed to fit in right away. They're very accommodating. What we share in common, of course, is the music — we both speak that language, despite our ages." And in a perfect world, would he sing in any other of his favourite bands? "I'd love to be a part of early Genesis. I wouldn't mind being Freddie Mercury for a day either, that would be pretty exciting." Yes 2014 Tour Dates: November 12 — PERTH Crown Casino November 14 — GOLD COAST Jupiters Casino November 15 — SYDNEY State Theatre November 18 — MELBOURNE Palais Theatre https://youtube.com/watch?v=_RJYxDfsvdg
Sydney will be taken over by art, culture and events in March, when Art Month Sydney returns for another year to fill the city with artist talks, exhibitions and performances. Proud sponsors of Art Month, The Galeries on George St will be participating with what they're calling the Artists' Playground. From March 1-20 the centre will come alive with an immersive displays of interactive art. There will be 12 bespoke pieces curated around the centre, all completed by emerging artists. Art will be integrated into the walls, floors, columns and laneways — in some cases, hidden in plain sight. Customers can uncover the artwork and navigate the exhibition with an Augmented Reality app called EyeJack. Point your camera at each of the artworks to 'unlock' their movement and sound. Unlock all 12 artworks and win amazing prizes from The Galeries' lovely retailers. Artists were allowed to run free with their ideas. On March 2 and 16 (from 11am), performance art will blend its way into The Galeries, with a model whose body will be painted into a backdrop inspired by one of Gorman's exclusive, colourful prints. Another model will be painted to blend into an existing mural within The Galeries, created by Ox King. Also, if you spend $200 or more at the centre from March 1 - 20 and you can claim a SoL Cup (reusable coffee cup) that is printed with a lovely limited edition image designed by Furry Little Peach. Show your receipt at the SoL Cup pop-up on the ground floor between March 1-20.
While you might not want to spend the depths of winter in the waters of Bondi Beach, you will want to cross the road to The Pacific Club on Campbell Parade for $1 oysters. The million-dollar waterfront space — with a luxe fit-out by Michael McCann from Dreamtime Australia Design, the studio behind Mr Wong, The Argyle and Felix — is shucking cheap molluscs every Wednesday in July from 5–7pm (coinciding perfectly with after-work or after-WFH drinks). You'll get a dozen $1 oysters with every beverage purchase. You can go for a fancy glass of bubbles — a Ruinart, perhaps — an Aperol spritz or a kombucha cocktail, as well as something non-boozy if that's more up your alley. If those 12 oysters don't quite satiate your hunger, you could order another round (and another drink), or switch it up with a bowl of burrata with salsa verde ($18), smoked Cloudy Bay clams ($24) or a 250-gram wagyu rump with truffled mash ($45). With current restrictions on capacity, reservations are essential and can be made over here. Top image: Caroline McCredie
When you're making a movie about a well-known historical figure, how do you let audiences know you're not just traipsing through familiar territory? In Churchill, it's as easy as letting the breeze knock a hat from an old man's head. With the film's central figure famous for his headwear, Australian director Jonathan Teplitzky (The Railway Man) wastes no time sweeping away Winston's favoured homburg with a stiff gust of wind. It's an obvious move designed to dispense with the war-time British Prime Minister's usual image. Still, it's an effective one. The hat, the silhouette, the cigar — yes, they're all here in this World War II-era examination of Winston Churchill. And yet this isn't a cradle-to-grave biopic or an applauding portrait of a political icon. You could say that Churchill asks audiences to trust in its approach in much the same way that Winston himself asked the public to believe in him, and you'd be right. Neither always take the standard path; however, when they hit the mark, they well and truly command attention. Set in lead up to the D-Day landings in June 1944, and featuring Brian Cox as the leader in question, Churchill is a film of discussion rather than action. In conversations with King George VI (James Purefoy), US army general Dwight D. Eisenhower (John Slattery), his Boer war pal Jan Smuts (Richard Durden), his dutiful wife Clementine (Miranda Richardson) and his new assistant Helen (Ella Purnell), Churchill talks and tussles with the impending mission in Normandy. His colleagues deem it necessary to stop the advancing Germans. But haunted by the First World War, all Churchill can foresee is the possibility of needlessly sending men to die. What follows is an anxious, depressed and struggling vision of the man once named the greatest-ever Briton. Teplitzky and screenwriter Alex von Tunzelmann are unconcerned with depicting the broad scope of the man's life and legacy. It's mentioned, of course, but on the whole the film prefers to focus on this particular moment in time – and all the contemplation and turmoil that came with it. While plenty of other biopics have done the same thing, revealing the complicated thoughts, choices and emotions plaguing historical icons, Cox's towering performance makes Churchill feel as though it's stepping into fresh territory. Everything around him is competently shot and handsomely staged in the typical historical drama manner. But the veteran actor is the bolt of electricity the film really needs. Inhabiting rather than simply impersonating, Cox falls on the Daniel Day Lewis as Lincoln side of the spectrum, rather than Meryl Streep as Margaret Thatcher in The Iron Lady. Audiences can expect to be captivated by his bluster-filled speeches, even though much of his screen-time involves chatting and looking grim. At least, that's how it appears at first, but then that's the other thing about Cox's turn in Churchill: look closer, and a world of complexity lurks within. https://www.youtube.com/watch?v=RCxUDHY0iWQ
"An idea that is not dangerous is unworthy of being called an idea at all," Oscar Wilde once famously quipped. Sydney's Festival of Dangerous Ideas puts such a claim to the test. For three days, the event transforms the Opera House into a simmering cauldron of probabilities, possibilities and impossibilities. There's no question that can't be asked, no convention that can't be challenged, no notion that can't be overturned. Now in its fifth year, the Festival promises to penetrate the territory of the taboo deeper than ever before. The programme, announced today, features 82 speakers from 10 different countries and 33 hours of discussion across 32 various subjects. Journalist David Simon (creator of The Wire and Treme) will bring his intellectual might and downtown experience to the statement 'Some people are more equal than others', exploring the searing divide that undermines America's claim to the provision of equal opportunity. The perpetual question of gender and power will receive a 21st-century treatment, with Hannah Rosin considering the aftermath of 'The end of men',before joining a panel discussion proposing 'The world is not ready for women in power'. Then there'll be debates on 'monogamy vs. monogomish', the 'death of journalism', and John Safran masquerading as a white supremacist. And that's just the tip of the iceberg. Already feeling fired up? Tix, available in a range of multipacks, go on sale on Monday September 2. FODI runs from 2-4 November.
