City Hub 15 August 2019

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A third act waits for Metro

by JOHN MOYLE The Metro Theatre in Potts Point may be closer to returning to a full-time performing arts venue than at any time in its recent history if a recently formed committee has its way.

“The purpose of the action group is to ensure that the Metro is fully restored as a venue for the performing arts,” John Clark, Convenor, Metro/ Minerva Action Group said.

Holding their first meeting in May, the group hopes to succeed with a considered business plan for the purchase of the theatre to be submitted to the City of Sydney and Create NSW. A hastily considered plea failed last year when a motion to purchase put to the City by councillors Professor Kerryn Phelps and Christine Forster was defeated.

Theatre Royal have closed and the city loses big shows such as Harry Potter and the Cursed Child to Melbourne.

“Sydney has lost so many theatres and now we are well behind Melbourne and we need the Roxy Parramatta and the Metro to address the shortage,” John Clark said.

Will Harvey is the general manager of the 110seat Hayes Theatre and is often frustrated that the theatre has nowhere larger to transfer highly successful shows for extended runs.

“Quite often, both our independent shows and some of our Hayes produced shows would have really jumped at the chance to have more seats,” Will Harvey said.

Greg Khoury sees the willingness of the Victorian Government to venture into public/ private deals as one reason for their supremacy in the theatrical production market, citing three theatres where this has worked.

The help of Phelps Emboldened by the committee’s considered approach, Cr Prof Phelps said last week, “I’m asking questions that the Council explore a business model for the purchase or the management.

“The timing is really important because Kings Cross and Potts Point are going through a rapid transition because of the lockout laws and the number of venues closing down.”

Designed in the streamline moderne style by C Bruce Dellit, the 1,000 seat Minerva opened in 1939 before later changing its name to the Metro in 1950, when MGM converted it into a cinema.

In the late sixties, it reverted to live performances such as Hair and screened art house movies before being becoming an ill-fated food hall and going dark.

For the past 35 years it was owned by film director George Miller until in May 2018 it was

we need the Metro to address the shortage “For whatever reasons, Create NSW have articulated their own policy that they want to promote public/private partnerships but we are yet to see it,” Greg Khoury said.

In response, Create NSW said, “There is a clear need for more 1,000-1.500 seat theatres in Sydney.

“The Cultural Infrastructure Plan 20125+ highlights a lack of suitable venues.”

Create NSW has just negotiated a 45-year lease with the owners of the Theatre Royal that is expected to be operational in around three years.

With the Cross in almost terminal decline, a vibrant 1,000 seat theatre in the area would be a quick way to put foot traffic back onto the streets without the dangers of the past.

The Metro/Minerva Action Group want to see this theatre open again. Photo: John Moyle

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purchased by property developers Abacus Group.

The Metro is one of Sydney’s last three remaining art deco gems that can easily be converted back to its original use as a theatre and/ or cinema.

Film historian and committee member Graham Shirley worked on many Kennedy Miller productions in the Metro during the 80s and 90s and says that much of the theatre is intact.

“When I worked there it was still in good condition except that the seats had been taken

out so sets for the “Dismissal” could be built, and someone had built a concrete slab across the stage,” Graham Shirley said.

Recently, committee member and multiple venue operator Greg Khoury was given a tour of the Metro by the owners, Abacus Group.

“Everything is reversible and as a layman I would estimate that it would take $2-4 million to return it to a functioning theatre,” Khoury said.

Sydney’s need for another lyric theatre of this size is palpable as similar sized theatres such as the

Local economy benefits A 2018 UTS study of the flow-on effects for the Enmore Theatre showed that it contributed $39 million to the area last year.

“It would bring people back to the neighbourhood and invigorate the area from the lock-out laws,” Barry McDonald, proprietor, Cafe Giorgio said.

For the City of Sydney and State Government concerns for the future of the Cross, this would be a speedy win-win scenario.

Abacus Group declined comment, saying, “It was not appropriate to speak at this time.”

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3

Pet hate

BY VANESSA LIM The question of who polices off-leash dogs, especially those that maul other dogs, has been raised again following an increase in attacks across Sydney, including the latest victim, Celebrity Chef Colin Fassnidge.

