The restaurant bar is a curious beast. In recent times, it's gone from being something of an afterthought — at best, a prelude to the main event — to a considered part of the experience in many a restaurant. At its best, a restaurant bar is a destination in its own right. To shine the light on these spots, we've lined up some of the best restaurant bars in Melbourne, Sydney and Brisbane for when you want to elevate your next night on the town. Round up your crew, get the booze flowing and your night is set.
Work on Central Station's massive facelift is set to kick off immediately, with the NSW Government this week announcing Laing O'Rourke's been given the $955 million contract for the job. And what a job it is. Minister for Transport and Infrastructure Andrew Constance says it's the biggest revamp Sydney's busiest train station has seen in decades, claiming that it will "transform the daily commute for Sydneysiders forever". While the station's currently used by around 270,000 commuters daily, that number's expected to hit 450,00 over the next 20 years. The huge operation will see new Sydney Metro platforms constructed beneath the current platforms 13 and 14, as well as the installation of a new 19-metre underground thoroughfare they're calling Central Walk. This will run from Chalmers Street, but unlike the existing one, it will more efficiently connect existing rail platforms to light rail and bus services, and the new Metro platforms. For the first time, commuters will also be able to move between platforms 12 and 23 via escalators. The Central Station construction is expected to wrap up by 2022, before more work continues on the Sydney Metro City and Southwest project. Last November, The Sydney Morning Herald leaked documents from Transport for NSW that estimated the project would cost a whopping $3 billion. All up, the NSW Government plans to build new stations at Central, Victoria Cross, Waterloo, Martin Place, Crows Nest, Pitt Street and Barangaroo as part of the $20 billion project.
You know that feeling where you're begrudgingly up before dawn only to have your heart warmed by a surprise sighting of a hot air balloon set against the sunrise? Well this one's for you — and if you haven't ever experienced such a dawn, this one is really for you. In April, the Canowindra International Balloon Challenge sees the skies above the historic central-west town come alive with the roar of burners and the kaleidoscope of colourful hot air balloons in the atmosphere. The full event takes place over a whole week in April, with official balloon competitions happening throughout the week. The comp involves a number of difficult tasks, the most entertaining of which is the key grab — the aim is to fly your balloon in to try and pluck a large novelty key from the top of a flagpole, with the winner receiving some major dollar bills. There'll also be a campfire cookout and concert on Anzac Day evening (April 25). The final Saturday night sees the Balloon Glow and Night Market, where balloon operators light up their burners in the dark and in time to music.
Mornings, we know them well. Roll out of bed, sleepily shuffle to the kitchen and get that elixir of life into us as fast as possible. Yep, we're talking about coffee. No matter how many cups you get through, each coffee comes with an impact on our environment, from disposable takeaway cups right down to single-use coffee pods. By now you've probably invested in a reusable cup, but what about your at-home caffeine routine? If you're lucky enough to own a super-handy Nespresso machine, there's one simple switch you can make and that's to use Tripod Coffee pods. A sustainable alternative to the George Clooney-fronted pod giant, Tripod Coffee was born from two Aussie cricketers — Steve Cazzulino and Ed Cowan — plus their mate Dave Siegel, and the trio's insatiable love of coffee. When the boys couldn't find the local, eco-friendly answer to the convenience of pod coffee, they decided it was about time someone changed that. "On a rainy day we thought, why don't we have a crack and take on the big boys?" Cowan told Concrete Playground. "We could fill the capsules with coffee that we really enjoy drinking". The result: compostable pods filled with cafe-quality coffee that neatly fit into a Nespresso machine. [caption id="attachment_781754" align="alignnone" width="1920"] Ed Cowan and Dave Siegel. Photography: Kitti Gould[/caption] It's a well-known fact us Aussies love our coffee, so making the switch to Tripod will help reduce the amount of aluminium and plastic going to landfill, which can take up to 500 years to break down. Plus, you won't have to dig deep into your pockets as Cazzulino, Cowan and Siegel believe "Australians shouldn't have to pay more for sustainability," with Tripod capsules priced similarly to Nespresso, costing $7.50–8.50 for packs of ten. So, first things first: the coffee. Tripod sources the best beans around, which are then roasted, ground and packed right here in Australia. You'll find a lot of Central and South American coffees used by Tripod and that's because "the coffees from those areas really suit the [capsule] extraction process," Cowan told CP. Currently, there are seven varieties to choose from, from a light roast to extra dark, single origin, decaf and a blend wholly made from organic and fair trade beans. Because you shouldn't have to choose between a delicious cup of joe and the earth. So how does it work? Tripod's 100-percent certified compostable pods, made from plant-based bio-polymers and sealed with a paper lid, are designed to be broken down in as little as 90 days. You can't exactly throw them into your garden, but you can chuck them into your green-lid wheelie bin if your council accepts food scraps as organic waste, which you can handily check here. If your council doesn't, no worries, Tripod's already one step ahead of you. Closing the loop on the usual issues associated with coffee capsules, the company's Pod-to-Plant program collects your pods for composting with the help of a third party. Just simply add a reply-paid Pod-to-Plant return kit ($10) to your next Tripod Coffee order and you'll get everything you need — and you'll score $10 off your next order, too. If you're into details, the composting process creates two byproducts: nutrient-rich, organic fertiliser and methane. The fertiliser is used by local farmers, growers and horticulturalists, whereas the methane is converted into green electricity. To top it off, Tripod donates one percent of its profits towards restoring the Daintree Rainforest. [caption id="attachment_781507" align="alignnone" width="1920"] @iamdanok[/caption] "We're in the business of eliminating waste and helping people live more sustainable lives. That's the lens for every decision we make — from carbon neutral shipping to the materials on promotional stickers," says Siegel. So, why not go green with your caffeine routine? You don't need to travel far to get your hands on these super-sustainable pods either, because Tripod delivers right around Australia, with free shipping for all orders over $75, or, for smaller orders, at a flat rate of $9.50. If you're in New Zealand, it's a flat rate of $20. Tripod Coffee is combating climate change with one compostable coffee pod at a time. To make your caffeine fix more sustainable, make the switch by ordering yourself a pack or signing up to one of Tripod's subscription services. Lead image: @Bridgetfeyfit
Ryan Matthew Smith doesn't just cook and eat food - he spills its, throws it, sets it on fire and then shoots it with a sniper rifle to make sure. He's also a photographer, and has documented these sick culinary experiments in a 2,400 page tome on the subject, Modernist Cuisine: the Art and Science of Cooking. From collating several individual exposures for one delectable cutaway shot of hamburgers on a grill to shooting a lineup of eggs with a sniper rifle at 6200 frames per second, Smith shot 1,400 images for the cookbook/artwork. Despite little experience in studio work, Smith explains in an interview with Feature Shoot that his extensive portfolio of nature and architecture photography helped prepare him for the task. "Having a strong artistic sense towards photography in general can easily transfer through any of the disciplines from advertising all the way to fine art," he says. [via Coolhunting]
With fresh COVID-19 cases continuing to pop up across Australia and community transmission still a very real issue, the Victorian Government has launched a new travel permit system in an attempt to keep the coronavirus out of the state. Victoria has just chalked up six days straight without any new locally transmitted coronavirus cases; however, with other states experiencing outbreaks in recent weeks, the Victorian Government is now tightening the borders and rolling out new regulations for anyone wanting to enter from interstate locations. After going live yesterday, Monday, January 11, the new permit scheme will now manage all domestic travel into Victoria, using a traffic light-style system to categorise origin locations as red, orange or green — based on their level of risk. It applies to visitors who reside in other parts of Australia, as well as to any Victorian residents returning home from elsewhere. https://twitter.com/VicGovDHHS/status/1348469170472509440 Under the new system, travellers wanting to head into Victoria will need to apply for one of the various permit types, depending on where they've been beforehand. Anyone who has been in a designated red zone — the highest level in the system, which currently covers Greater Brisbane and Greater Sydney — is barred from entering the state. Exceptions apply to residents of NSW/Victorian border communities, and folks who've been in a red zone can also apply to receive an exemption or a permitted worker permit. The former covers instances such as emergency relocations, funerals, essential medical care, and people needing to return home for health, wellbeing, care or compassionate reasons. That said, the Department of Health and Human Services (DHHS) states that exceptions are limited and that they'll only be granted in special circumstances. Victoria will be cracking down on rule-breakers, too — the government has warned that trying to make a land border crossing from a red zone will get you turned away, while attempting to enter by plane or sea without a permit will score you a $4957 fine. Travellers coming from orange and green zones may apply online for a permit. During the application process, you'll be asked where you've travelled to — and you'll also need to answer questions about any symptoms, close contacts and previous COVID-19 diagnoses. Anyone travelling from green zones should get a permit granted easily and only need to monitor for symptoms once they've arrived, as long as you've steered clear of any red or orange zones in the previous 14 days. If you're coming from an orange zone, you'll be required to get a COVID-19 test within 72 hours of your arrival in Victoria, and to self-isolate before and after the test until you're given the all-clear. Of course, the current designated zones and regulations are subject to change, with DHHS advising that "border arrangements are constantly reviewed based on the health situation in each state and territory". When the system went live yesterday, it did so almost three hours after its announced launch time of 5.59pm; however, it is now up and running. For more information on Victoria's new permit system — or to apply for one — head to the Department of Health and Human Services website.
Sydneysiders are about to get another taste of Morgan McGlone's Nashville-style cooking, as new Haymarket food street Steam Mill Lane prepares to welcome the sixth national outpost of Belles Hot Chicken. The city's third Belles follows a slightly different script to the others, with the group's signature menu of fiery chook and natural wines rounded out with a few exclusive extras. That would be the debut of Belles' own wine range, Little Darling, which sees the group collaborate with minimal intervention champions Rob Burley (Unkel Wines) and Barney Flanders (Côtier Wines). The new lineup features a skin contact blend of sauvignon blanc and riesling sourced from the Mornington Peninsula, and a blend of malbec, vermentino and shiraz made on grapes from Gippsland and Heathcote. But the fun doesn't stop there. To celebrate its newest digs and this foray into the wine game, Belles is also launching a series of bottomless boozy brunches at all three of its Sydney venues, from 11.30am every Saturday and Sunday. Pay just $50 and you'll sit down to a decadent two-hour feast, featuring that famed chicken and crisp waffles, alongside unlimited cocktail jugs and bloody marys. The latter sees Belles team up with the crew at Sydney's own Westmont Pickles to create the ultimate AM combo of pickle brine, fresh-pressed tomato juice and cayenne pepper. Other sips include The Southern Charm, made on sweet tea with a hit of Buffalo Trace Kentucky Bourbon, and a lemonade, tea and Tromba concoction dubbed The Arnaldo. All of that is likely to see you rolling out the door — but if you can squeeze it in, the regular Belles menu of mains and sides will also be on offer. Belles Hot Chicken will open at 7 Steam Mill Lane, Darling Square, Haymarket on April 17. Bottomless brunch will run each Saturday and Sunday from 11.30am at Darling Quarter, Tramsheds and Barangaroo. For more info, visit belleshotchicken.com.au.