Trained by an opera singer and influenced by jazz greats Louis Armstrong, Sarah Vaughan and Billie Holiday, Parisian chanteuse Caroline Nin describes her discovery of Edith Piaf as the "ultimate gift". Part tribute, part re-invigoration Nin's show HYMNE A PIAF is a journey through Piaf's "musical life and times", cabaret style. This is a return season - her wildly successful show sold out in July. Don't miss it this time around.A classic femme fatale and a seasoned performer, she has appeared at the Lido and the Sunside in Paris, channeling Marlene Dietrich with cabaret as her "lounge". She'll make you feel right at home in the intimate setting of The Vanguard; re-live Paris of the decadent 30s. https://youtube.com/watch?v=DGSIB-hZAiI
These days, Pokémon GO might just be another unused app on your phone; however the game's cute little pocket monsters aren't staying confined to a small screen. Animated Pokémon movies have been around for almost as long as the animated Pokémon television series, but now the game-to-TV-to-cinema franchise is getting a distinctive new addition: a live-action flick featuring a particularly realistic-looking Pikachu, who happens to be voiced by Ryan Reynolds. While playable Pokémon titles date back to 1996's Pokémon Red and Green for Game Boy, Pokémon: Detective Pikachu is based on the 2016 game of the same name — where, as the title suggests, everyone's favourite yellow, furry creature solves mysteries. He also talks, exclaiming more than "pika!"; is addicted to caffeine, like most of us; and has arrived to help former Pokémon trainer Tim Goodman (Justice Smith) track down his missing dad. The result: basically a Pikachu-and-human buddy cop movie, jam-packed with other Pokémon, of course. Two trailers have been released so far, and if you've spent to much of your childhood catching 'em all when it comes to Pokémon — and, thanks to Pokémon GO, plenty of your adult years as well — you'll be in heaven watching the newest sneak peek, which just dropped this week. As well as lending his acerbic attitude and vocal talents to what's certain to be the world's most adorable detective, Reynolds performed the role via motion-capture, and is joined by Kathryn Newtwon, Suki Waterhouse, Omar Chaparro, Chris Geere, Ken Watanabe and Bill Nighy among the cast. The first live-action Pokémon flick, Detective Pikachu is directed by Robert Letterman, who has Shark Tale, Monsters vs Aliens, Gulliver's Travels and the first Goosebumps film to his name. Catch the Pokémon: Detective Pikachu trailers below: https://www.youtube.com/watch?v=Q8CKgQFo5U8 https://www.youtube.com/watch?v=NzvbzYoQE5o Pokémon: Detective Pikachu opens in Australian cinemas on May 9. Image: Courtesy of Warner Bros. Pictures.
Waterfront precinct The Streets of Barangaroo is getting into the spring spirit with a new public art installation and a series of limited-time activations and specials popping up this November. Australian muralist and figurative painter Lisa King has transformed The Streets of Barangaroo with a series of art installations which include floral illustrations hanging around the precinct and across the area's main staircase. This is all part of Bloom, a celebration of spring and the return to relative normality following lockdown. Accompanying the public art is a series of events and drink specials you can enjoy at the precinct's bars and restaurants. Head to House Bar, Love Fish, Tequila Daisy or Anason to try each of their special Bloom cocktails that include the gin and Rhubi Mistelle Ruby Reviver and the vodka, Aperol, rose syrup, peach and dusted rose petals Kosem Sultan. Over at Barangaroo House, DJs will be on hand to welcome you back to Sydney's nightlife, while United rooftop bar is running its vegan bottomless brunches and pink-hued Euphoric Wednesdays set menu which features a three-course pink meal, 2 cocktails and bottomless frosé.
