City Hub 13 February 2020 by Alt Media

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HubNEWS

CBD unis on watch for coronavirus (See p. 4)

NSW Govt shuts down strip-search inquiry An inquiry into NSW Police strip-searching children is on hiatus, but youths will still be subjected to sniffer dogs and body examinations at music festivals. Photo: Wendy Wei/Pexels

HubARTS Darlinghurst Theatre Company has decided to bring back its festival of funnies for 2020 (See p. 9)

Published weekly and freely available Sydney-wide. Copies are also distributed to serviced apartments, hotels, convenience stores and newsagents throughout the city. Distribution enquiries call 9212 5677. Published by Altmedia Pty Ltd. While every effort is made to ensure accuracy of content, we take no responsibility for inadvertent errors or omissions. ABN 52 600 903 348 Group Editor & Publisher: Lawrence Gibbons News Editor: Alec Smart Contributors: Alec Smart, Jackson Simon, Max Tillman, James Harrison Cartoonist: Sam Mcnair Arts Editor: Jamie Apps Contributors: Erika Echternach, Irina Dunn, Madison Behringer, Mark Morellini, Olga Azar, Renee Lou Dallow, Rita Bratovich, Olga Sedneva Advertising Manager: Georgina Pengelly Cover Photo: Supplied. Interrupted, featuring Suzan Mutesi and Adolphus Waylee Designer: Nadia Kalinitcheva Advertising: sales@altmedia.net.au Mail: PO Box 843 Broadway 2007 Email: news@altmedia.net.au, arts@altmedia.net.au Ph: 9212 5677 Fax: 9212 5633 Website: cityhubsydney.com.au If you have a story, or any comments you’d like to share with us: news@altmedia.net.au @CityHubSydney

By JACKSON SIMON ladys Berejiklian’s government blew up an inquiry into NSW Police strip-searching on Dec 31 by dismissing the commissioner of the Law Enforcement Conduct Commission overseeing it. And now the commission concedes the inquiry is on permanent hiatus and unlikely to proceed any further. Strip-searching by the NSW police force has been under fire after revelations children under 18 were being detained and undressed without parental consent. The police, purportedly after illegal substances, targeted festivalgoers at Splendour in the Grass and the under-18’s festival Lost City.

Sniffer dogs

Officers use sniffer dogs. If the dog indicates the presence of illegal substances, the individual is taken aside and asked to strip down in order for a search to be conducted. But few of the detainees have been found to be carrying any illicit substances.

At the start of the commission inquiry, it was revealed that there were 30 strip searches of minors at Lost City, 3 females and 27 males. Only five were conducted in the presence of a support person.

 Is it the NSW

Government’s desire to continue strip-searches without legal supervision? NSW law states that an individual may be searched if the “seriousness and urgency of the circumstances make the strip search necessary.” If a minor is searched, the individual is supposed to be accompanied by an adult or a support person. A 15 year-old boy attending the festival conveyed that when in a room without an adult, he was told, “hold your dick and lift your balls up and show me your gooch.” Officers found

no illegal substances and he was allowed back into the festival.

Legality in question

When City Hub asked if there would be other hearings for the inquiry, a commission spokesperson replied that there are no fixed dates for further hearings and that the commission is “assessing what other evidence might be called.” The response confirms the official inquiry is on an indefinite hiatus, which generates suspicion about the motives behind stymieing the investigation: is it due to the NSW Government’s desire to continue stripsearches without legal supervision? And are NSW authorities trying to protect police officers who might otherwise have faced prosecution for the illegal strip-searching of minors, had the inquiry recommended the laying of criminal charges? Perhaps we won’t receive answers to these questions until an independent inquiry is launched. city hub 13 FEBRUARY 2020

HubNEWS

Plibersek wants Wuhan Virus Metro Green Square shocks CBD schools BY MAX TILLMAN he Wuhan coronavirus has left its indelible mark on Sydney, with classes grinding to a halt across the city as fears of infection take hold. “Based upon SARS, we initially thought that the coronavirus is spread during the symptoms phase,” said Professor William Rawlinson, senior medical virologist with New South Wales Health Pathology and professor at The University of New South Wales. “But in fact, the spread can occur before symptoms and in what we call the pre-symptomatic period. So somebody who’s not got a fever and not got a cough can still spread the virus.”