In November last year, Sydney hospitality giant Merivale confirmed the Lorne Hotel would play host to a fifth outpost of the hospitality group's much-loved Italian eatery Totti's. Now, we have a confirmed opening date for pasta lovers in Victoria. Victoria's first Totti's venue will throw open its doors this Saturday, March 11, with bookings opening later this week on Wednesday, March 8. Launching as the group's first Victorian opening — and the first-ever outside of New South Wales — the restaurant will be helmed by Merivale Executive Chef (and Totti's creator) Mike Eggert, along with Lorne Hotel Executive Chef and Surf Coast local Matt Germanchis. It'll take over the Ground Floor space formerly home to MoVida Lorne, where Germanchis was most recently on the pans. The venue's set to plate up a faithful interpretation of the Italian fare that's earned Totti's its cult status up north, though with a few twists and new creations courtesy of the local chef. Familiar favourites will be in strong supply, from the puffy wood-fired bread to the fresh pasta; while the hotel's location will guide the menu's expansive seafood offering, showing off plenty of locally sourced ocean-fresh inclusions. Similarly, the drinks list is set to zero in on Victorian winemakers and producers, across a broad-ranging lineup of drops for all tastes. As for the vibe, it'll also embrace the restaurant's coastal setting, the space just as well suited to long weekend lunches, as to thirsty walk-ins strolling fresh off the beach. And you can expect foreshore views from every seat in the house. Totti's has proved a winning concept in Sydney since the opening of its OG Bondi outpost. The stable has expanded to include venues in Rozelle, the Sydney CBD and, as of August, Allianz Stadium, where Merivale has taken over the entire food and drink offering. The expansion into Victoria was initially announced back in May of 2021, with the news it had purchased the historic Lorne Hotel to play host to Victoria's first Totti's. Totti's Lorne will open its doors on Saturday, March 11 at midday at 176 Mountjoy Pde, Great Ocean Rd, Lorne. Bookings will open via the Totti's Lorne website at 9am, Wednesday March 8. Images: Ashley Ludkin
Bringing the beloved Mattel doll to cinemas in live-action for the first time, Barbie wasn't specifically made for concert screenings. But with a soundtrack filled with Oscar-winning and -nominated tunes, as well as tracks by Dua Lipa, Haim, Dominic Fike, The Kid LAROI, Pink Pantheress and more, it's certain to prove quite the treat when the hit film makes its way around Australia with a live orchestra playing its music. Yes, Greta Gerwig's (Little Women) take on the iconic toy is returning to the big screen Down Under, this time with Billie Eilish's 'What Was I Made For?', the Ryan Gosling (The Fall Guy)-crooned 'I'm Just Ken' and more performed by the orchestra as audiences watch — all thanks to Symphonic Cinema Presents. Barbie the Movie in Concert's sessions will first kick off in Melbourne at the end of 2025. After that, it's set to tour the country in 2026. So far, only the Victorian capital gig has announced its details, hitting Plenary Theatre at the Melbourne Convention and Exhibition Centre on Saturday, December 13, 2025. It's a Barbie bonanza in the city of late, given that it is also currently playing host to the Malibu Barbie Cafe's first-ever Australian appearance until the end of summer. If you're located elsewhere across the nation, you'll need to wait to find out when the event is coming to you — and giving you another date with the box-office sensation of 2023. Whenever and wherever else it pops up, expect Kenergy aplenty. As viewers already know from the Margot Robbie (Asteroid City)-starring flick, Barbie can be anything. Although screenings of the film can't be President, a Nobel Prize-winning physicist, a diplomat and a Supreme Court justice, or a mermaid, doctor, lawyer and Pulitzer-winner, they can take many guises, such as movie-and-music events like these upcoming screenings. Symphonic Cinema Presents is also touring concert sessions of Top Gun: Maverick, Gladiator and The Nightmare Before Christmas if you're keen to see other beloved films with their tunes performed live in the coming months. Check out the trailer for Barbie below: Barbie the Movie in Concert is playing Plenary Theatre, Melbourne Convention and Exhibition Centre, Melbourne on Saturday, December 13, 2025 — with ticket presales from 10am on Tuesday, August 5 — and then touring the country in 2026, with dates to be announced. Head to the Symphonic Cinema Presents website for more details.
If you missed out on The Jungle Collective's previous warehouse sales, be sure to clear the weekend of May 5 and 6, because there's another one on its way. This one won't just be selling plenty of plants, however — it'll also be giving away freebies. Spend $20 on other natural wonders and you'll go home with a free Devil's Ivy, with 600 on offer. To spread the bonus greenery around, there'll be 100 available per session across the two days: from 10am till 4pm on Saturday and 10am till 2pm on Sunday. For The Jungle Collective newcomers, it's a Melbourne nursery that stocks all kinds of weird and wonderful species. After holding a number of wildly successful Sydney markets this year, it's tracking down new plants and throwing another two-day indoor plant party. This time, it's jungle themed, so dress as a jungle animal. If you show up looking like a giraffe, tiger, lion, zebra, gorilla, monkey, elephant, parrot or leopard, you'll get a $5 discount off of your purchase. Previous sales have had everything from hanging pot plants to palms to a giant Bird of Paradise, so prepare to welcome a few into your home. Have a reputation for killing your cacti? Overwatering your ferns? Don't worry — there'll be horticulturalists on site on the night to give you advice and chat through any questions you might have. It all takes place in St Peters, and registrations are required to attend most timeslots. The good stuff tends to go first, so we recommend nabbing a morning session on the Saturday when bookings open at noon on Monday, April 30. Images: Mooikin.
By this stage, most of us have come to terms with the fact that jetting off to USA or Europe is a seriously long slog, made worse by unavoidable (sometimes long, always painful) stopovers. But Qantas has been pondering making those trips a whole lot more bearable via direct flights from the east coast to both London and New York — even running two trial journeys over the last two months. The aim is to get the routes up and running from Sydney, Melbourne and Brisbane by the beginning of 2023 — as long as the proposed non-stop plan, which is called Project Sunrise, is given the go-ahead by Qantas' top brass. The airline was due to make the call this month, but it's now giving itself a few extra months to weigh up all the necessary details. March 2020 is the new decision deadline. A third trial flight from New York to Sydney was always planned before the future of Project Sunrise was finalised, and will take place on Tuesday, December 17; however the three-month decision delay will also give Qantas extra time to continue their industrial negotiations with pilots. Otherwise, the company looks to be powering forward. Based on current data, the airline has been provisionally told by the Civil Aviation Safety Authority "that it sees no regulatory obstacles to the Sunrise flights," it advised in a statement. Just as crucially, Qantas has chosen its preferred aircraft. If the direct flights do become a reality, they'll take place on Airbus A350-1000 planes, which have been in use in the industry for more than two years. Airbus will add an additional fuel tank to the aircraft, and slightly increase the maximum takeoff weight. Qantas hasn't placed an order yet, but if the non-stop routes go ahead, it'll purchase 12. Back in 2017, Qantas first revealed that it was exploring non-stop routes from Sydney — routes that would eclipse those direct flights between Perth and London, which launched in March 2018. Since then, the airline has been pursuing the idea enthusiastically, putting out a call for aircraft that can handle the trip and widening their plan to include departures to and from Brisbane as well. In numbers, the A350-1000s will need to be able to handle more than 19 hours in the air (around 20 hours and 20 minutes between Sydney and London, and 18 hours and seven minutes from Sydney to New York). Before its current test flights, the airline had done its homework, analysing a decade's worth of wind and weather data to confirm the lengthy routes were actually possible. Right now, the world's longest direct flight clocks in at over 19 hours, with Singapore Airlines flying 15,322-kilometres along its Singapore-to-New York route. Previously, the journey from Doha and Auckland earned that honour, taking around 18 hours to travel 14,529 kilometres. Image: Qantas/Airbus
He sent robots back in time, set sail with the Titanic and transported us to an astounding alien world. Now, James Cameron — ocean explorer, NASA advisor and the man behind some of the most successful blockbusters in Hollywood history — is on his way to Sydney for Vivid 2018. The Terminator, Titanic and Avatar director will be in town for a special in conversation event on Sunday, May 27. Over the course of 90 minutes he'll touch on his career as a filmmaker as well as his passion for science, technology, deep-sea exploration and environmental activism. It's happening in tandem with his new Sydney exhibition Challenging the Deep, and it's your chance to get up close and personal with one of the most pioneering minds in the industry. If you're lucky, he might even let you know when the next Avatar movie is coming out.