Do you ever find yourself standing in the bottle shop, staring at the wall of pinot noirs thinking "I feel like I've had that one before" or picking a bottle of riesling for your dinner party based on the look of the label? If this sounds like you, it's entirely fair enough, but wine subscription service DiVino is looking to help you nail down your favourite drops across the full spectrum of vino with a quick-fire wine-tasting party. DiVino is flexing its comprehensive catalogue of white, red, skin-contact and sparkling wines with a one-off, three-hour pop-up at one of Surry Hills' best neighbourhood wine bars. Taking over Bar Suze from 2–5pm on Saturday, April 15, DiVino will have 40 bottles from its collection on hand and ready to be sampled. Expect a spread of samples ranging from old-world classics to new age minimal-intervention varieties. Inventive Australian winemakers like Adelina, Spinifex and Ashton Hills will be represented on the lineup, alongside producers from Morocco, Tuscany and France (yes, there will be champagne). Rounding out the day's activities will be a sabrage station where you'll learn the art of slicing off the top of a champagne bottle with a blade — safely, of course. Tickets are $50 and grant you access to sample as many wines from the 40-bottle collection as you want over the three hours. There are only 50 spots available so purchase a ticket in advance if you want to ensure your place at the party. View this post on Instagram A post shared by DiVino (@divinocomau)
You know the summer slumber is over when even the gallerinas are back at work. Not that they have been on holiday. No, its just that everyone else has. Hamptons, anyone? Just like the traditional putting away of your white shoes after Labour day, Sydney commercial art galleries start to pry open their doors post-Australia Day with the lure of the group show. Last year we saw a bumper crop of group shows where most of the high profile Sydney galleries tackled the GFC head on with emerging (cheaper) artists. This sounds nasty but it actually worked. It really felt like the end of summer, coming up from your last salty wave into February. This year, we are back to stable (staple) group shows, and I am tongueing my tears for the salt. BREENSPACE puts on a good goodbye to summer. Here we see David Haines and Joyce Hinterding, Dani Marti, Tim Silver, Sally Smart, John Tonkin & Emma White with almost all new works across the two gallery spaces. John Tonkin presents a stunning farewell with his last light view of Bondi, Emma White never fails to bring a smile with her wonderful work on 'the beach ball of death', and like a sprawling sea floor of anemone, Dani Marti envelopes us with his face-off portraits, standing guard by the entrance like the red and yellow flags we know so well. It's not all goodbye fun and sun and holidays, it's also hello art world — welcome back! Image: Emma White, A Blank (make your mark already), 2011
In a society as culturally diverse as Sydney, food is an excellent way to highlight community approach and rich global culture. In particular, Newtown is a hub of good food and community spirit. So what better way to celebrate this success than with the Newtown Good Food Fair? On Sunday, 13 October, Newtown will mark Sydney's Good Food Month by playing host to a celebration of food and community. Newtown locals and broader Sydneysiders alike are invited to embark on a taste sensation: sampling a little of everything that the friendly neighbourhood will be offering on the day, for the dirt cheap prices of regular street food. Held in the Newtown Square, the culinary lineup for the day is, in itself, something to celebrate. On offer will be feasts from a selection of Newtown's 'new wave' of food, with spreads put on by Miss Peaches, Newtown Hotel's The Animal, Suzy Spoon's Vegetarian Butcher. Old favourites like Bloodwood, Mad Pizza e Bar, Kuki Tanuki, Rubyos, Twelve, Coopers Hotel and WaterHorse Small Bar will also be there to cook up a bite-sized storm. Newtown Good Food Fair has been organised in association with the Newtown Precinct Business Association, with all money raised going towards the Newtown Community Centre. The event will take place from 11am to 4pm. Image: Miss Peaches.
There's something rather cool about being ahead of the curve when it comes to cinema, watching the latest and greatest flicks on the silver screen well before anyone else. And at Australia's biggest short film festival, you can do just that. The internationally acclaimed Flickerfest is celebrating its 31st year come January 2022, too, so you can expect an A-class lineup of cinematic delights. The annual short film festival is Australia's leading Academy Award-qualifying short film fest, and is backed with BAFTA recognition, too. In January, you can catch screenings under the stars at the festival's beachside home in the northern end of Bondi Beach Park. The outdoor deckchair cinema, supported by Waverley Council, will be set in a glam garden and feature an indoor cinema in the mirrored, circus-style tent The Famous Spiegeltent, which is a spectacle to behold in itself. You can choose from a program of over 200 short flicks from Australia and around the world, handpicked as the most inspiring, provocative and entertaining among the whopping 3100 submissions this year. The program is divided into 29 sessions, so you can catch all the flicks in the genres that interest you most — like comedy, romance, LGBTQIA+ and documentary films. Want to make a night of it? Drop by the festival's new beachside pop-up garden bar for a pre- or post-show drink and snack. Plus, there'll be an ultra-swish opening night gala and closing night event which, for a few extra bucks, you can attend to be part of the action. After wrapping its ten-day stint in Sydney, Flickerfest will share the short-film love, popping up at over 45 venues across the country between February and October. To see the full Flickerfest 2022 program and grab tickets, head to the website. Flickerfest will run in Sydney from January 21–30, before touring nationally from February–October 2022.
Back in 1919, a count walked into Cafe Casoni in Florence, Italy, and ordered a drink. No, this isn't the start of a joke — but it was the start of something. The cocktail was an Americano with a twist — instead of the traditional soda water, this patron wanted gin, instead. And the man? Camillo Negroni. Now, 100 years later, the negroni — a delicious mix of gin, Campari and sweet red vermouth — is one of the most popular cocktails around. So much so, the world now has an entire week dedicated to celebrating the aperitif. Each year, participating bars donate a portion of the revenue of drinks sold during Negroni Week to a charity of their choice. Of course, with 2019 being the centenary of the negroni's inception, things are kicking up a notch. So, to kick off the festivities, Zeta Bar in Hilton Sydney will host a launch party on Monday, June 24, and it's enlisted some of Sydney best bars to take part. 15 Sydney bars — Big Poppa's, Bistecca, Bulletin Place, Burrow Bar, Caffè Bartolo, Continental Deli Bar Bistro, Door Knock, Earl's Juke Joint, Maybe Sammy, Matteo Downtown, Old Mate's Place, PS40, Ramblin' Rascal Tavern, ReccoLab and This Must Be The Place— will be serving their own twists on the classic negroni for just $10 each. Plus, all proceeds will go straight to charity. Yep, every single dollar. Alongside the negronis, there'll be complimentary canapes and antipasti throughout the evening. Meanwhile, DJ Antonio Zambarelli will be providing the soundtrack. For the party, Zeta Bar will be transformed into an art gallery and will showcase contemporary art by Saint Ali, Marissa Mu, Jesse Chick and John Sheehy. The evening will end with the main event, a raffle, where an original artwork painted by 2018 Archibald Packing Room Prize winner Jamie Preisz will be given away. All the proceeds will go towards a mental health charity. Negroni Week Launch 2019 will take place from 6–9pm at Zeta Bar, Hilton Sydney. The event is free to attend but you can register your interest here. Plus, discover more ways to experience Negroni Week with the help of our handy bar finder or on Campari's website.