Tanya Plibersek MP wants a Metro Rail station at Green Park, which will have 61,000 residents by 2030. Photo: Alec Smart

BY JAMES HARRISON ontroversy has arisen between Tanya Plibersek, former Deputy Leader of the Labor Party, and Eleni Petinos, Parliamentary Secretary for Transport and Roads, over the lack of future investment into public-transport infrastructure around the Green Square area. There is projected to be 61,000 people living in Green Square by 2030, a vast increase due to the construction of new residential dwellings in Green Square, Rosebery and Victoria Park Parade, which will increase the population of the area by 30,500 over the coming decade. This will result in Green Square becoming more congested than London or New York, according to Plibersek.

Transport proposals in a growing suburb

Plibersek has proposed a new Green Square station to be included in the new Metro line currently under construction. The station would be located between the new Waterloo and Sydenham stations, to deal with overcrowding and congestion experienced by travellers in the area. While the coalition have injected $880 million into stage 2 of the More Trains, More Services program, allowing more frequent trains on the T8 Airport and South Line during peak hours, travellers are still experiencing congestion and overcrowding. “The assessment identified that new underground metro stations at Erskineville, Green Square, St Peters or Newtown would not serve a new rail catchment and would result in a limited shift to public 4

city hub 13 FEBRUARY 2020

In a statement issued on 28 January, The Australian Chinese Community Association (ACCA) of New South Wales cited the need to ensure their language classes were ‘practiced in a safe environment.”

Usually viruses don’t learn

to become more lethal As part of the ACCA’s lockdown on events, The Chinese New Year lunch celebration scheduled for Wed 29 Jan was cancelled indefinitely, and classes at the association’s Chinese language school will be postponed until Sat 15 Feb. As of the 4 Feb, there are four confirmed cases of the coronavirus in New South Wales, with a further 29 currently under investigation.

transport services. However, a station at Waterloo will take pressure off Redfern and Green Square stations and provide local residents with more transport options,” wrote Petinos, on behalf of Minister Andrew Constance, in a letter to Plibersek.

 There is projected to be 61,000

people living in Green Square by 2030 Plibersek responded following an inquiry with Tim Raimond regarding the NSW Government’s plans for addressing the future transport needs of Green Square. “I am not convinced that a single stop at Waterloo and increasing the carrying capacity of existing services are sufficient to adequately address the transport crisis that will be unfolding in Green Square over the next 5 to 10 years,” she wrote. “Bypassing Green Square on the Sydney Metro line is short-sighted and will leave the area ill-prepared for the intense population growth and development that has been allowed in the area by successive governments.

Macquarie Bank development

Plibersek expressed particular discontent with the NSW government’s decision to allow a $200 million change to the Sydney Metro following an unsolicited proposal by Macquarie Bank. “If a bank can demand a $200 million change to the project, then a perfectly reasonable request from the residents of my local community is surely possible,” Plibersek wrote to Constance.

The Corona Virus contagion is provoking widespread fear and the use of masks. Photo: Pixabay

School’s Out Until Virus Contained

The move follows efforts by both The University of Sydney and The University of New South Wales to mitigate the risk of returning students from China potentially furthering the spread of the deadly virus. As The Australian Government chose to restrict flights from mainland China from 1 Feb, The University of Sydney’s Vice-Chancellor Dr. Michael Spence wrote to all incoming students from China. ‘While the risk in Australia remains low, we are protecting the health of staff and students by taking extra precautions such as provision of hand sanitisers, additional cleaning protocols and information posters which you will begin to see around campus.’

Glimmers of hope

“This is standard for an outbreak like this where we really don’t know a lot of things about the virus,” said Professor William Rawlinson. “We do have some ideas and we can frame our responses better, and I think I think in many ways people are better informed than they were during the SARS outbreak.” Health officials are confident that despite the global panic, the Wuhan coronavirus has little chance of evolving into a more infectious, and indeed more lethal virus. “Usually viruses don’t learn to become more lethal,” Professor Rawlinson said. “We haven’t seen that kind of evolution towards either more lethality or towards a greater spread.”

HubNEWS

Police give Moore-smearing minister a pass BY ALEC SMART he Australian Federal Police has dropped its investigation into Federal Energy Minister Angus Taylor, who fed a conservative newspaper spurious documents claiming Sydney Lord Mayor Clover Moore’s government had spent an outrageous amount on travel expenses. The documents were later found to be false—and the alleged $15 million in annual travel expenses turned out to be $300,000.

further eroded the community’s faith in the Federal Government. Just because he ignores the facts on climate change, doesn’t mean the Minister can make up figures to distract Australians from his failure of leadership.” The Daily Telegraph is not apologising to Moore either, and their spokesperson insisted: “The letter was newsworthy in its own right and we approached Ms Moore for comment. She disputed figures quoted in Mr Taylor’s letter. The Daily Telegraph accurately reported her response.”