You shouldn't need an introduction to what a marathon is but you might need a reminder as to why Sydney Marathon is considered one of the world's premier marathon events. If you're brave enough to sign up for the event on Sunday, September 15, you can take on the full 42.2 kilometres. The good news: Sydney Marathon route planners wisely capitalise on the city's unparalleled beauty so you get to start with a run across the Sydney Harbour Bridge before passing through Pyrmont, Walsh Bay, Oxford Street, Centennial Park and Mrs Macquarie's Chair before your triumphant finish in front of the Sydney Opera House. There are also 4.2-kilometre family-friendly mini marathon and 10km options available if they're more your speed. Don't let the nerves get to you — volunteers, well-wishers and friends will be roaring encouragement along the way, plus you'll get emotional boosts from your fellow competitors. We can't promise it will make the time fly by, but it'll certainly give you that extra push you need. Images: Destination NSW
UPDATE, September 17, 2021: A Star Is Born is available to stream via Paramount+, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. It's been a decade since Lady Gaga's star was born in a cloud of upbeat pop and outlandish costuming, but with her first major film role, it's happening all over again. Stripped of the makeup, outfits and theatricality that have shaped her stage persona since she told the world to just dance, the singer is a revelation in A Star Is Born — both because of and despite the obvious. Belting out heartfelt ballads and throwaway pop alike, she clearly has the voice for the job. That said, it's how she performs when she's not crooning the movie's catchy tunes that's truly special. Like an actor gaining weight or sporting a physical ailment, wiping the gloss off an existing megastar might seem an acting cliche, however Gaga isn't simply playing tourist with normality. The 'Poker Face' popster plays Ally, who works in hospitality by day and unleashes memorable versions of 'La Vie En Rose' in a drag bar by night. An ordinary woman dreaming big, writing her own songs but never thinking that she'll make it, it's a part that Gaga lives and breathes with earthy, unguarded authenticity — almost as though she's been through it herself. The singer is electric in A Star Is Born's early scenes, as boozy country rocker Jackson Maine (Bradley Cooper) catches her club act, convinces her to have a drink with him and sparks fly. When he takes her home the next morning, says goodbye and then calls back to her from his limousine window, Jackson says what everyone watching is thinking: "I just want to take one more look at you". And look he does. Thanks to Jackson, his adoring gaze, and his certainty that Ally has both a genuine voice and something genuine to say, her fantasies start coming true. When he sends a driver to take her to one of his stadium shows, brings her out on stage and they duet one of her songs, the movie's title starts ringing true too. Love blossoms also, but Ally and Jackson's tale is one of rising as well as falling. For Jackson, the combination of alcoholism, hearing loss and childhood trauma leave a wound that only cuts deeper as Ally shines and his career fades. An aspiring talent striving to see their name in lights is one of the oldest narratives in Hollywood's book. In A Star Is Born's case, it dates back to 1937 — or 1932 if you count What Price Hollywood?, whose studio almost sued the original A Star Is Born for plagiarism. Across eight decades now, this sweeping tale just keeps hitting the screen, complete with remakes starring Judy Garland in 1954 and Barbra Streisand in 1976. With Gaga leading the charge this time around, it's easy to see why A Star Is Born keeps glowing. A crash course in the highs and lows of the American dream, it's a fantasy where wishes come true, but where everything has a cost. It's also an underdog story, a star-crossed romance, an account of trying to make it in entertainment, a drama about substance abuse and a warning about fame's many ills. Most of all, A Star Is Born is an unashamed melodrama. While that's a term that's been given a bad name of late, wrenching emotion and heightened drama is exactly what this story calls for. Not only co-starring but jumping into the writer and director's chairs for the first time, Cooper doesn't skimp on sentiment, with every passionate kiss, overwhelming moment and tragic development landing with undeniable force. And yet, his film never wallows in sappiness or spoon-feeds its feelings to the audience – even when it charts blatant plot points that even newcomers to the tale will spot, or suffers from bloat in its mid-section. Seamlessly updating the narrative for the 21st century with co-scribes Eric Roth (Extremely Loud & Incredibly Close) and Will Fetters (The Best of Me), Cooper understands the power of the material. A Star Is Born has been wowing audiences since the 1930s, after all. It helps that Cooper has a knack for visual storytelling, working with cinematographer Matthew Libatique (Mother!). A Star is Born's imagery sings its own affecting tune, with the actor-turned-director favouring shots that are grounded in the emotion of the narrative. Cooper also does his part as performer, both acting the sorrowful part and holding his own when it comes to his vocals. But his biggest gift to the movie is his willingness to let his collaborators glisten. While A Star Is Born is a definite showcase for a debut filmmaker who stars, croons, writes and directs, it gleams brighter thanks to the space and weight given to its cast. Sam Elliott is in astonishing form as Jackson's equally gruff and tender older brother, Dave Chappelle waxes kind and wise as an old pal telling it like it is, and Andrew Dice Clay is warm and protective as Ally's supportive dad. And, jumping from being one of the world's biggest pop stars to playing one of the world's biggest film roles, Gaga is far from the shallow now. https://www.youtube.com/watch?v=ywkF1lj5wyI
Warning: you're highly likely to fall in love with a gift you'll want to give yourself at We Can See. But that's okay — we're sure you deserve it. Located just footsteps from the beach, this light, airy, breezy retail space is a suitably dreamy place to visit. Behind the collection are two close friends who share a passion for well-designed things. Look out for Malibu dresses hand-crocheted in Bali, rafia bags handmade in Madagascar from palm leaves and straw hats handwoven in Venezuela's Guajira Desert. Nearly every object comes with a story, so you can tell your giftee exactly where it came from.
If a trip to SXSW has always been on your bucket list, here's an alternative much closer to home: Australia's own — and first — huge five-day technology and music festival. Called Sound West, the new event is headed to Sydney's west in early 2022, and will combine a two-day conference at CommBank Stadium with three days of live music events. Networking, workshops, mentoring, big tech brands and music industry leaders, performances by local, national and international talent — that's all on the bill. Mark Wednesday, March 30–Sunday April 3 in your diary, as that's when Parramatta will play host to an event that's been three years in the making — after the team behind Sound West conceived of giving Greater Western Sydney its own landmark fest. The end result will take over venues large, small and unique, bring together the music and tech industries, and both recognise and develop the next generation of talent in the two fields. Exactly what'll be on the entire lineup won't be revealed until February — which is when tickets will also go on sale — but Dylan Alcott OAM, L-Fresh The Lion, Khaled Rohaim and Serwah Attafuah will all pop up among Sound West's presenters and performers. Alcott will chat about his accessibility-focused music festival Ability Fest, L-Fresh The Lion will collaborate on a number of singer-songwriter initiatives, Rohaim will discuss his work with Rihanna, Ty Dolla $ign and The Kid Laroi (including working from his western Sydney bedroom), and Attafuah will cover her moves in the NFTs and their relevance to the music industry. [caption id="attachment_831234" align="alignnone" width="1920"] Khaled Rohaim[/caption] The program will also feature keynote addresses, panels, one-on-one sessions, live podcasting and interactive activations. SXSW has been known to get creative in the latter space, so fingers crossed that proves the same at Sound West. And, brand-wise, plenty of big music and tech names will be represented, such as NEC Australia, TikTok, Shopify, Warner Music, Universal Music Australia, Live Nation, Apple Music, ARIA and APRA AMCOS. "This region is going from strength to strength through industry development, investment in research and innovation, and a rich cultural foundation that makes for a dynamic city to live, work, visit and host events," said Stuart Ayres, NSW Minister for Tourism and Western Sydney, announcing the festival. "Sound West is the first of its kind in Australia and will bring together brilliant minds, industry leaders and music enthusiasts to share ideas, network and enjoy the creativity of home-grown artists." Sound West Technology and Music Festival will run from Wednesday, March 30–Sunday April 3, 2022, in Parramatta. The full event lineup will be revealed in February — we'll update you with further details then.
Sometimes, you just need to get away from it all. And what better way to do that, than by escaping to your own private luxury villa, floating offshore from Sydney's famed Palm Beach? Lilypad is a lavish, resort-style escape that's right at home on the northern beaches, and it's just become a whole lot more accessible — while it was previously only available to members, bookings are now open to the public. Of course, it's much more than just a pretty face — the floating paradise has also been built with big respect for its natural environment, running entirely off solar power. And it's been cleverly engineered to remain stable, while still embracing the natural movements and rhythms of the water below. After all, a bout of seasickness doesn't exactly scream 'luxury'. This designer lilypad can only sleep two, but can also be used to host events with up to 16 of your friends and fam. It comes decked out with an on-board, 40-bottle wine cellar — which you have unlimited access to — and comes stocked with a handy array of water equipment, including paddleboards, snorkel gear, fishing rods and a floating daybed. Guests can expect even more luxury, with their own private concierge and a self-drive luxury personal vessel for exploring the surrounds, along with gourmet brekkie by The Boathouse Group and premium booze by Glenmorangie whisky throughout their stay. Throw down even more money if you fancy adding on upscale extras like a private chef, seaplane transfers and on-board spa treatments. To enjoy your slice of floating luxury, you'll need some big cash to splash — the nightly cost is set at $1650. But, if you can somehow splurge for two nights, the booking includes a complimentary meal for two at Barrenjoey House, with the private boat transfer included (naturally). Lilypad Palm Beach is now available for bookings, starting at $1650 per night. It's located off of Snappers Lane Wharf, Palm Beach. Updated: December 19, 2019.
When Stephen King's Doctor Sleep released in 2013, it didn't just return readers to the world of his 1977 hit The Shining — it also meant that a film adaptation became inevitable. Hollywood loves a sequel after all, so it should come as no surprise that the book is indeed headed to the big screen, with the movie's director just announced. Mike Flanagan (Oculus, Hush, Ouija: Origin of Evil) will helm the follow-up, which explores the adult life of Danny Torrance, aka the tricycle-riding tyke at the centre of the first story. And while it might seem like the filmmaker has pretty big shoes to fill — particularly given Stanley Kubrick directed the 1980 classic that became one of the greatest horror movies of all time — Flanagan is no stranger to King's work. In fact, the last credit on his resume is last year's Gerald's Game, as based on the famous author's 1992 novel. A bestseller when it was released in print, Doctor Sleep checks back in on Danny — now going by Dan — who is unsurprisingly bearing emotional and psychological scars from his experiences at the Overlook Hotel. Variety reports that Flanagan will also rewrite the script, which was originally adapted by A Beautiful Mind Oscar winner Akiva Goldsman. Goldsman was also among the writers of last year's awful King-based effort The Dark Tower, as well as Transformers: The Last Knight and Rings. Via Variety.
Some people get over hump day by going to the gym. Others are more partial to a touch of yoga. We, however, love nothing more than an eighties dance aerobics class — complete with extremely colourful, costume-worthy aerobics gear and eighties-inspired leg warmers. And Shannon Dooley's Retrosweat classes fit that exact niche. The party goes down every Wednesday night at 7.15pm at The Yoga Bar in Bondi Beach with a whole hour of sweating to moves inspired by the eighties workout videos from your early memories (and from a thousand memes). The playlist features nothing but the best bangers of the day, and you're encouraged to dig through your mum's old Spandex and costume up.
Performed on Burramatta country, In Situ is both a series of dances within Parramatta Park and an interactive experience for the attendee. Ten of Sydney's best choreographers have create a series of solos, performed by the next generation of dance artists. To find the performances, you'll need to download an interactive map onto your phone to help you locate the various dancers, and, as you draw near to a piece, its corresponding music will begin to play through your headphones. Marrying the rich heritage of the country with the landscape of Parramatta Park and innovative technology, this work from Western Sydney's Dance Makers Collective (The Rivoli, 2020) and performed by their youth company, Future Makers, promises to be a captivating experience. Image: Ro Llauro.