One of the joys of watching Jessica Chastain on screen is watching an excellent actress at the top of her game. Another, and one that occurs again and again in Miss Sloane, is watching everyone else react to her presence. Whether she's hunting down terrorists in Zero Dark Thirty or playing a scheming sibling in Crimson Peak, no one sharing her scenes seems to know quite how to react — which is a testament to the kinds of roles the two-time Oscar-nominee chooses, as well as the way she plays them, rather than a comment on her co-stars. Ambitious, determined and daring to defy categorisation, the bulk of Chastain's characters simply demand attention. Ruthless lobbyist Elizabeth Sloane certainly does, as does the movie that shares her name. "Lobbying is about foresight," Sloane tells the camera during the film's opening scene, with everything that follows demonstrating the accuracy of her assertion. Miss Sloane starts with a congressional committee, where she has been asked to explain her behaviour during a high-profile job, before jumping back to fill in the gaps. Three months earlier, Sloane worked for one of Washington D.C.'s top firms — until the gun lobby came calling, she put them in their place, and the other side wooed her to lead their cause. Even her new boss (Mark Strong) didn't expect her to do more than put up a spirited fight, but losing isn't something Sloane knows how to handle, particularly when she's finally working for a cause she cares about. Her former colleagues (played by Sam Waterston and Michael Stuhlbarg, among others) swiftly turn nasty and combative. Her new co-workers, including the kindy and impassioned Esme (Gugu Mbatha-Raw), try to adjust to her calculating ways. Sloane herself, meanwhile, stands in the middle, providing not only a compelling centrepiece in a high stakes political battle, but a meaty example of the treatment that plagues strong women. She's a force to be reckoned with — exceptional at her job, capable of handling whatever comes her way, willing to do whatever it takes to succeed and thoroughly unconcerned about whether or not people like her. As a result, she's always a target. Arriving on screen so soon after America not only visibly rejected a vision of female leadership, but was quick to paint the prospect in highly unflattering terms, it's no wonder that Miss Sloane strikes a chord. That applies equally to the film and to the character — though the latter outshines the former, thanks largely to Chastain. Still, as the dialogue flies thick and fast, Miss Sloane proves a sleek, taut and tense political thriller. The film represents something of a change of pace for director John Madden after helming The Best Exotic Marigold Hotel and its sequel; still, the veteran filmmaker proves more than up to the task. First-time screenwriter Jonathan Perera also acquits himself well, spinning an engaging narrative about duplicity, deceit, corruption and control. Of course, if you've ever watched a film or TV show about US politics, you've seen tales like this before. Proficient wheeler-and-dealers have weaved their way through shadowy landscapes on screen before, and painting the American capital as an ethical sinkhole is nothing new – as viewers of The West Wing, House of Cards, Scandal and Veep can all attest And yet, Miss Sloane is never less than involving, even when it feels a tad familiar. Plus, for the record, not everything plays out exactly as expected.
Step back into Japan’s oldest tradition of dramatic art with Theatre of Dreams, Theatre of Play at the Art Gallery of New South Wales. This exhibition features a range of cultural materials, from enigmatic masks and dazzling costumes through to paintings, musical instruments and songbooks. Drawing upon the theatrical tradition of no, often referred to as Japanese Opera, this exhibition will uncover the historical rituals and symbols that shape the refined elegance and complexity of this continuous art form. This type of performance is also interspersed with brief comedic interludes, known as kyogen skits, typically recounting folk tales and anecdotes from everyday life. In representing these two styles, curator Dr Khanh Trinh explains, "These objects are not just functional props but also items of great aesthetic appeal ... the patronage by the military nobility also means that no costs and efforts were spared in their production." There has been an immense effort to preserve the fragile beauty of these objects, handed down through influential households. Dating back to the samurai age, many of these artefacts have never been exhibited outside of Japan. It's a rare opportunity to marvel at the richness and intricacy of one of the world’s most ancient forms of performance.
Victoria's Hot Chocolate Festival is back again this August. And, like last year, it's also bringing the decadence to you. Whether you're a Melburnian who can't make it to one of the three venues outside of town, or you're located elsewhere and you really love hot chocolate, Yarra Valley Chocolaterie is churning out boxes filled with creative hot choccie flavours. Like this year's physical fest, the flavour range is being released weekly — so you have an excuse to order more than a few boxes. To kick things off, there's the Tim Tam caramel bomb, which turns caramel Tim Tams into a ball and serves it with a caramel hot chocolate. Also tempting: the Devonshire kronut version features a berry hot chocolate topped with — you guessed it — a kronut. And, the Snickertini includes shots of Baileys and vodka, while the Dreamtime hot chocolate features lemon myrtle. Fingers crossed that fan favourite flavours like Tim Tam Slam and Golden Nutella Spoon will pop up throughout the month, along with the more adventurous likes of If You Like Piña Colada, Zingy Chilli and Cherry Matcha. All limited-edition hot chocolates come with an extra shot of hot couverture chocolate and handcrafted marshmallow, too. Plus, in previous years, some of the highlights arrived with exploding marshmallows, melting chocolate discs and truffle balls. If the eight-flavour pack each week is a little much — it'll set you back $49.95 — you can also order individual varieties for $6.50 a pop. The boxes are available to order until the end of August, and there's a flat-rate shipping fee of $15 to anywhere in Australia.