AFP abandon chase

On 6 Feb 2020, the AFP released a statement announcing that they declined to pursue the matter any further. “Following inquiries undertaken and information provided by NSW Police, the AFP has determined it is unlikely further investigation will result in obtaining sufficient evidence to substantiate a Commonwealth offence,” the office said. “The low level of harm and the apology made by the Minister for Energy and Emissions Reduction to the Lord Mayor of Sydney, along with the significant level of resources required to

Fireworks: Mayor Clover Moore was falsely accused but police won’t pursue it. Photo: Alec Smart

investigate were also factored into the decision not to pursue this matter.”

Personal attack

Taylor, the Liberal Member for Hume, fed the false documents to the Telegraph and then went on the attack, casting aspersions on her commitment to environmental causes by accusing her of driving up carbon emissions with excessive airline travel. It has not yet been revealed how the documents came to be made. Moore said she was disappointed in the AFP’s decision.

In a statement sent to City Hub, the Lord Mayor said: “It is nearly beyond belief that the Minster is still, after months of intense scrutiny, yet to explain the origin of the fraudulent document he used to accuse the City of egregious spending on travel. “When the NSW Police confirmed that the document was falsified, it was the community’s expectation that the truth would surface, and that the Minister would be held accountable. “I am shocked and disappointed the AFP will not further investigate the matter and shed light on a situation that has

 Until Taylor reveals the

source of the forgery, his office will never be exonerated from its authorship Moore’s office had not yet received the letter – it arrived after the Telegraph published it where it was seen first by thousands of readers – but before the story was written a spokesperson from City of Sydney warned the female reporter researching it that the figures she intended to use were spurious.

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Coffin Ed’s NAKED CITY

A GHOST TOUR OF KINGS CROSS I t was a midweek night in King Cross, over three decades ago in what were the buoyant and often permissive 1980s. Live music echoed from a whole variety of venues scattered around the area, often continuing well into the wee small hours. At the Piccadilly Hotel in Victoria Street, Lubricated Goat were hosting one of their semi regular ‘grunge’ nights. The music had finished but the real fun was about to start. Notorious as a group that embraced nudity, the Goat had created history when they were the first band to appear totally naked on ABC TV’s Blah Blah Blah with Andrew Denton. As an apres gig entertainment they also pioneered the unique pub sport of ‘nude chesting’, in which two naked men (usually band members) would confront each other and attempt to bump each other into submission. On this particular night the chesting was well underway when a smartly dressed young man and his girlfriend walked into the hotel for a late night drink. As they stood by the bar waiting to be served, the furious naked argy bargy was virtually in their face - but they hardly blinked an eye. After all this was Kings Cross in the 80s. Over 30 years later the old Piccadilly Hotel building remains somewhat forlornly in Victoria Street, a disputed development application hanging heavily over its art deco façade. Destined to

THAT SNEAKY RABBIT

become yet another block of up market apartments it’s one of a number of buildings in the Cross and surrounds that house ghosts of another era. Whilst plaques set in the footpath mark many of the Cross’ historic sites, a quick walking tour today provides some insight into the way change has taken place – and the ghosts that remain to haunt our sense of history. Let’s start the excursion with an expresso. The Piccolo and Colluzzi bars brought Italian style coffee to the Cross in the 50s and managed to survive for over 60 years. The old Colluzzi premises

in Victoria Street are now closed, even though the name lives on next door. The Piccolo is currently closed after a short renaissance but is set to reopen, yet again, with even the suggestion that Vittorio will return for one or two days a week. The macchiato will have to wait. There’s no longer a juke box in the Piccolo but the ghostly strains of John Coltrane’s Blue Train fill the air. It could be time to take in a movie at the Minerva Theatre in Orwell Street, where I have fond memories of seeing 2001: A Space Odyssey way back in 1968. The ghost of Hal lives on in a beautiful old