Last year I described the inaugural Handa Opera on the Harbour as "probably the best outdoor event to ever be staged in Australia". This year it is even better. This applies whether you love opera or can't fathom it. There's so much to enjoy in this night out: the transporting music, the lively choreography, the larger-than-life costumes, the themed pop-up bars and that eternal fail-safe: the outlook over the Opera House, Harbour Bridge and other wonders of Sydney Harbour. If your thoughts wander away from the action on the stage, it's to drink in the sense of occasion and feel immediately intoxicated. This year's Opera Australia production, made possible by the funding of philanthropist Dr Haruhisa Handa and the International Foundation for Art and Culture, is Georges Bizet's Carmen, the fiery Spanish love story with the French libretto. It's programming is a good call on many counts. First, there's the music, the familiar melodies of which are giddying. If you don't know the Toreador's Song by title, you might know it as an ad for roll-a-doors, while the trills of Carmen's Habanera are instantly recalled via classic renditions or mash-ups of the likes seen in the 2001 Beyonce/Mos Def/Lil' Bow Wow TV movie, Carmen: A Hip Hopera. It's also a show that takes place mostly among the underclasses and so has the grungy charm of a West Side Story, Lock, Stock and Two Smoking Barrels or other perennial of popular entertainment. Director Gale Edwards and her team have moved the setting forward 60-80 years into early 20th-century Spain under the fascist rule of Francisco Franco, which adds an appropriate air of oppression given Carmen's literal and romantic imprisonment. The revamped setting also gives designer Brian Thomson a clear aesthetic to work with, and the design elements cohere better than in last year's La Traviata. It's a glam military-industrial look that lends itself nicely to neon, fireworks and tanks swinging in on cranes. The Carmen set may look like its been built to be viewed from the Opera House (from where you can read the giant letters as if they're the Hollywood sign and you're on Mulholland Drive), but its real value is definitely seen from the stadium seating at Mrs Macquarie's Point. The reverse of the letters is moodily rusty, lit in many different ways and hides scaffolding that is impressively utilised during the show. One of the best non-traditional additions to the opera is the contemporary, pasodoble- and seguidilla-inflected dance numbers choreographed by Kelley Abbey (a familiar name to US So You Think You Dance fans who also has a long history in Australian musical theatre). Coupled with the costumes of Julie Lynch, they add a flamboyant sense of passion and spectacle. I've left it till late in this review to delineate the plot of Carmen, because it's not that pivotal. Carmen is a freethinking gypsy who has to choose between the bullfighter she loves and the military officer she kind of likes who busted her out of prison once. And because it was written in more misogynistic times, one of these men will have to kill her. It's not too deep. On the plus side, the music of Carmen quite clearly communicates character and even emotional struggles within characters, an aspect of opera that can usually be hard to grasp for beginners. The drama is well paced, although the denouement happens all of a sudden and perhaps more could have been done to make it feel like a real ending. With state-of-the-art sound only audio engineers could distinguish from concert hall acoustics, Opera on the Harbour is a polished production and an accessible way to experience opera. It's not cheap, but the $79 C-reserve seating at least affords a decent view (unlike most opera houses) and the tapas dining option is reasonably priced and quickly dispensed. And with the balmy March of 2013, you've every chance of a dry, dreamy night. Thanks to Opera Australia, we have two double passes to give away to Carmen on Saturday, April 13, and Sunday, April 14. To be in the running, subscribe to Concrete Playground (if you haven't already) then email us with your name and postal address at hello@concreteplayground.com.au. Carmen closes on April 14.
It has been almost ten years since Franz Ferdinand released their game-changing track 'Take Me Out' and got the world banging their heads and shaking their hips to their guitar disco sound. Now almost a decade on they are still going strong, releasing their fourth studio album Right Thoughts, Right Words, Right Action in August to critical acclaim. Franz Ferdinand were once one of the hottest bands on the planet and whilst their live performances have always remained electric, they have never quite musically matched their debut — until now. Their new LP has truly rediscovered the energy and sound that enthralled us all on that initial release and has set them back on the path towards greatness. Now the Glaswegian quartet are taking the right action and bringing themselves to Australia. Whilst originally slated to be here for the now-cancelled Harvest Festival, the band have thankfully elected to stay on for an east coast tour that will be stopping in Sydney at The Metro Theatre on Friday November 15. So why not head down and see what all the renewed fuss is about?
Comedian Kyle Ayers was enjoying the view from the rooftop of his New York City apartment one day with some neighbours when a couple in the midst of a heated squabble suddenly appeared. So what did Ayers do? Politely look the other way and mind his own business? Of course not. Like any good social (media) Samaritan, he whipped out his smartphone and started tweeting about the whole ordeal. His series of live-tweets of the couple's retorts caused quite a buzz in the Twittersphere and was traceable by the fitting tag, #roofbreakup. He started the sequence on Saturday evening, saying "A couple is breaking up on my roof right now. I was just trying to enjoy the view. Now I will live tweet the breakup." Rapidly reporting the exchange between 'guy' and 'girl' (who we later learnt was named Rachel), Ayers captured their dislikes of friends, questions of moving in together and accusations of infidelity. Highlights include: "Say something else about my fucking wardrobe" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "I'm not looking for marriage, just what's right below marriage" -girl #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "Your roommates are fucking assholes" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "You think I'm immature? Calling people immature is immature!" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "Do you love me?" -girl (OH BOY HERE WE GO, PEOPLE) #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 "My roommates are always like 'wheres your boyfriend?' And I'm like 'hmm' and stuff." -girl #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 This guy is four cigs deep right now. #roofbreakup #teamrachel — Kyle Ayers (@kyleayers) November 17, 2013 "I don't think we need to talk about this up here with some random guy over there." -guy (uh oh, I'm that guy over here) #roofbreak — Kyle Ayers (@kyleayers) November 17, 2013 "He's just sitting on his fucking phone he doesn't care (talking about me). Answer my question." -girl (hahahahahahaha) #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 and the royal cherry on top: "Are we getting pizza or what? I don't mean to change the subject but are we?" -guy #roofbreakup — Kyle Ayers (@kyleayers) November 17, 2013 The guy, who was furiously chain-smoking the entire time, finally declared "I'm not talking about love on a roof in Brooklyn." Clearly, this is the 21st century's adaptation of Clark Gable's famous retort, "Frankly, my dear, I don't give a damn." How debonair. Read the full #roofbreakup tweets on Storify. Via Huffington Post.
Asian food is everywhere in Australian culture, and it's about to experience another twist in the form of Sens-Asian, a showcase conjured by Luke Mangan. Think of it as a warehouse party with an Asian street market vibe, cocktails and great food. Katherine Sabbath, Black Star Pastry and N2 Gelato. You've seen their creations on Instagram; you've probably double-tapped those creations. They'll be there producing delicious Asian-inspired desserts. Mangan and MOJO head chef Wayne Lee will be holding down the savoury fort and dishing up things like Taiwanese fried chicken and soft shell crab po'boys. We wish we had a third hand to hold a Singapore Sling. Food starts at $15. A live DJ will be providing tunes, and to top it all off, Sydney street artist JUMBO will be there completing a large-scale piece on the warehouse roller doors.
Sydney's Nantes have been hovering just under the radar for a couple of years now, winning hearts and minds while seeing single after single gets added to Triple J. And now, following the recent release of BeingsBeing, their debut album, Nantes are hitting the road to bring you their take on atmospheric synth-indie-pop. Joining them are Battleships a Sydney-based band of transplanted Queenslanders making noise overseas as well as in this suburnt country. They list bands like The National, Elbow and Boxer Rebellion among their influences, and there's definitely a similar mesmeric, melodic quality to songs like 'Your Words' and 'Coming Back to You'. Both acts have been a staple of local festivals for a little while now, although they tend to be on right at the start of the day along with all the other undiscovered gems, at a time when most of us are still trying to decide which ironic T-shirt possesses an acceptable level of street-cred. And if you're worried about parting with $20 for their GoodGod show, they're doing it for free at Bondi's Beach Road Hotel on Wednesday, April 10. https://youtube.com/watch?v=8IaHeTxqUKs
Whatever Pedro Almodóvar and Penélope Cruz happen to be selling — and whenever, and in whichever films — audiences should always be buying. It isn't quite right to liken the acclaimed filmmaker's long-running collaboration with one of his favourite leading ladies to commerce, though, so another comparison fits better: whatever this duo birth into the world, viewers should embrace as a parent does a child. Across four decades now, the Spanish pair has gorgeously and soul-stirringly made cinematic art with the utmost understanding of how to make people feel. They know how people feel, too, and have the combined resumes best exemplified by Live Flesh, All About My Mother, Volver, Broken Embraces, Pain and Glory and now Parallel Mothers to prove it. Their shared filmography also constantly demonstrates another essential insight into human existence: that life is emotion, whether facing its beginning, end or both. Now helming his 22nd feature, Almodóvar has long filled his works with other recurrent inclusions and fascinations, many of which also burst onto the screen again here. When he initially united with Cruz on 1997's Live Flesh, she gave birth on a bus; in their second pairing, the Oscar-winning All About My Mother, she played a pregnant nun; with their most recent collaboration before this, Pain and Glory, she was mum to the writer/director's fictionalised surrogate — so that she's one of his titular matriarchs now is vintage Almodóvar. He brings back another of his veteran stars in Rossy de Palma (Julieta), paints with the vibrant-toned costume and set design that make his movies such a blissful sight for colour-seeking eyes, and focuses on mothers of all shades navigating life's many difficulties as well. Yes, Parallel Mothers is classic Almodóvar, but nothing about that description ever simply unfurls as expected. As the movie's moniker indicates, Janis, the almost-40 photographer that Cruz (The 355) inhabits with the quiet force and fragility that's second nature whenever she's directed by Almodóvar, is just one of Parallel Mothers' mums. Teenager Ana (Milena Smit, Cross the Line) is the other and, despite the feature's title, their stories keep converging. The two first meet in a Madrid hospital, where they share a room, give birth simultaneously, chat about how they're each going it alone with no father in the picture and quickly form a bond — as different as they otherwise appear, down to contrasting sources of support (Janis' brightly attired magazine-editor best friend Elena, which is where de Palma pops up, versus Ana's self-obsessed and distant actress mother Teresa, played by Estoy vivo's Aitana Sánchez-Gijón). Janis and Ana descend separately into motherhood afterwards, but twists of fate keep bringing them back together. Soapiness, aka the kinds of narrative developments characteristic of daytime TV, is another of Almodóvar's touches. But while his career has spanned films light and camp, dark and serious, and almost everything in-between, he inherently recognises that the line between what's dismissed as melodramatic contrivance and what people do truly experience is thinner than a blue slash on a positive pregnancy test. He unravels Parallel Mothers' story with that notion beaming underneath, and while also tackling a real and grim chapter of his country's history that he's never overtly confronted in his work. Before Janis and Ana can meet again and again, their lives and those of their infant daughters' forever intertwined, Janis gets in the family way to anthropologist Arturo (Israel Elejalde, 45 rpm) — who she snaps at a job, then asks to unearth the mass grave in her village that she suspects has housed her great-grandfather's body since he went missing in the Spanish Civil War. A lesser filmmaker would fail to convincingly stitch together Parallel Mothers' past and present, and wouldn't turn the picture into a missive of hope for the future as well — an ode to the ways in which women have weathered the ills, woes, wars and heartbreaks of oft-absent men, and a musing on how acknowledging that reality is a key step to reshaping it. Almodóvar is an exceptional filmmaker, of course, and so every bold move he makes here excavates multi-layered complexity, emotion and, to borrow his last release's name, pain and glory. His embrace of soap opera-style twists and the lingering shadows of Spain's recent history in tandem is chaotic, but his film never sports that air because it accepts it all as truth. There's no heightened histrionics — just the awareness that life is emotion because it's a state of ongoing trauma, as peppered with snatched moments of happiness and learning to appreciate what you can so that you can keep going on. Warm and radiant, and as great as she's ever been for Almodóvar or in any feature, the magnificent Cruz internalises this concept — of enduring and persevering, whether in tirelessly striving to finally exhume her family's past, in lucking into becoming a mother, or when faced with a certainty that's the stuff of maternal nightmares — so completely and sensitively that she's sheer on-screen perfection. There's nothing thin about her performance, but you can see right into it, gleaning the whirlwind of complicated factors that push, pull, swirl, sway and motivate Janis' every choice. She's amply matched by Smit, who turns in a far more internalised portrayal, but one that's still a revelatory portrait of resilience and resolve in its own way. That said, Almodóvar may love his strong female leads, but he also adores flaws; in his movies, no one is faultless, and his characters and the performances behind them are all the more powerful for it. Also potent: Almodóvar's style, rampant as it is, and what it conveys about the tale he's telling. His work is never just about what happens, but how — and with his players, the same rings true in their actions — so all of the colours, deep-focus shots, close-ups of Cruz and Smit's faces, mirrored images featuring the pair and sometimes-sudden edits that bring this picture to fruition are pivotal pieces in Parallel Mothers' puzzle. The mastery of the director's returning technical talents (cinematographer José Luis Alcaine, composer Alberto Iglesias, editor Teresa Font, costumer Paola Torres and production designer Antxón Gómez, all back from Pain and Glory) helps shape the film into a haunted Hitchcockian thriller at times, for example, as well as a clear-eyed look at Spanish history. It's as visually arresting as an Almodóvar movie can be, too, and interweaves its seemingly disparate approaches as commandingly as it does its chalk-and-cheese narrative threads. Sensual and savvy and always sublime, Parallel Mothers sells everything within its immaculate frames — and surrendering to its emotional, visual and thematic pull is as natural as life and death.