Surry Hills cafe Gratia and its nighttime counterpart Folonomo are no strangers to the concept of dining for a cause. The Bourke Street venue donates 100 percent of its profits to charity. Usually, customers choose which of the three rotating charities will get their money when settling the bill. But for the next three months, the focus will be on helping one organisation in particular, as Gratia is transformed into a pop-up OzHarvest Café. From July to September, it'll be sporting a few fresh pops of yellow and a brand new food offering, and all of the cafe's profits will go towards supporting OzHarvest's work fighting food waste around the country. If you're not familiar with the charity, OzHarvest rescues quality excess food from commercial outlets and delivers it to more than 1000 charities across the country, providing much-needed meals to those who otherwise may not have access to any. The same philosophies have inspired the OzHarvest Café. While not all the food will be salvaged food waste, OzHarvest executive chef Travis Harvey has designed a special waste-conscious menu that features lots of ingredients that would otherwise be binned, including food donated by Brasserie Bread, Black Star Pastry and Select Fresh. Here, he's flexed plenty of creative muscle, transforming rescued food into some very clever brunch fare. Expect elements like pickled broccoli stalks, roasted cauliflower leaves, and ramen noodles crafted from bread crumbs. The avocado toast features a pesto made from rescued salad leaves and pumpkin seeds, banana curd will be made from donated egg yolks (and poured onto pancakes) and the house jam is a crafty reworking of excess fruit peels and Black Star's watermelon rind off-cuts. With every $1 spent at the OzHarvest Café by Gratia able to deliver two meals to someone in need, this is brunching for a cause other than your morning hunger. Gratia will operate as the OzHarvest Café by Gratia until September. It's open Wednesday to Sunday from 8am–3pm at 372 Bourke Street, Surry Hills. Image: Bodhi Liggett.
Lost Paradise is back for the fourth year in a row, after selling out its past three incarnations. Returning to Glenworth Valley from December 28 to January 1, the event will host 76 local and international artists, including local electronic goalkickers RÜFÜS, Sweden's Little Dragon, Aussie folk favourites Matt Corby and Meg Mac, Sydney lads DMAs, dynamic Melburnian duo Client Liaison and more. There'll be two new stages this year, My Mum's Disco, where, in between retro beats and '80s kitsch, you'll be playing bingo and banging out karaoke, and K-Sub Beach Club, to be run by Kraken, a collective dedicated to all things Victorian. Main stage Arcadia will host what's been designated as 'indie', while techno and dance will settle into the Lost Disco stage. Meanwhile, the Paradise Club will take care of late night shape-throwers with DJs and surprise guests. If you've blissed your way through previous New Year's Eves at Lost Paradise's Shambala Fields, you'll be glad to know they're making a return, with their cornucopia of yoga classes, dance workshops and meditations. Teachers on the schedule include Ana Forrest, Jose Calarco, Mark Whitwell, Simon Borg Olivier, Nicole Walsh and Mark Breadner. In between dancing and getting mindful, you can fuel up in Lost Village, where a herd of food trucks will be dishing out all sorts of tasty morsels. Look out for Eat Art Truck's hot smoked pulled pork buns, Agape's organic goodies, The Dosa Deli's handmade samosas, Maverick Wings' crispy chicken and kimchi coleslaw, Harvest Life as Tsuru's poke bowls and Cuba Cantina's street food from Havana. Here's what you're in for this year: LOST PARADISE 2017 LINEUP: RÜFÜS Little Dragon Matt Corby Meg Mac DMA's Client Liason Cut Copy San Cisco Tourist Stephen Bodzin Cigarettes After Sex Patrick Topping Jon Hopkins (DJ Set) Jackmaster FKJ Middle Kids Âme (Live) Skeggs Palms Trax Apparat Nadia Rose Sampa The Great Koi Child Mall Grab Dean Lewis B.Traits Roland Tings My Nu Leng Cut Snake Human Movement Billy Davis & The Good Lords CC:Disco GL Tiny Little Houses Alex The Astronaut Nyxen Sloan Peterson Mammals The Ruminators Motorik Vibe Council Robongia Krankbrother Thunderfox Gypsys of Pangea Uncle Ru Ariane Ben Nott Brohn Dibby Dibby Soundsystem DJ Gonz Elijah Something Foreigndub Inner West Reggae Disco Machine Kali and more... Lost Paradise returns to Glenworth Valley from December 28 to January 1. Tickets are on sale now from the festival website. Image: Dave Anderson and Boaz Nothham.