By Sam Mcnair

#thatsneakyrabbit

theatre that was recently sold by film director George Miller to the Abacus Property Group. But sadly no matinee today. Maybe it’s time to check into one of the Cross’ once numerous budget hotels, the type that catered for visiting rock bands and all the debauchery that entailed. The Bernley in Springfield Avenue might have morphed into the Quest today, but in its 80s heyday it was only a stone’s throw from the sticky carpet of the much loved Manzil Room. It will be interesting to see if the much sought after rooftop room remains, the scene of many a drunken after gig celebration. The ghostly groans of an inebriated roadie can still be heard just before dawn. There’s still much to take in like the old Roosevelt Club in Orwell Street, once the domain of Abe Saffron, later the studios of radio 2KY and for a short time the home of music weekly Drum Media, when a group of its journalists split from On The Street. Who knows what spirits have been left behind in its various incarnations. Over on Bayswater Road, the Mansions Hotel has now been turned into apartments but for years it was your quintessential old school KC pub where in the mid 80s legendary Sydney saxophonist Merv Acheson often held court with his jazz trio. Playing there one New Year’s Eve, Merv and his trio were joined by a man on a horse, a Don Quixote figure, who rode briefly into the bar, then disappeared into the nearby Hampton Court Hotel. We can no longer get a beer there but perhaps it’s a fitting place to finish the tour as the clip clop of the phantom horseman still resonates through the inevitable gentrification.

city hub 13 FEBRUARY 2020

Public Notice

The Sirius Building, NSW Aboriginal Cultural Heritage Assessment â&#x20AC;&#x201C; Community Consultation Stage 1 Sirius Developments Pty Ltd (the Proponent) are preparing a State Significant Development application (SSDA) for the adaptive reuse of the Sirius Building, Lot 100 DP264104 (hereafter referred as the subject area). Urbis is assisting the Proponent in undertaking an Aboriginal Cultural Heritage Assessment (ACHA) to inform the Environmental Impact Statement (EIS) to support the SSDA. The proponenT can be conTacTed direcTly via: Sirius developments pty ltd, 52 Victoria Street, Paddington NSW 2021 attention John Green, Email: john.green@jdhcapital.com In accordance with Section 4.1.3 of the Aboriginal Cultural Heritage Consultation Requirements for Proponents (DECCW, 2010) and Clause 80C of the NSW National Parks and Wildlife Regulation 2009, the Proponent is seeking the registration of Aboriginal persons or groups who may hold cultural knowledge relevant to determining the significance of Aboriginal object(s) and/or place(s) that may be present in the subject area. The purpose of community consultation with Aboriginal people is to assist the Proponent in the preparation of the ACHA and the assessment of the cultural heritage significance of the subject area. pleaSe reGiSTer your inTereST in wriTinG to the contact details provided below by 5.00pm 27th February 2020. Meggan walker urbiS pTy lTd, level 8 angel place, 123 pitt Street Sydney 2000 nSw phone: + 61 2 8233 7626, email: mwalker@urbis.com.au Please be advised that the Proponent is required to forward the names of Aboriginal persons and groups who register an interest to the Department of Planning and the Metropolitan Local Aboriginal Land Council; unless the person or group specifies that they do not want their details released. city hub 13 FEBRUARY 2020

Theatre for People Who Hate Theatre If you don’t like what Short+Sweet is doing, relax - they’ve got a new piece for you in about ten minutes

According to festival director Sarah Purdue, once the participants find an audience through Short+Sweet they often go on to forge pathways into the creative industries by themselves.

“The actors, directors and participants in Short+Sweet always find a way to network and go to create more and more work for each other.” This community aspect of the festival is perhaps surprising given that there is a competitive element to Short+Sweet. Throughout the 10-week festival there are a series of eight heats, where each show is judged by a group of invited judges, before

“As a performer the competitiveness simply gives you that sense of ‘don’t half-arse it’ - especially when there is a cash prize at the end!” the best of the best are gathered for a series of finals showcases. Whilst there is a competitive nature to the festival Hardy told City Hub it avoids becoming nasty. “People get a bit of an incentive by having some friendly competition. As a performer the competitiveness simply gives you that sense of ‘don’t half-arse

it’ - especially when there is a cash prize at the end.” This is something that Purdue echoed in her remarks when asked about the competitiveness between artists, “It’s a really interesting festival to be a part of from my end, even though it is competitive it’s also incredibly collaborative. There’s a real sense of camaraderie when you walk through the doors and see the directors supporting each other. The competitive aspect of the festival is really secondary to the fact that they get to perform up to five times per week.” The final special aspect of the Short+Sweet festival is the way in which it opens live theatre and performance up to a whole new audience, both in regards to creators and patrons. Thanks to its format, which presents between 10 to 12 different 10-minute plays each night, Short+Sweet is much more accessible and attainable for new creatives. “The 10-minute format allows people to get involved creatively, but not in a way which is