The Taika Waititi school of acting gave Julian Dennison one of his first-ever roles in Hunt for the Wilderpeople, and James Rolleston his debut in Boy. Seven years after the former and 13 since the latter, the two play brothers in another coming-of-age effort: Uproar. That cheerworthy casting is joined by Our Flag Means Death co-stars Rhys Darby and Minnie Driver in a film that's not only warmhearted, but always feels as if it's practising one of the messages that it's preaching. Set amid 1981's infamous Springbok tour of New Zealand — with South Africa's rugby union team playing games across the nation, and inspiring protests against both apartheid and Aotearoa's treatment of its Māori population as it went — this is a movie about a cultural awakening, and about finding and embracing community. Behind the lens, Uproar's directors have teamed up, too, with Hamish Bennett helming his second feature after 2019's also-heartfelt Bellbird and Paul Middleditch back in the chair for the first time since 2013's Rapture-Palooza. When it told of a father and son struggling to connect, and just struggling, after the loss of the family matriarch who bound them together, Bellbird traded in the same kind of poignancy that seeps through in this engaging charmer. With its sports-meets-politics narrative, there may be few doubts about where Uproar is headed; however, Bennett and Sonia Whiteman's (The Disposables) script — as based on a concept by Middleditch and first-timer Mark Turnbull, a screenplay by Keith Aberdein (The Last Tattoo) before that, and boasting additional writing by Mario Gaoa (We Are Still Here) and actor Rachel House (Heartbreak High) — knows that reality and movies alike can follow a familiar path and be no less affecting and resonant. In another memorable addition to his resume that shows his emotional depth, especially in a potent late monologue, Dennison plays Josh Waaka, 17-year-old son to British-born widow Shirley (Driver). He's dutifully in St Gilberts School for Men's 2nd XV when the 1981 tour comes to Dunedin, but largely because much about his existence is dutiful. His father was a local rugby star. His older brother Jamie (Rolleston) was a former Junior All Black before his career was cut short by injury. To make ends meet, Shirley cleans at the school — and imposing Principal Slaine (Mark Mitchinson, Evil Dead Rise) ensures that the Waakas feel grateful. In fact, when Slane requests that Jamie help coach the 1st XV, he's hardly asking. And when Shirley says that he will, she gets the reluctant Josh a spot on the higher team as part of the arrangement, telling him that it'll set him up for life. Staying out of the public debate about the Springboks is also expected of the St Gilberts' cohort, in a place that's against taking a stand against discrimination yet fine with Josh spending his lunch break alone in the library to avoid his openly racist classmates. But that isn't the community that he wants as his own even before he crosses paths with the marching Samantha (Erana James, Bad Behaviour) while delivering catalogues with his best friend Grace (debutant Jada Fa'atui), and gets a reminder that her Māori heritage is his as well. And, being surrounded by books and silence soon isn't his only option between lessons. English teacher Brother Madigan (Darby) spies a potential actor in Josh, who needs encouraging to join the drama group, then wows his way into auditioning for NIDA in Sydney becoming an option. Outrage frequently makes its presence known in Uproar's crisply lensed frames: in Samantha decrying the country putting sports above equality in any way that she can, in the engrained prejudice that festers against NZ's Indigenous inhabitants daily, in clashes on the street and even within activist meetings, where saying that you're an ally isn't the same as truly understanding having one's land taken. The film's name also comes into play another way, though, as Josh's existence erupts in chaos. As tales about teens becoming adults often do, Bennett and Middleditch's movie tells of change rippling through almost everything that its protagonist thought that he knew. New causes to champion, new connections to his culture, new dreams to chase, new friends, new futures, a new purpose in life that echoes among his nearest and dearest: compared to the pre-tour status quo, this is indeed an impassioned uproar against just getting by, settling and never speaking up. Since his time as Ricky Baker, Dennison has enjoyed big-budget stints in Deadpool 2 and Godzilla vs Kong — and in the festive The Christmas Chronicles: Part Two — but this is his best role since getting stranded in the wilderness for Waititi. The likeable pluck and wit that endeared him to audiences then is layered with searing determination and angst here, while never forgetting humour as well. As Jamie is pushed to rediscover more than just his room and his disappointment at fate, Rolleston is also stellar, as he similarly was in The Dead Lands, The Rehearsal and The Breaker Upperers. The subtlety of Darby's kind and caring performance doesn't go unnoticed, either, and nor does the quiet fortitude of Driver's turn. At the heart of Uproar's key characters, which includes Samantha and Grace, is that other recognisable high-school feeling: being an outsider. That isn't purely an adolescent experience, of course. It hasn't avoided the star player now unable to take to the field, the woman whose marriage wasn't embraced by two families in two countries or the teacher who doesn't fit in — and it certainly hasn't evaded an entire culture that's been made to feel like its home wasn't its own for centuries thanks to the ongoing impact of colonisation, or other First Nations people with similar stories. As it sees and unpacks each of these layers, Uproar sees why living up to its moniker is so important, and also how. It spies the many methods of pushing back and sparking a ruckus. It knows the power of fighting for what's right, just and decent communally. And it wouldn't be as moving without its cast, but that's what coming together means.
Start your patriotic shenanigans on Australia Day eve with, um, six hours of American hip-hop. The Cliff Dive, Sydney's favourite tiki bar, will be taking a trip back to the noughties, with all the artists that ruled the decade: from 50 Cent and Ja Rule to Chingy and Nelly. There's even a 20-minute Rihanna marathon promised in the mix, courtesy of Nes, resident DJ. The event is the second in the venue's Naughty Noughties series. The first was so over-crowded with shakin' booties that The Cliff Dive's party-loving folk couldn't help but organise another. Joining Nes will be Nick Lupi, who's one-half of Spit Syndicate, one-seventh of One Day, has played Splendour and includes a bunch of G-Unit in every set, as well as King Lee, doyen of Sydney clubbing and deliverer of bangers. Meanwhile, 24 Karat Kev will be taking care of the MCing.
If Christmas sent your credit card into overdrive — meaning you now have no spare cash for NYE tix — then The Bucket List's free NYE Beach Party might well be for you. Doors will be open from midday, bringing you DJs, a summery menu and cocktails — all within eyeshot of one of the world's most famous beaches. The musical lineup, kicking off at 5pm, is headed by globetrotting DJ Kaz James, who, in the past year alone, has played Coachella with Seth Troxler and Skream, opened Ushuaïa's new underground spot and appeared at Nic Fanciulli's Social Festival. Hot on his heels are Nicky Night Time, Murat Kilic, Robbie Lowe, Herman, Mikey Bam Bam, Maga (Scorpios Mykonos) and Sucre Sale (France), as well as special guests. The party goes until 2am and bookings aren't available. We're guessing you'll need to get there early.
The stage is about to get saucy this weekend as finalists shimmy and sparkle away during the Miss Burlesque Australia 2012 Competition. Set to woo audiences and judges alike, Oz's brightest burlesque stars - one from each state - will take to the stage in a succession of themed performances. Each will show what they've got in a 'Classic', 'Gown Parade', and their choice of a 'Unique' or 'Neo' performance. Not brushed up on your burlesque lingo? Not to worry: these ladies will spell it out in feather fans and sequins. Not to be left out, burlesque-loving guys will compete in the pageant's first ever Mr. Boylesque Competition. Male entrants from around the country will perform their most outrageous 'Unique' routines in hopes of winning that crown. Regarded as one of the world's leading burlesque pageants, Miss Burlesque Australia 2012 promises to deliver the very best of this revived, tongue-in-cheek art form. Prepare for the finalists' one-two punch of sexy and sassy; it's bound to be one hell of a show.