Sydney's rambunctious leotard-loving lads, Bluejuice, are calling it a day. The beloved pop/rock/dance/errrthang ratbags Jake Stone, Stavros Yiannoukas, Jamie Cibej and James Hauptmann have announced their final national tour and an upcoming greatest hits tour to wrap everything up by the end of 2014. "After 13 years of broken bones, broken hearts, sore heads, passive aggression, regular aggression, several arrests, questionable skin infections, and a busload of infuriated tour managers, Bluejuice are announcing they are calling it quits at the end of 2014," says today's press release. Abercrombie-going Purple Sneakers alumni are shedding many a tear today. Since 2001, the beloved Sydney outfit have had one heck of a ride, keeping the chin of Australian music up with three celebrated albums (Problems, Head of the Hawk and Company) on the shelf and still holding the position of most played track on triple j ever ('Vitriol'). https://youtube.com/watch?v=ldBhDmvWFXE Bluejuice have decided to part ways to test the waters in other projects, with the sad intention of giving those leotards a rest. Before they take their final bows, the team will release a big ol' greatest hits album — a retrospective ride dubbed Retrospectable, with all your favourite mid-2000s sticky-floored party go-tos, best bits from their three albums, extra rare content and new single 'I'll Go Crazy', produced by Dann Hume (Sticky Fingers/Alpine). Bluejuice will kick it on their final national tour this September/October. Starting at Adelaide's Uni Bar, the pair will meander through the capitals and rural centres before finishing up where it all started — Sydney (at the Metro Theatre, where many a drunken Bluejuice escapade has roamed before). In one of the most emotionally-charged press releases we've ever seen, Bluejuice's legacy is laid down. "They shall leave behind a body of work of which they are all very proud, and they look to the future with a mix of hope and fear of starvation, not unlike the chick at the end of Children Of Men." Top notch. Bluejuice — Retrospectable: The Farewell Tour (with special guests to be announced) Tickets on sale August 9 THU 25 SEPT — Uni Bar, Adelaide. Tickets via Oztix. FRI 26 SEPT — Capitol, Perth. Tickets via Oztix. SAT 27 SEPT — Red Earth Arts Festival, Karratha. Tickets via REAF. THU 02 OCT — Hi-Fi, Brisbane. Tickets via Oztix. FRI O3 OCT — Coolangatta Hotel, Coolangatta. Tickets via Oztix. SAT 04 OCT — Great Northern Hotel, Byron Bay. Tickets via Oztix. FRI 10 OCT — Hi-Fi, Melbourne. Tickets via Oztix. SAT 11 OCT — Hi-Fi, Melbourne. (Under 18's only Matinee show 12-3pm) Tickets via Oztix. SAT 11 OCT — Village Green Hotel, Mulgrave. Tickets via Ticketmaster and Village Green Hotel. SUN 12 OCT — Barwon Club, Geelong. Tickets via Oztix. FRI 17 OCT — Waves, Wollongong. Tickets via Moshtix. SAT 18 OCT — ANU Bar, Canberra. Tickets via Ticketek. THU 23 OCT — Bar on the Hill, Newcastle. Tickets via BigTix. FRI 24 OCT — Metro Theatre, Sydney. (LIC/ALL AGES)? Tickets via Ticketek.
"They're more scared of us than we are of them," many mothers have told their offspring, soothing fears of monsters, spiders and other scary forces — and in The Boxtrolls, the adage proves accurate. The village of Cheesebridge is intent on exterminating the cardboard-wearing, subterranean-dwelling titular creatures, driven by tales of child stealing, people eating, and rivers of blood. All the benevolent grey critters want, however, is to play with junk and tinker with machines. A lost baby is the source of the boxtrolls' bad reputation, after the villainous Archibald Snatcher (Ben Kingsley) convinces the townsfolk of their involvement. A decade later, the missing boy has been raised by his new pals and christened Eggs (Isaac Hempstead Wright), happy in his existence beneath the streets. Then Winifred (Elle Fanning) spots him, her morbid curiosity soon turning to affinity. Alas, Snatcher's pursuit continues, with the rest of the populace ambivalent to the girl's protests. From animators Laika, The Boxtrolls is steeped in the offbeat and styled in the eccentric; this is the stop-motion studio that brought Coraline and ParaNorman to life, after all. Adapted from Alan Snow's novel Here Be Monsters!, the film shares many aspects with their previous hits: gorgeously grotesque imagery, smart gags slipped amongst endearing detail, a winning blend of the sweet and surreal, and intelligent messages for young and old. With a steampunk aesthetic, directors Graham Annable and Anthony Stacchi lovingly revel in their intricate world, complete with rusting metal, slops of mud, unattractive adults and more. They remain unafraid of letting the harshness of life manifest in the gothic look, albeit lightened by the sense of adventure, the cuteness of the boxtrolls, a celebration of cheese (food, not corniness) and a story concerned with acceptance outside the norm. The weighty themes don't stop there, nor does the studio's penchant for a specific type of material. Outcast children find fondness in things typically considered strange, looking beyond accepted bounds to discover their identities and values. Open-mindedness is championed, just as the blinkered view of most — Snatcher's coveting of social-climbing grandeur, and Winifred's father's (Jared Harris) preference for dairy over his daughter — is skewered. The thoughtful feature even contemplates self-determination and the outsourcing of immoral deeds to the poor through the comic conversations of Snatcher's employees, voiced by Richard Ayoade, Nick Frost and Tracy Morgan. Such high-profile casting tops the delightfully dark film, its talent deepening the characters rather than merely inciting the usual celebrity spotting (although Ayoade and Frost's banter is always a treat). Stitching together the sensibilities of Tim Burton and Roald Dahl, The Boxtrolls is a warm and witty excursion through the weird and wonderful, as well as a true slice of cinematic enjoyment for all ages. https://youtube.com/watch?v=uHfkJMILG4U
Hubs are in. The Festival of Sydney moved its hubs asynchronously around the fringes of Hyde Park this year and the Festivalists (Jurassic Lounge) premiered the Festival Hub undercity at the 2012 Sydney Film Festival’s Town Hall digs. Back again to anchor the energies of this year’s 2012 Sydney Fringe Festival, festival hub Five Eliza will open its dancehall ambience to any number of new and return Fringe favourites, not least of which is the brief resurrection of Newtown pop-up bar, Freaky Tiki. Aesthetic aficionados can let their appreciation loose on Sundays with one of two art markets, 2SER's afternoon of smart arts and lightning art classes. While those with more cacophanous tastes can indulge in its videogame, absinthe or musical sidelines. Sundays in September Eliza is also reviving the late, lamented Freaky Tiki bar for afternoons of art, quasi-Hawaiian aesthetic and art markets, holding you in place with the amiable threat of free coffee and wifi.