as time consuming as a full play that would require months and months of rehearsals and preparation,” explained Purdue, “It’s literally short and sweet, you can jump in and see that creative side of you and then jump out again, which is why we see people keep coming back year after year.” A sentiment which Hardy agreed with, “A new artist, writer, director or performer could get overwhelmed by a large-scale production. Whereas 10 minutes sounds doable, whether you’re a novice or seasoned professional 10 minutes is 10 minutes. How you work with that time is up to you but the format creates a healthy restriction on your experimentation and forces you to reassess your story and themes.” For audiences this format also means that the risk for novice theatre attendees is somewhat diminished. New attendees don’t have to fear sitting through two hours of a play they don’t enjoy, at Short+Sweet at least one of the plays will resonate with you. “For some audience members they may love every single one of them,” said Purdue, “but for others the first play might not take their fancy but then the second and third play will. It’s a beautiful introduction to live theatre.”

Licence to Thrill. Photo: Supplied

he Short+Sweet theatre festival is back for a historic 19th year. Since its inception this humble little presentation – an evening of theatre, dance, cabaret and comedy, in fast and furious ten-minute chunks - has spread its unique format across Australia and the globe. The festival now boasts iterations as far afield as Los Angeles, New Zealand, India, Malaysia, Ireland and the Middle East. Although the proliferation of Short+Sweet around the globe is to be applauded, that is not the festival’s crowning glory. Its biggest achievement has been the many careers it has fostered and the continued pathways into the creative industries that Short+Sweet still provides to this day. Some of the most notable alumni to develop from the Sydney instalments of Short+Sweet include Rose Byrne, Josh Lawson, Damon Herriman, Andrew Steel and Queensland Theatre Company’s artistic director Lee Lewis. For all of the aspiring artists who are set to participate this year seeing these names is incredibly motivating. “When they speak of the alumni it is very encouraging because those people are going above and beyond in the industry today but it all germinated back in Short+Sweet,” explained festival participant Davo Hardy. “Short+Sweet is such an attractive festival to up-andcoming people because it bridges the gap between hobbyist and professional.” Short+Sweet 2020 will be Hardy’s second year participating in the festival. This year Hardy will present two shows, Complex which is about a man looking for a new flatmate but neglecting to inform them he is a nudist, and Silent Agreement which is performed entirely in Auslan sign language. According to Hardy without Short+Sweet it’s unlikely that he could have presented these shows. “Both of these shows Complex because of the nudity and Silent Agreement because of the sign language - are quite niche so finding an audience would have been tough. Short+Sweet though is an open format to express oneself to an unbiased audience.

Until Apr 26. Short+Sweet Theatre (Tom Mann Theatre), 136 Chalmers St, Surry Hills. $15-$27+b.f. Tickets & Info: www.shortandsweet.org 8

city hub 13 FEBRUARY 2020

HubARTS

Playing gigs is the reward for being in a band,. Gigging is 100% fun (See p.10)

In Conversation with Margaret Atwood

Photo: Liam Sharp

roclaimed author of The Handmaid’s Tale and over 50 other works, Margaret Atwood will make her way to Australia this weekend to celebrate the publication of The Testaments, a Booker Prize winning sequel to The Handmaid’s Tale, which has become an Emmy Awardwinning television show. In the sequel, Atwood begins answering the questions

of readers that have been holding their breaths for decades, waiting to know Offred’s future at the end of the 1985 novel. Atwood’s novel and the modern television series based on her work have created a cultural phenomenon exploring women’s rights, misogyny and oppression. Atwood will visit the Sydney Darling

Harbour Theatre to celebrate and share with readers her newest work The Testaments as part of her Australian tour, In Conversation with Margaret Atwood. Published last year, the book release for The Handmaid’s Tale sequel topped the charts in all English-speaking territories and became one of the biggest releases of the century. Australian readers now have the opportunity to experience an intimate and stunning encounter with Atwood herself during her upcoming tour. ““I am so happy to be returning to Australia, where I have spent much time in the past, and where readers have always been so warm and welcoming,” said Atwood. “I am truly delighted.” The evening will also feature Atwood’s remarkable career, her diverse range of works and why she has returned to the fictional world of Gilead 34 years later. Sure to be an enlightening and intimate evening, In Conversation with Margaret Atwood is the perfect opportunity for Australian readers to spend an evening with the award-winning author. (MB) Feb 16-17. Sydney Darling Harbour Theatre, ICC Sydney, 14 Darling Drive, Sydney. From $70.30+b.f. Tickets & Info: www.margaretatwoodlive.com.au