A psychedelic, space-rock show like no other, The Flaming Lips have been putting on incredible live acts for three decades. Their music is meant for an outdoor festival stage, and for Sydney Festival 2016, they'll be playing out in the open at The Domain — for free. No catch. For the fanatics out there who want to get up close and personal, there is also $50 VIP access passes on sale now, which allows you to jump the queues and sit front-of-stage. Fifty bucks for premium viewing of one of the best live acts around? Now that's a VIP event we can get on board with. Check out more of the best Sydney Festival events under $50 here.
Even a ridiculously large prosthetic nose won't stop the charming Richard Roxburgh from getting the girl, as audiences will discover when he takes the stage as Edmond Rostand's large-nosed hero in the Sydney Theatre Company's upcoming production of Cyrano de Bergerac. Andrew Upton's adaptation of the 1897 French love story will star Eryn Jean Norvill (Romeo and Juliet) as Roxane, Roxburgh's love interest. The historic love triangle is completed with the handsome but dimwitted young Baron, Christian, to be played by Chris Ryan (Thyestes). Whether you're familiar with the classic tale in the original French verse, or if you only recognise the story from Steve Martin's depiction of Cyrano in the '80s romantic comedy Roxanne, this play promises both laughs and a poignant take-home message about how wordplay, swordplay and panache can trump brainless beauty. Just be prepared for lots of nose jokes. Cyrano de Bergerac is on from November 11 to December 20 at the Sydney Theatre, and thanks to STC, we have three double passes to give away to the performance on Tuesday, November 18. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email win.sydney@concreteplayground.com.au with your name and address.
Books and good lighting have never seemed to go together. As a child I was always encouraged to read less, because "you'll ruin your eyes!" Clearly my parents never anticipated that glasses would become cool. Regardless, I spent most of my childhood reading in bad light, and I am now quietly smug that I have reached my early twenties and have never had a cavity despite refusing to drink milk, have curly hair without eating my crusts, and have perfect vision, unaided by optometrists, despite having spent most of my life with my head in a book. Now Swiss designer Boris Dennler, in his 2007 series of lamps entitled Livresse, is bringing books and good lighting together in one lovely, yet contradictory, invention. Dennler has chosen to re-purpose books, an item frequently overlooked when it comes to the world of interior lighting, and transform them into eco-friendly lamps. The books are turned into fully functional soft-lighting lamps without causing damage to the pages, and can be easily changed if you need to swap your Mills and Boon lamps for early French philosophers. The lamps are also portable, so you could easily freak people out by hanging them from the trees. Recycling at it's best. [Via Designboom]
As always, it's a rough time for those involved in local, independent theatre. The intimate, upstairs theatre at the Tap Gallery in Darlinghurst will be closed from November 5 until further notice. What started as a complaint about fire safety in July, then turned into a council problem. The theatre space never actually received approval to open and now owners need to lodge a development application as well as provide disability access. "We are all terribly upset, but our duty of care towards our patrons and their guests requires that we close the space while we assess our options," reads a statement on the venue's website. "Meantime, our good friends at Sydney City Council are working with us to investigate and resolve a way forward." The venue has been home to a few very successful shows recently, and the news comes as a shock to those in the industry. Audiences were packed into the 50-seat space just a few months ago for Lobby Hero and Penelope. The theatre had further shows lined up including Playing Rock Hudson which was due to open on November 6. All upcoming productions have since been cancelled. "We had heard the rumours, but had been assured by the venue that they would not be closed," the show's artistic director told SMH. "I think Sydney needs to take a look at its independent scene. In terms of venues, there are very few legitimate options for independent artists." At least there's one silver lining: if you're an indie theatre producer looking for a rehearsal space, Tap is offering discount rates. The theatre is available for hire for $25 per house or $200 per day. Hopefully, there will be somewhere to actually put on the show once you're done. Via SMH.
Whether you like them filled with jam and cream, or prefer plain cake all the way, the lamington is a perfect dessert. It's a piece of sponge cake covered in chocolate sauce and desiccated coconut — what's not to love? And, as excellent as it is on its own, it also fares exceptionally well when it's combined with other foods. Everything from lamington gelato to lamington milkshakes have already proven this fact, as has lamington-flavoured vodka, too. The next creative take on this Australian favourite? A lamington-croissant hybrid — which, for lamington purists, is definitely cube-shaped. It now exists thanks to Banksia Bakehouse, which is serving them up from Monday–Friday in Grosvenor Place on George Street. The bakery makes its lamington croissants in the same way as its regular croissants; however, in this instance, it cuts the pastry into a different shape with thicker layers. Then, once baked in its special type of cake mould, it is coated in dark chocolate and shredded coconut. It has to be — it wouldn't be a lamington otherwise. It's also filled with dark chocolate coconut ganache and strawberry rose jam. It takes time to concoct and perfect a hybrid dessert like this, so the lamington croissant has been in the works for a few months, and was originally only going to make its debut when Australia reopened to international tourists. But, to the delight of your tastebuds, it's available now. "We wanted a unique interpretation of the croissant with a distinct Australian twist," explains Banksia Bakehouse owner Chris Sheldrick. "Since we opened in August 2020, we have created many special croissants using native Australian ingredients, which have been very popular. However, for this one we wanted something that was truly iconic." Lamington croissants are available at Banksia Bakehouse, Grosvenor Place, 225 George Street, Sydney, from Monday–Friday. Images: Tim Bradley.
Summer is gone and the CBD might seem as though it's in a season-long shadow — but there's at least one place where the holiday vibes are in full swing. The old Verandah Bar on Elizabeth Street — which sold for over $9 million last year — has relaunched its dining room Social at Verandah. The restaurant sees the property's restaurant transformed into a urban garden oasis, complete with sprawling balcony, tropical prints throughout and about a greenhouse's worth of lush foliage. Here, interiors feature a vacation-inspired mix of warm tones, dark timber and rattan, while a bold mural by artist Chris Nixon brings the dining room's main wall to life. To match, Executive Chef Brad Sloane has put together a sharing menu centred around ethically sourced native Australian produce. It's approachable, yet smart, featuring classic chargrilled steaks, alongside dishes like a yabby tail and roast pumpkin tortellini, kangaroo tartare topped with quail egg yolk, and a whole suckling pig that's carved at the table. That's backed by a global-reaching wine list, extensive selections of gin and whisky, and a crop of signature cocktails. And that's just phase one of Simon Tilley and Nick Wills' reinvention of the CBD haunt — the adjoining Verandah Bar has also enjoyed an overhaul, and is slated to open its doors in the coming weeks. Social at Verandah is now open at 55–65 Elizabeth Street, Sydney. For more info, visit the Facebook page.
"I didn't want to simply be a socialite," Jep Gambardella (Toni Servillo) tells us. "I wanted to become the king of socialites." He has succeeded grandly in this most empty of ambitions; his life seems an endless parade of high-society gatherings, fashionable soirees and art gallery openings. A louche writer resting on the laurels of his lone novel and the occasional magazine piece, Jep has turned recently turned 65 and is shaken from his decadent torpor when he learns that his first love has died. The news acts as a reminder of his own looming mortality and is a chance to reflect on the gradual decline of Rome. Writer-director Paolo Sorrentino's last film was the somewhat divisive little gem This Must Be The Place; this is a much more elaborate affair, stuffing dozens of vignettes of city life into its 142-minute running length. It evokes comparison with his great countrymen Federico Fellini and feels like a belated companion piece to La Dolce Vita, in its ambition, sweep and affectionate but pointedly warts-and-all portrait of a decaying, decadent metropolis. The Great Beauty is in cinemas on January 23, and thanks to Palace Films, we have 15 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Read our full review here. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=koxRDhAQOpw
A special photographic exhibition is coming to Sydney just in time for the 2019 Chinese New Year festival. Running from Friday, February 1 to Sunday, February 10, China: Moments in Time will celebrate the work of renowned photojournalist Marcus Reubenstein. It'll feature 70 vibrant, large-scale prints and multimedia installations captured from across 20 Chinese cities, taking the audience on a journey through the daily lives of locals and highlighting the nation's diverse culture. Largely told through candid shots of everyday people, the collection delves into the nation's 5000-year history, exploring China's ancient past right up to its state-of-the-art modern age. Alongside this free exhibition, there'll also be opportunities to meet Reubenstein — across two-hour Q&A sessions held at 11am on Saturday, February 2 and 9 — so you can find out what inspired the 19,000 photographs he shot throughout China, his selection process and various travel tidbits. Forming part of the City of Sydney Lunar Festival, China: Moments in Time will be shown at 541 Art Space on Kent Street in the CBD. Head into town to get amongst the lively Chinese New Year festivities, but remember to drop into the gallery and discover the personal stories of those who come from the most populous country on earth, too. Supported by the CMC Markets, China: Moments in Time is free to attend and runs 11am–5pm from February 1–10. For more information, and to register for a Q&A session with Marcus Reubenstein, visit the website. The exhibition will also run a competition where you could win a trip for two to Chengdu, China, 'home of the panda'. Find out more and enter here.