Thank you, Germany, for giving us yet another reason to splurge on our favourite fermented beverage. Oktoberfest is getting an Aussie do-over again this year, as Oktoberwest takes over Sydney's inner west, the craft beer capital of Australia. You'll find Young Henrys, Willie The Boatman, Wayward Brewing Co., The Grifter Brewing Co., Batch Brewing Co, Sauce Brewing Co, Philter Brewing and Malt Shovel Brewery providing the beer. Aside from the opportunity to sample limited edition brews, there'll also be food trucks — including slow-cooked meats from Newtown's Bovine & Swine — a pop-up arcade bar, beer bingo and an absolutely killer party. Oh, and of course there'll be tunes. Adelaide rock trio Bad//Dreems, indie punk band Philadelphia Grand Jury and Sydney's 'dumpster diving' Operation Ibis will blast the beats while you sit back with your pint, while Dave Eastgate and Boner Contention (of Frankie's fame) will be leading rock 'n' roll karaoke. Keep an ear out also for The Chats, local band Bloods, with more to be announced.
In late 2015, after a $10.5 million makeover, the Albury Regional Gallery reopened as the Murray Art Museum Albury (MAMA), with a 14-metre-high curved wall and a visionary director named Jacqui Hemsley, who's passionate about getting people excited and engaged. To that end, MAMA is currently hosting its first blockbuster: Marilyn: Celebrating an American Icon. The exhibition, which has come via the USA and Brazil, features a survey of more than 100 works by 50 leading contemporary artists who have celebrated Marilyn Monroe over the last two decades. Being the enduring cultural phenomenon she is, the works span both privately and publicly owned paintings, photos and video from artists such as Andy Warhol, Cecil Beaton, Henri Cartier-Bresson and more. As well as the artworks — which will be on display until Sunday, May 8 — MAMA will be hosting a whole heap of events, including lectures, bus tours, drinks and even a Marilyn lookalike competition. Marilyn: Celebrating an American Icon was organised by Sairally Fine Arts & Consulting, Hamburg, Germany and toured by International Arts & Artists, Washington, DC. Image: Cecil Beaton, Marilyn Monroe (1956/2005), Silver gelatin print, © Cecil Beaton Archive / Sothebys.
I’ll be honest: earlier this year, Belvoir put a wild duck on stage and a small part of me hoped there would be a repeat of the bird scenario in The Seagull. However, given that the eponymous seagull of Chekhov’s play is shot early on and inescapably symbolic, it’s just as well that director Benedict Andrews doesn’t give the audience one to coo over. Instead, Andrews lives up to his reputation as one of Sydney’s most confronting and challenging directors by raising the curtain on the resentful, miserable, and resolutely alienated Masha smoking a bucket bong. In one fell swoop, Chekhov’s nineteenth century Russian country estate is transformed into a dinky fibro shack on the Australian coast where people have very little to do other than get wrapped up in the intricate narratives of their own lives. The flat, grey lake in the distance is, quite often, all they have to focus on. Although the setting is distinctly Australian, Andrews’ maintains simplified Russian character names and places. The ingénue Nina, the diva Irina, the angsty Konstantin, and the middlebrow writer Trigorin all ask questions about what constitutes real happiness, freedom and love; tragically, they seem innately incapable of answering them. Konstantin aspires to write plays that will overpower the artificial constraints of traditional theatre and stages an experimental piece set “200,000 years from now.” When his mother patronisingly dismisses it as “a tantrum disguised as theatre”, her beau’s smiling superciliousness only serves to stoke her son’s simmering Hamlet aspirations. Heart-sick with addled ambition, Konstantin shoots a seagull and offers it to his lover, Nina, but she is “too ordinary” to figure out whether it symbolises his frustrated creativity or her own fragile idealism. The Seagull was described by Chekhov as a comedy; and it is – in a generally bitter and twisted kind of way. Occasional moments of comic relief are provided by Sorin, who wanted to be a writer and never got around to it, but for much of the play Andrews’ cages his performers in a featureless glass box — a placeless place, with no discernible way in or out. In the face of the irrevocable nature of time, Chekhov's characters cling to momentary symbols in a vain effort to define themselves and each other. The Seagull is a meditation on how art produces life and life produces art, and the casualties of the process.
If you were already excited about the Tatsuo Miyajima exhibition opening at the MCA later this month, prepare to psyche up even harder — because now edamame and alcohol are involved. To celebrate the Japanese artist's first solo Australian exhibition, a Cherry Blossom Bar will be popping up on site from Friday, October 28 until March next year. Similar to the pop-up gin bar the MCA put together for last year's Grayson Perry exhibition, the Cherry Blossom Bar will be inspired by Miyajima's work, serving up a menu of izakaya-style share plates under a canopy of cherry blossoms and lanterns — think edamame, gyoza and chargrilled yakitori skewers. Drinks are being mixed by mixologist Jared Thibault (who you'll usually find at QT Sydney) and the selection will consists of Japanese classics, including whisky, sake and themed cocktails. The pop-up bar pays tribute to the Japanese artist, who's known for his immersive and dramatic tech-inspired pieces. His installations largely feature LED lights and counters that countdown from one to nine. However, they never reach zero as Miyajima believes zero is a meaningless, Western concept. As he told Frieze back in 1992, there is no physical zero. It's heavy stuff and you'll no doubt appreciate a stiff sake while staring at the water afterwards. The Cherry Blossom Bar will open on Friday, October 28 and run until Sunday, March 5 at the MCA, 140 George Street, The Rocks. It will be open Thursdays and Fridays from 4pm and Saturdays and Sundays from noon. For more info, visit mca.com.au. Image: Stuart Garske.