Comedy Kiki 2020 L

ast year’s inaugural Comedy Kiki festival was so successful that Darlinghurst Theatre Company has decided to bring back its festival of funnies for 2020. A festival of comedic shows will see a lineup of the most hilarious Australian queer comedians including; Zoe Coombs Marr, Geraldine Hickey and Nath Valvo. Each artist will be performing on different nights over the extended three-day festival of queer stand up. “I’ve always loved telling jokes and making people laugh. I think it’s just a part of how I think and process the world around me,” Marrs said, “Jokes aren’t meant to be serious, its just from observing everything all the time, things that I find funny or weird.” Award-winning stand-up comedian Zoe Coomb Marrs said the audience should be expecting “a more chatty and fun comedy mixtape with little bits of my favourites, possibly Bossy Bottom, and other new jokes for both newcomers and returning audiences.”

Bring your allies for a fun filled night, and enjoy an all inclusive Queer Speed Dating event held prior to each show, as part of the Queer Comedy festival for Valentine’s Day. Lock the doors, lower the blinds. Let’s have a Kiki! (KC) Until Feb 15. Eternity Playhouse, 39 Burton St, Darlinghurst. $37+b.f. Tickets & Info: www.darlinghursttheatre.com

Considering Matthew Shephard

n October 7 1998, Matthew Shepard, a 21-year-old gay student at the University Of Wyoming, was tied to a fence in an isolated field on the outskirts of Laramie and beaten with the butt of a pistol. He later died in hospital, succumbing to his injuries and sparking an outcry that would ripple around the world and far into the future. Inspired by Matthew’s story, American composer Craig Hella Johnson composed an oratorio titled Considering Matthew Shepherd, and on February 20 it will be performed for the first time in Sydney as part of the Sydney Gay and Lesbian Mardi Gras. Presented by Sydney Philharmonia’s acclaimed VOX Young Adult Choir and performed in the City Recital Hall, Considering Matthew Shepherd will be a moving and celebratory performance dedicated to his life. Directed by Shaun Rennie and conducted by VOX Musical Director Elizabeth Scott, the Sydney premiere will be a highlight of this year’s Mardi Gras. “We’ve really been exploring all angles of the event but also of human emotions and how different people reacted to this particular event,” said Scott. “For some of the choir this is incredibly close to their hearts. It really speaks to people, some more than others. This event had such a big impact in history. A lot of us have been very emotional in rehearsal.” “I think it will be a very moving experience. It’s such a tragic story but it’s not all about the tragedy,” shared Scott. “A lot of it is very beautiful and very reflective. It also looks at how humanity moves on to heal and moves into the future. It’s very powerful.” (MB) Feb 20. City Recital Hall, 2 Angel Place, Sydney. $49-$109+b.f. Tickets & Info: www.cityrecitalhall.com city hub 13 FEBRUARY 2020

HubARTS

War Horse

he National Theatre of Great Britain’s Olivier and Tony-Award winning production of War Horse returns to Sydney. Audiences should be enchanted by this uniquely spectacular piece of theatre, which has won more than 25 international awards. This story about friendship, love, loyalty, family and trust at the time of the First World War surrounds a young man’s quest to find his horse, which has been dispatched to the cavalry and shipped to France to aid the war effort. The highlight of the show is an extraordinarily emotive giant horse puppet, manipulated by three performers. Matthew Forbes, credited as the Associate Puppetry Director and a key to the show for 10 years, recently spoke to City Hub. His job is to audition performers from all different backgrounds. “I then work extensively with the cast during the rehearsal period to get them to perform the puppetry we need in the show to the highest of standards,” he said. When asked whether the puppetry aspect of the