The Bayou Mansions are like a council flat in Jean-Pierre Jeunet's 'hood — rambling, sepia-toned, variously European and darkly whimsical. The inhabitants of the Bayou are the depraved and forgotten of a prosperous city, and their children run amok. Beyond average juvenile delinquency, Zelda and her gang, the Pirates, plot Marxist revolution. Meanwhile, sweet, bourgeois Agnes Eaves and her daughter, Evie Eaves, move in to extend the youths the civilising influence of craft class; the gloomy custodian is one pay cheque away from escape, although the residents around him insist those "born in the Bayou die in the Bayou, too"; and outside the tenement, the city enters a moral panic about the "child problem", which eventually presents a bitingly contemporary solution. This is the premiere run of The Animals and Children Took to the Streets from British company 1927 (Between The Devil and the Deep Blue Sea). What draws them sell-out crowds and widespread acclaim is their mix of animation, performance, spoken word and cabaret that is genuinely multimedia in approach and fun and accessible in execution. The City of Lost Children seems the obvious reference point, but Tim Burton, Dave McKean, Shaun Tan, The Pied Piper of Hamelin, naive art, vaudeville and Soviet typography have all left their mark on these rich visual stylings. Performers Suzanne Andrade (also writer/director) and Esme Appleton (also costume designer) interact with a world created by Paul Barritt's animations, which allow them to yell out of high windows, fall through space, get rained on, ride cats and, in perhaps the most poetically realised image, lie asleep in their beds while walking in dreams. The wry soliloquies are snipped short of monologue by music hall ditties (written and performed by Lillian Henley) so catchy you'll want them recorded. There's something we just know to be magical about interacting with animation right there on stage, which is why it doesn't matter what I say in this last sentence; you've already stopped reading to go book your tickets, and that's as it should be. https://youtube.com/watch?v=0B-XsKGQ4yE
Summer lineups just keep kicking bigger and bigger goals. The Sydney Opera House's full summer lineup for contemporary music program Music at the House is certifiably huge this summer, with Sinead O'Connor, Caribou, Mogwai, Flying Lotus, Rodrigo Y Gabriela and more joining already announced big guns Damon Albarn, Violent Femmes, Max Richter and the Wordless Orchestra, Asgeir, Ben Frost and Tim Heckler and Fat Freddy's Drop. Running late November to April, the 20-show-strong summer program is overrun with applaudably huge names. The legendary Sinead O’Connor will make her second Sydney appearance in 30 years with a retrospective set (ahead of her March 2016 memoir release), original 'Buffalo Stance' boundary-breaker Neneh Cherry makes her Australian debut and Britain's instrumental heavyweights Mogwai make their return to Australian shores. Crisp-as-blazes, London-based Canadian Caribou will surf a wave of hype surrounding his recent album Our Love, while Warp's Flying Lotus makes a triumphant return to the Concert Hall (where FlyLo sold the whole damn thing out last year). A tribute to the Twin Peaks mastermind, 'In Dreams: David Lynch Revisited' will see Australia’s Mick Harvey (ex-Bad Seeds) and Sophia Brous (Brous), New York City-based Cibo Matto and Irish-chanteuse Camille O’Sullivan will venture through Lynch's versions of the likes of Roy Orbison, David Bowie and Chris Isaak, as well as his work with Angelo Baladamenti. Swedish vocal powerhouse Lykke Li is set to make her Opera House debut, while fellow Swedes Little Dragon take over the Concert Hall — a fierce upgrade in space from their wildly raved about Oxford Art Factory show this year. Acoustic Brit Award winner Ben Howard is set to take things down a mellow notch, but if you're feeling the need to stomp a few floors, Grammy Award-winning flamenco legends The Gipsy Kings celebrate 25 years since their self-titled breakthrough album, and furiously talented guitar-duelling duo Rodrigo Y Gabriela return to Australia after a way-too-long absence. Music at the House is quickly becoming one of Sydney's most anticipated lineup reveals, with this year's performances including the recently-toured Rodriguez, the return visit of Vivid LIVE favourite Nils Frahm, Grizzly Bear, Bonobo, Boy and Bear, The National, The Jezabels and more — with performances from Max Richter and the Wordless Orchestra, Damon Albarn and Violent Femmes still to come before the end of the year. MUSIC AT THE HOUSE 2015 SUMMER PROGRAM (November 2014 — April 2015): Tickets go on sale to the general public at 9am, Monday 10 November. MAX RICHTER & THE WORDLESS ORCHESTRA (AUSTRALIAN DEBUT, SYDNEY EXCLUSIVE) DATE: Sunday 23 November TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $49 DAMON ALBARN (SYDNEY EXCLUSIVE) DATE: Monday 15 & Tuesday 16 December, 2014 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $79 VIOLENT FEMMES (SYDNEY EXCLUSIVE) DATE: Monday 29 December, 2014 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 ASGEIR (SYDNEY EXCLUSIVE) DATE: Wednesday 7 January, 2015 TIME: 6.30pm & 9pm (SOLD OUT) VENUE: Concert Hall TICKET PRICE: From $49 BEN FROST & TIM HECKER (SYDNEY EXCLUSIVE) DATE: Sunday 11 January, 2015 TIME: 9.30pm VENUE: Joan Sutherland Theatre TICKET PRICE: From $39 FAT FREDDY’S DROP (SYDNEY EXCLUSIVE) DATE: Monday 26 January,2015 TIME: 9pm VENUE: Concert Hall TICKET PRICE: From $59 LYKKE LI DATE: Monday 2 February, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 CARIBOU DATE: Tuesday 3 February, 2015 TIME: 7pm VENUE: Concert Hall TICKET PRICE: From $49 FLYING LOTUS DATE: Tuesday 3 February, 2015 TIME: 10.30pm VENUE: Concert Hall TICKET PRICE: From $54 LITTLE DRAGON DATE: Thursday 5 February, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $49 MOGWAI (SYDNEY EXCLUSIVE) DATE: Monday 2 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 NENEH CHERRY WITH ROCKETNUMBERNINE+ (UK) (SYDNEY EXCLUSIVE) DATE: Wednesday 11 March, 2015 TIME: 9pm VENUE: Concert Hall TICKET PRICE: From $59 IN DREAMS: DAVID LYNCH REVISITED (FEATURING MICK HARVEY, SOPHIA BROUS, CIBO MATTO, CAMILLE O’SULLIVAN + MORE TO BE ANNOUNCED) (SYDNEY EXCLUSIVE ) DATE: Saturday 14 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 SINEAD O'CONNOR (SYDNEY EXCLUSIVE) DATE: Thursday 19 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $79 BEN HOWARD DATE: Sunday 29 March, 2015 TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $59 THE GIPSY KINGS featuring NICOLAS REYES & TONINO BALIARDO (SYDNEY EXCLUSIVE) DATE: Tuesday 7 & Wednesday 8 April 2015 TIME: 9pm VENUE: Concert Hall TICKET PRICE: From $99 RODRIGO Y GABRIELA (SYDNEY EXCLUSIVE) DATE: Thursday 9 April, 2015 TIME: 9.30pm VENUE: Concert Hall TICKET PRICE: From $79 ANGELIQUE KIDJO + MAVIS STAPLES (SYDNEY EXCLUSIVE) DATE: Sunday 12 April, 2015 T TIME: 8pm VENUE: Concert Hall TICKET PRICE: From $79 Tickets go on sale to the general public at 9am, Monday 10 November. Visit sydneyoperahouse.com/music for further information and tickets.
Young Henrys' female brewers are in the spotlight this month as the Newtown brewery launches its newest beer. Free the NEIPA has been created by brewers Carla Daunton and Michelle Hanrahan — with the help of all the women at the brewery — and has launched just in time for International Women's Day, of course. The small-batch brew will be released on Friday, March 6 in venues and bottle shops all across Australia. In the spirit of IWD, ten percent of profits will be donated to Two Good Co — a Newtown charity that helps victims of domestic violence and homelessness through its buy-one, give-one lunch delivery model. Free the NEIPA has been created as part of the brewery's limited release B-Side Series. It's a hazy New England IPA that uses tropical hops and boasts notes of bergamot orange and other citrus, resulting in a juicy, yet sessionable, IPA. Other B-Side Series brews have included the coral sour, tiramisu white stout, and rum and raisin ale. Be quick if you want to get your hands on this brew — and do some good with your beer bucks — because it won't last long. You can Free the NEIPA at Young Henrys' Newtown brewery, at bars like The Unicorn Hotel and Mary's Newtown, or at bottle shops around town. [caption id="attachment_763908" align="alignnone" width="1920"] Michelle Hanrahan and Carla Daunton[/caption] Free the NEIPA is now available at bars and bottles shops across Sydney.
Andrew Upton’s The Present, an adaptation of Anton Chekhov’s 1878 play, Platonov, sets the drama of Anna Petrovna’s 40th birthday party in post-Gorbachev, '90s Russia. The celebrations bring together a redundant military class at odds with a younger, principled middle class. Widowed Anna (Cate Blanchett) now faces an unsatisfying choice between two powerful ex-military men, Alexei (Martin Jacobs) and Yegor (David Downer), who have the necessary political links for her to sell the oil on her inherited property. Her decision is made none the easier by the fact that she still loves Mikhail (Richard Roxburgh). Alice Babidge’s design sets the play squarely in the '90s, but it’s not specifically Russian; this could easily be a British or Australian contest between generations for cultural dominance. The setting works, but when sound designer Stefan Gregory chooses 'London Calling' during a scene change, accompanied by a projection of metallic looking dark water, it’s apparent that director John Crowley was aiming for something more potent than a depiction of a disaffected middle class. Punk politics is the wrong choice for Chekhov — he does middle class ennui, not dissent. While Platonov was not one of Chekhov’s successful plays, his mastery of listlessness and thwarted dreams is alive and well in Upton’s adaptation. Mikhail’s lamentations at his own failure to change the world don’t come from a sense of protest approaching that of The Clash, but from a self-aggrandising expectation that he would one day be a great writer. Even the wet-around-the-ears Kirril (Eamon Farren) isn’t moving to Europe to dance and take drugs out of a political impulse; he simply wants to get high and have a lot of sex. This is a cast of theatre big guns (Cate Blanchett, Richard Roxburgh, Jacqueline McKenzie, Toby Schmitz), so it’s surprising in the opening scenes that the ensemble comes to less than the sum of its parts. Upton’s adaptation includes frequent moments of hubbub and interjection, which causes confusion in scenes that should function as the narrative setup. The second half is much sharper and consequently more interesting and at times riveting. This is a handsome-looking piece of theatre with good performances. Roxburgh in particular lights up the huge Roslyn Packer Theatre (formerly Sydney Theatre) with ease. The setting of '90s Russia works, but Crowley’s layering on of a punk musical aesthetic is superfluous. The Present is sold out, but a limited number of Suncorp Twenties tickets are released each Tuesday morning for the following week's performances. More info on how to book.
When the sizeable estate that Elizabeth Bay House formerly sat on was subdivided in the 1920s — with the mansion remaining, but its grounds broken up — the move eventually gave rise to Arthur McElhone Reserve. Named for a Sydney alderman and designed by council employee Ilmar Berzins, it sits on three old lots that remained unsold in the 1940s. Whether you decide to peer back at the house or down at Sydney Harbour, you'll find a peaceful patch of nature. Bringing a picnic and relaxing among the flowers is recommended. So is checking out the ornamental lake and its stone bridge.