Vivid Sydney is gearing up for its tenth anniversary and it has one epic lineup. At Carriageworks alone, an artistic program of music, screen, creative thinking and visual art will take over from May 24. And it's being headlined by Grammy Award-winning artist St. Vincent, who will take the house down with a live performance on June 17. St. Vincent (aka Annie Clark) has been rocking the music game for over a decade now, with breakout hits from 2007's 'The Apocalypse Song' to 2017's 'Los Ageless'. The indie-pop luminary is oft referred to as the "female Bowie". For those who aren't already huge fans, we suggest putting her fifth album, Masseduction, on repeat now. The meta-pop album, which is both strange and moving, was released to critical acclaim in 2017, cracking the top 10 on the Billboard 200. This year marks Carriageworks' fifth Vivid program, which also includes design forum Semi Permanent, Clipped Music Video Festival and electronic and dance event Curve Ball. In 2017 London's electronic duo Goldfrapp headlined, preceded by Bjork in 2016, who took over the precinct with a huge virtual reality project. Needless to say, the multi-arts centre is known for putting on ambitious programs, and this year is slated to be another big one. Images: Nedda Afsari
Proving that Italian food is a universally accepted good for humanity, this year’s Sydney Italian Wine and Food Festival has something to suit everyone. Held at Sydney Town Hall, the festival will feature some of the best Italian chefs in Sydney, including from the kitchens of Pilu at Freshwater, Ormeggio, Balla, A Tavola, Aperitivo, Ajo, Osteria Russo + Russo and Capriccio. They’ll be serving up street-style pizza, freshly made pasta and all the finest dishes you would associate with your imaginary Italian nonna. Alongside them, the Gourmet Traveller food market will offer up 250 of Italy’s finest wines along with all of the most comforting take-home treats, from cheese and gelato to salami and coffee. But the Italian Wine and Food Festival is not just a chance to stuff your face with quality goods; it’s also a chance to learn a little something, with a wine masterclass led by writers Huon Hooke and Max Allen and an olive oil masterclass led by Nino Zoccali from Pendolino. If neither of those liquids satisfy you, make your way to the Espresso di Manfredi’s Espresso Martini Bar, the Menabrea Birra Beer Bar or the festival’s Negroni Bar, where Max Greco from Vasco will be acting as mixologist-in-chief. All this, plus a soundtrack of live Italian jazz and DJs drifting from the wine garden until 9pm. Sounds like la dolce vita. Image: A Tavola.
Can Cava Pinxtos and Wine is giving Sydneysiders a reason to welcome the last licks of the weekend with Sunday Funday. The Bondi bar hosts a weekly party with live music, cheap-yet-fancy booze and Barcelona-style eats. All-day drink specials include $10 cocktails off the seasonal menu — think passionfruit martinis, grapefruit margaritas and daiquiris for summer — and $20 jugs of red sangria. Plus, organic cava, house wine and Estrella beers will all be five bucks apiece. Spanish sounds from flamenco guitarist David Holberton will accompany the drinks from 5–8pm. Of course, the kitchen will be slinging pinxtos throughout the day, including our personal favourites: the whipped goat cheese croquettes ($5 each) and the king prawns with wasabi and paprika ($7). The bar opens at 2pm and the breezy corner spot has plenty of outdoor seating too, making it the perfect spot to round out the weekend after a day at Bondi Beach.
American Express has pulled together a killer lineup for the ultimate live music bar crawl happening throughout Surry Hills and Darlinghurst on Sunday, May 29. The new initiative, Back the Night, will see a selection of beloved venues, bars and restaurants hosting live sets from a huge roster of local music talent performing some of their most intimate gigs to date. The night is being headlined by Gang of Youths who are trading in the country's festival main stages and arenas for underground live music hub Oxford Art Factory. Coming off the band's latest standout album Angel in Realtime, the gig will mark their first show back in their hometown since 2019. The always-popular five-piece will be bringing their high-energy live show to the OAF at the very reasonable Sunday time of 7.30pm. In the lead-up, ticketholders of Back the Night can catch the likes of Boy & Bear, Alex Lahey, Odette, Didirri, Imbi, Jess Kent and Maple Glider popping up around the city. While the likes of Lahey, Kent and Maple Glider can be found at more traditional venues Hyde Park House and The Columbian, Didirri will be performing with Cap Carter at Stanley Street Italian restaurant Bill & Toni's, and Boy & Bear will be making their appearance around the corner at American barbecue joint Surly's American Tavern. All the venues taking part in the night are within a 15-minute walking radius of each other, meaning you can mosey around the inner-city suburbs, catching whichever bands you please. Tickets are $70 and grant you access to all of the different venues. Head to the AMEX website to see the full lineup and set times. [caption id="attachment_655350" align="alignnone" width="1920"] Bill & Toni's, Kimberly Low[/caption] Top image: Andre&Dominqiue via Destination NSW