By Jamie Apps or local Sydney band WAWAWOW it is all about their indie, electro, psycherock music. From their live show to their new album, Pink Elephant, and even right down to their name. According to WAWAWOW’s Wade Van Den Hoek (vocals and synth), the band’s name came from guitarist Adam Pilcher’s “excessive” use of a wah pedal. “We had list of random phrases and stuff we found funny, for a while we were going to be called The Lemon Sticks. Ultimately we decided that because our guitarist used a wah pedal quite excessively, and it made that wawawow sound, that we should go with that name because our band is all about sounds.” The sounds that Van Den Hoek speaks of are heavily influenced by bands such as Queens Of The Stone Age and can be described as “diminished dark, silly rock” as they blend together a plethora of riffs, effects and samples in their seven minute plus epics. This mantra of focusing on the music rather than the individuals is something

city hub 13 FebruARY 2020

show is an ambitious process he quickly responded, “Absolutely! It’s a mammoth task bringing a puppet horse to life on stage! Handspring Puppet Company, the original directors and designers of our beautiful horses, have created truly mesmerising puppets. They look like horses, move like horses, but the real challenge is making sure they think and respond like horses.” The puppeteers are never hidden during the show, but they quickly fade into the background. “When the three of them work,” he said, “together they bring the puppet to life with incredible accuracy and detail. Their eyeline is completely focused on the puppet, this level of focus and the passion in which they perform quickly means that the audience is able to suspend their belief and the puppeteers seem to vanish.” War Horse has found phenomenal success worldwide, now seen by over eight million people in 11 countries including the UK, Ireland, North America and China. (There was a Steven Spielberg movie too, of course.) But why does this show resonate with audiences? “This production appeals to all, it truly is a piece of beautiful theatre suitable for the entire family. The puppetry, songs, lighting, sound, set and costume design are all truly stunning. I think seeing the story

WAWAWOW WAWAWOW carried through to the style of their live performance. Unlike most bands, WAWAWOW’s performance style has little to no audience interaction or banter from the band members whilst on stage. Instead they simply walk on stage and play through the entire set as one continuous piece of music before walking off stage exhausted. “Our live set has always been one big song with no gaps... it’s a fun non-stop rollercoaster ride which leaves us all pretty frazzled by the end,” said Van Den Hoek before explaining their mindset further, “For us this is a fun alternative way to

showcase music rather than personalities because that is what we’re all about.” Given that the band performs in this manner it was natural for them to in turn bring that style across into their new album, Pink Elephant. However, in doing so it meant there was a lot of extra thought and planning required before recording. “People were telling us that making an album like this was a bad idea because it would be hard to get the songs onto Spotify playlists or the radio. We thought about it for a while but we really liked the idea of the album being like our live set, you can get lost in the music and before you know

From New London Theatre Production. Photo: Brinkhoff Mögenburg

come to life in front of you is part of the magic of War Horse. You see the puppet horses, you know they’re not real, but very quickly you’re completely immersed in the story, breathing along with the horse, sitting at the edge of your seat and wiping away the tears at the end!” (MMo) ** Refer to CityHubSydney.com.au for the complete interview with Matthew Forbes** Feb 15–Mar 13. Lyric Theatre, 55 Pirrama Rd, Pyrmont. $59-$205+b.f. Tickets & Info: www.warhorseonstage.com.au

it you’ve listened to 10-15 minutes.” Since the band was so set on this format for the record it meant that the normal recording process simply wouldn’t have worked for them explained Van Den Hoek, “If we went into a studio and recorded for say 2-3 days this album couldn’t have happened. We had to meet up 2-3 times per week, not necessarily to record but to instead talk about or listen to the music and suggest different ways to make it all work.” Finally after two long years Pink Elephant officially hits shelves on Valentine’s Day. “It’s been way too long coming... we thought it would be released a long time ago, so we’re very excited to have it out of our hair,” said Van Den Hoek before sharing his excitement for the upcoming launch show, “We can’t wait to play gigs this year... playing gigs is the reward for being in a band after all. Writing is fun but it’s 80% mentally exhausting and 20% fun/ creativity. Whereas gigging is 100% fun.” Feb 22. Town Hall Hotel, 326 King St, Newtown. FREE. Info: www.facebook. com/wawawowband

Phoenix Collective Concert Series 2020 – Intricate Machines

he Phoenix Collective are back in 2020 with another exquisite concert series of four programs. In 2020 the program will feature a feast of different genres including; the virtuosic flair of Italian Baroque, the purity of folk music, French impressionism, the intense emotions of the romantic period, contemporary/jazz fusions and the meditative calm of minimalism. Kicking-off the program is a concert entitled, Intricate Machines which is inspired by mechanics, wheels, cogs, precision, construction & repetition. The imaginative program is an ode to the industrial revolution, the hum of a busy city and drive of a locomotive. Audience members will experience the complexity of Reich’s Different Trains, Pärt’s mesmerising Fratres, Bach’s Art Of Fugue and Dvořák’s masterpiece The American string quartet. All performed with a sense of intimacy, engaging stage presence and vivid musicality. Feb 14. Mosman Art Gallery, 1 Art Gallery Way, Mosman. $15-$35+b.f. Tickets & Info: www.phoenixcollective.com.au