The spot that was home to North Bondi Italian has to be one of Australia's most enticing restaurant venues: million-dollar views, proximity to the waves and a ready-made crowd of surfed-out, ravenous diners. Ever since Robert Marchetti and Maurice Terzini handed over the keys to Matt Moran and Peter Sullivan in late September, locals have had to be content with salivating from afar, wondering what culinary adventures the unstoppable team would take on next. Today they can finally find out for themselves. And the name pretty much says it all: North Bondi Fish. From here on in, beach-loving foodies will be able to cruise their last wave and, within minutes, be sitting in front of simple, freshly cooked seafood, accompanied by their choice(s) from a Matt Dunne-curated, 20-strong wine list. The emphasis is on quality produce, transformed into light, accessible, tasty meals and snacks, with fish cooked on an Inka Grill. Several Matt Moran favourites are on the list, including his very own fish fingers; grilled snapper with asparagus, pea shoots and avocado; prawn roll; sweet potato scallops; and yellow-fin tuna ceviche. Dessert? A selection of utterly decadent ice-cream sundaes has that covered. Non-winos can enjoy some tempting and very drinkable alternatives, including North Bondi Fish specials, the North Bondi Crush (Campari and fresh watermelon in a jar) and the North Bondi Colada (Havana Club, pineapple juice, passionfruit pulp, coconut syrup and fresh lime). The classic gin and tonic is given an array of treatments, and there’s also an ultimate summer tipple, in the way of the Aperol Spritz (Aperol, prosecco, soda and fresh orange). To suit the coastal location, and the salty, sandy realities of beachside wining and dining, the restaurant has donned a relaxed, casual interior, evocative of what you might find in Mediterranean climes. Communal wooden benches and tables are lit with playful dashes of colour that travel outwards to the verandahs. In the words of Matt Moran, "North Bondi Fish is for the locals. It's relaxed, it's fun and it's no fuss. It is the kind of place you head to for something good to eat anytime of the day, even while still in your thongs and boardies." North Bondi Fish is at 120 Ramsgate Avenue, North Bondi. It's open Tuesday to Sunday, from midday till late, with the full menu available all day. Bookings are available on (02) 9130 2155.
Us Aussies might not get to enjoy a white Christmas here on home turf, but that doesn't mean we can't indulge in all the classic wintery yuletide treats. Think, fruit mince pies, creamy egg nog and spiced gingerbread fresh from the oven. Or hey, how about a festive fusion of gingerbread and gin, like you'll find in the latest drop from The Craft & Co? The Collingwood distillery has just announced the return of its cult favourite Gingerbread Gin, a seasonal creation that's been steadily growing in popularity since debuting in 2019. Having just scooped another medal at last month's Australian Gin Awards, the spiced tipple is once again heading to a bottle shop shelf near you, with this year's edition now available to buy from The Craft & Co's online store and select booze retailers. The spirit is a nod to one of the classic food and drink pairings, inspired by stories from 18th-century England, when Brits would apparently warm the cockles with a combination of hot gin and gingerbread. The Craft & Co's riff on this concept takes the form of a rich, smooth gin, with warming flavours imparted by a mix of cinnamon, macerated ginger root, smashed nutmeg and tonka bean. It's unfiltered and clocks in with an ABV of 40 percent. So, how to put this Gingerbread Gin to good use? Apart from sipping it neat or on ice for a quick hit of Christmas cheer, the distillers recommend matching the drink with some blood orange soda or ginger beer. We're told it also works a treat in milky cocktails, and you can find recipes for a Gingerbread Gin Alexander and a Gingerbread Gin Egg Nog over on The Craft & Co's website. You can grab a Gingerbread Gin for $85 from The Craft & Co's online store or at its cellar door at 390 Smith Street, Collingwood. It's also available from select retailers including Dan Murphy's, BWS and Boozebud.
You've made it through Sydney Beer Week in one piece — congratulations. Your head is still throbbing and all you want to do is drink a gallon of water and sleep in a dark room. You could do that, or you could go for the best cleanse out there: SBW's hair of the dog breakfast. A hangover cure of hangover cures, this feast will match six courses with eight expertly paired beers, all hosted by the Rocks Brewing Co. After this, you'll be right as rain and that hangover will be a thing of memory.
Whether you're in lockdown, working from home, social distancing in general or just in need of a pick-me-up, your day could always do with a few more cute animals. And, if you didn't realise this before the pandemic, you definitely will have over the past 18 months: the internet is always happy to oblige. Over the last year or so, Melbourne's zoos have live-streaming their penguins, leopard cubs and giraffes, while Sydney's aquarium brought us playtime with Pig the dugong — and the Wild Life zoo opted for cuddles with quokkas, and Brisbane's Lone Pine Koala Sanctuary went with a non-stop look at one of Australia's cutest native marsupials. The list of animal-focused streams has kept growing, too, including Melbourne Aquarium's own series of meditation and relaxation videos. And now, also from Melbourne, a den of small-clawed otters are getting in on the fun. Melbourne Zoo set up this webcam last year, actually, when it was trained on the venue's four Asian small-clawed otter pups. Now, it's still capturing the little cuties — and their parents — via two cameras. The word you're looking for? "Awwwwwwww," obviously. The pups were born in February last year to otter parents Paula and Odie, who became the first of their species to breed at the Victorian site since back in 2011. And, whether they're sleeping or playfully fighting — a type of behaviour that helps them bond — these little critters are immensely adorable. The otter webcam joins Melbourne Zoo's Animals at Home portal, where you can also peer at the aforementioned penguins, snow leopards and giraffes — and lions, too. As the otter live-stream runs all day, every day, we can't promise this won't put a slight dent in your usual plans — and, on weekdays, your productivity — but we can promise that it'll help brighten up your day every so slightly. Check out Melbourne Zoo's Animals at Home portal via its website. Images: Zoos Victoria
After more than a year of teasing — including initial hints in 2019, official confirmation in 2020, a first teaser a week ago and a full trailer a couple of days back — Friends: The Reunion will finally hit screens this month. HBO's US streaming platform HBO Max has gotten the gang back together, reuniting Jennifer Aniston, Courteney Cox, Matthew Perry, Matt LeBlanc, David Schwimmer and Lisa Kudrow to chat about orange couches, smelly cats and whether a couple is on a break. And, in just-announced news, Australian viewers will be able to get their own hefty dose of 90s sitcom nostalgia at the same time as folks in America. Local streaming platform Binge has just announced that Friends: The Reunion will hit the platform at 5.02pm on Thursday, May 27. Aussie fans were always going to be able to watch the special somewhere, and Binge was always the likely destination, but that has only been confirmed less than a week out from the show's airdate. Dubbed 'The One Where They Get Back Together' in the special's teasers, the reunion comes 27 years since the TV sitcom about six New Yorkers made audiences a promise: that it'd be there for us. And, as well as making stars out of Aniston, Cox, Perry, LeBlanc, Schwimmer and Kudrow, Friends has done just that. Sure, the hit series wrapped up its ten-season run in 2004, but the show has lived on — on streaming platforms, by sending an orange couch around Australia, by screening anniversary marathons in cinemas and in boozy brunch parties, for example. Friends: The Reunion promises to take pop culture's lingering affection for the show to another level, though. During the unscripted special, the actors behind Rachel, Monica, Chandler, Joey, Ross and Phoebe will chat about their experiences on and memories of the show — all on the same soundstage where Friends was originally shot, so expect to see some familiar faces and some recognisable decor. Aniston, Cox and the gang also have a few other famous pals for company, with the hefty guest lineup spanning folks with connections to the show and others that must just love it. On the list: David Beckham, Justin Bieber, BTS, James Corden, Cindy Crawford, Cara Delevingne, Lady Gaga, Elliott Gould, Kit Harington, Larry Hankin and Mindy Kaling, as well as Thomas Lennon, Christina Pickles, Tom Selleck, James Michael Tyler, Maggie Wheeler, Reese Witherspoon and Malala Yousafzai. Check out the Friends: The Reunion trailer below: https://www.youtube.com/watch?v=PYB1HvwHnkg Friends: The Reunion will be available to stream in Australia via Binge, hitting the platform at 5.02pm on Thursday, May 27.
When word arrived in 2021 that Australia was getting a new European-focused film festival, it couldn't have been better news for movie lovers. Europa! Europa is all about showcasing flicks from across the whole continent, so you can see the latest and greatest titles from France, Spain, Italy, Romania and more all at the one event — and, ahead of its February debut in Sydney and Melbourne, the fest has just revealed its full inaugural 2022 program. In total, 43 features from 42 countries will grace the festival's screens during its runs in both capitals, which'll kick off on Friday, February 4 and play through until Sunday, February 27 — at Sydney's Ritz Cinemas in Randwick, and Melbourne's Classic Cinemas in Elsternwick and Lido Cinemas in Hawthorn. If you can't wait till the nation's country-specific fests arrive later in the year, such as the standalone French and Italian events, or until Sydney Film Festival and the Melbourne International Film Festival roll around for 2022, there's plenty to tempt you into a darkened theatre this summer. Opening the lineup is The Souvenir Part II, sequel to 2019's exceptional The Souvenir — which means that Europa! Europa is launching with the new team-up between rising star Honor Swinton Byrne and her mother Tilda Swinton. The follow-up picks up where the first movie left off, with Swinton Byrne's aspiring filmmaker attempting to cope with the tragic events of the last flick, all while she shoots her next project. Once again directed by British helmer Joanna Hogg, it'll start the festival in sublime form. (And if you're keen to see the original, it's on the bill as well.) Also bookending the fest: closing night's France from inimitable writer/director Bruno Dumont (Joan of Arc, P'tit Quinquin). A satire of the media industry, it stars No Time to Die and The French Dispatch's Léa Seydoux as a journalist forced to navigate the aftermath of injuring a pedestrian in a traffic accident. Other standouts include 13 films that were submitted as their country's entries for this year's Best International Feature Film Oscar, such as Bosnia and Herzegovina's social-realist fairytale The White Fortress and North Macedonia's Sisterhood, which is about toxic friendships — and a number of titles that wowed last year's Cannes Film Festivals, like Norwegian supernatural thriller The Innocents and the Before Sunrise-esque train-set love story Compartment No 6. Or, there's also Andrea Arnold's (American Honey) Cow, aka the most gripping and moving documentary portrait of a dairy cow's life that you're ever likely to see; Earwig, the English-language debut of acclaimed French director Lucile Hadžihalilovic (Innocence, Evolution); Vortex, which sees Climax filmmaker Gaspar Noé swap his usual wild fare for an Amour-style look at ageing; and No Fucks Given, starring Blue Is the Warmest Colour's Adèle Exarchopoulos as a flight attendant for a low-cost airline. And yes, if you've spotted more than a few high-profile European directors mentioned above, that's because highlighting the best filmmakers the continent has is also one of Europa! Europa's big aims. Europa! Europa will screen in Sydney and Melbourne between Friday, February 4–Sunday, February 27. For more information or to buy tickets, head to the festival's website.