HubARTS

Wansolwara: One Salt Water I n the pidgin dialect of the Solomon Islands, Wansolwara describes the concept of ‘one ocean, one people’, as an idea of a shared connection between the different communities of the Great Ocean. At UNSW Galleries, Fiji-born and Sydney based artist Shivanjani Lal’s works explores her history and identity as an Australian and Fijian. Her work explores the indentured labour diaspora of the Indian and Pacific Ocean, which brought her family from India to Fiji. In her work, Child, Tell Me A Story, maps are sewn with red threads to show the tracking of the movement of ships that transported labour passengers from India to Fiji between, 1879-1920. “They had although signed an agreement to work for the Sugar Cane industry but it was basically slavery,” says Lal Brisbane-based Tongan artist Ruha Fifita presents her two large-scale Tongan ngatu (painted bark cloth tapestry). The first ngatu Ngoue Manongi inspired

by her grandmother was a collaborative effort between her family to reflect on the bonds that united extended families. “Our nephew who was taking his first walk was on this Tapa when we had finished, had walked from one side to another. We were all there to experience it.” said Fifta. While the second ngatu Lototo was created with candlenut soot and natural dyes extracted from where whales migrate from to reflect on human’s relationship with nature. In celebration of the artworks, from more than 20 artists, including Fifita and Lal, Wansolwara: One Salt Water will be held across both UNSW Galleries and 4A Centre for Contemporary Art until March 2020. (KC) Until Apr 18. UNSW Galleries, Cnr of Oxford Street and Greens Road, Paddington, Sydney. Info: www.artdesign.unsw.edu.au Until Mar 29. 4A Centre For Contemporary Art, 181-187 Hay St, Haymarket, Sydney. Info: www.4a.com.au

Emma Wild Butterfly: The Claire Murray Story

ild Butterfly is a documentary which reflects on the tragic life and passing of Perth’s Claire Murray. At just 24 years old Murray passed following complications associated with a failed liver transplant. However, there is much more to her story. This documentary uses dramatised reenactments to reveal that as a young girl Murray was sexually abused, a moment which would ultimately scar her psyche and lead her down a path of drug abuse. During her life Murray was depicted as an ungrateful junkie who recklessly destroyed her first transplant, after relapsing and suffering further liver failure. Wild

Butterfly though poses questions about the way Murray and her family were treated by police, doctors, the media and the general public via social media. Wild Butterfly tells a truely heartbreaking story. With some deeper investigation into specific elements of Murray’s story this film could have been truely revelatory. As it stands though Wild Butterfly is a compelling tale, but not a must watch. (JA)

lassic literature enthusiasts should warm to this latest engaging instalment of Jane Austen’s Emma. Living on a beautiful country estate with her draft-obsessed father (Bill Nighy), Emma Woodhouse (Anya Taylor-Joy) is vain, snobbish and well-meaning in her way. She enjoys match-making, and although declaring married life is not for her, shows a keen interest in the extremely welllanded Frank Churchill before even meeting him. And while she enjoys being mentor to young, innocent and less-landed Harriet Smith (Mia Goth), her long-time friend George Knightley is always there to remind her just how much she doesn’t know. Taylor-Joy’s Emma is less light-hearted than others and offers more depth, while Callum Turner is impeccable as the tortured Knightley. The rest of the ensemble cast are also flawless. Director Autumn de Wilde has avoided the temptation to overdo the comedy,

which comes out in the story; each character, you feel, has something at stake. (CCov) WWWW

Short+Sweet:

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WWW

'If the content of Wild Butterfly brings up concerns for you please contact someone you trust, your GP or relevant service’

More info and bookings: www.shortandsweet.org/sydney e: tickets@shortandsweet.org

13 feb- 26 apr Thurs-saT 7.30pm sun 1pm and 6.00pm city hub 13 FEBRUARY 2020

Myra DuBois Sydney Opera House presents

Dead Funny 18 – 29 FEB UTZON ROOM FROM $49.90*

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city hub 13 FebruARY 2020

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