On Sunday 4 August, Fassnidge’s two dogs, a shih tzu terrier and a dalmation, were attacked by three aggressive dogs off their leash outside his home in Malabar.

Five adults were needed to remove the three canine assailants, estimated at 40kg each, which were impounded by Randwick City Council. Rangers will decide if the dogs are to be put down.

“I don’t blame the dogs, I blame the owners - we’ve all got dogs - it’s how you train them,” Fassnidge told 7NEWS. Under the Companion Animals Act 1998, it is an offence if a dog rushes at, attacks, bites, harasses or chases any person or animal (other than vermin), whether or not an injury is caused to the person or animal. In some cases, like Fassnidge’s, dogs who attack other pets or humans may get taken impounded and, if deemed necessary, euthanised.

In central Sydney, Sydney City Council (SCC) has only six rangers who are authorised to deal with dog issues. The city is divided into thirds and there are only two per area. SCC’s website says dogs must be on a lead unless they’re in designated ‘off-leash’ areas, but there is limited ability to enforce it.

A ranger told City Hub that there have been 50 attacks by off-leash dogs across central Sydney in the last year, several of them vicious. It appears the situation is out of control and some dog owners have a

Should aggressive dogs be muzzled?

Photo: Alec Smart

sense that they are entitled to let their dogs roam free.

One city resident told City Hub how he was assaulted by a dog owner in a public park, who struck him with the dog’s leash when asked to restrain his roaming Doberman.

Dogged defender Eastern Suburbs resident and dog owner Lara Rebecca Schilling said authorities should think twice before euthanising an aggressive dog they’ve seized. “I know dogs that are deemed dangerous can be seized and put to sleep if they are considered dangerous.

What we forget is that most dogs that do this are not actually dangerous by nature and have been put into a situation that left them scared and in panic. Even the most well-controlled dogs can do something unpredictable and it’s usually from being threatened or protecting their territory, whether it’s their human or their property.”

Schilling was once attacked by her last dog, Jack. “I had a Border Collie. He had known aggression issues towards other dogs and was mostly okay with people, but he wasn’t afraid of asserting his space.

One evening, I came home and he was happy to see me, so we jumped on the bed, in the dark and had a play. I must’ve done something to spook him because the next moment, I heard a growl and felt a pulling sensation on my lip. I looked in the mirror and found that it was ripped open.

I went to hospital ... they admitted me for antibiotics and surgery..”

Schilling said that despite being attacked by her dog without her provocation, Jack

wasn’t at fault. “It was my own fault. As the owner, I was responsible for my dog’s behaviour, and I pushed him to breaking point. I can’t hold it against him, he probably wouldn’t have done it if the light was on and I could see his face.”

While Schilling was attacked by a dog like those that mauled Colin Fassnidge’s three pets, the context differed. “The difference between my responsibility as a dog owner and the incident in Malabar is that the owners did not care that their dogs were like that. Any dog

with aggression issues – this is not a breed-specific issue either – needs to be assessed on what scenarios they can safely be exposed to.”

Canine aggression on the rise Dog attacks in off-leash areas is also an ongoing issue. In the Inner West, members of Facebook group Newtown 2042 have posted multiple times about irresponsible owners letting aggressive dogs bite others in off-leash parks.

Aggressive dog attacks in Sydney Park

and Enmore TAFE Dog Park are also on the rise.

A spokesperson from Inner West Council said regardless of the type of injury, if a dog harmed or intimidated any person or animal, it was considered an offence.

“Inner West Council Companion Animal Officers regard all reports of dog attacks, regardless of the victim being an animal (other than vermin) or human, as equally serious and the method of investigation is equally applied.”

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Dairy beloved building

BY ALEC SMART In Marrickville, a property at 209 Livingstone Rd, once part of an historic dairy and, latterly, a State Emergency Services (SES) building, is facing demolition. The Greek Orthodox Church alongside, which owns the premises, were granted permission to bulldoze and replace it with a two-storey boarding house and that’s now set to proceed after a year’s delay.

However, campaigners are fighting a rear-guard action to save the building, arguing it is the last significant remnant of Marrickville’s historic dairy industry - around 40 dairies were registered at its peak in 1891 - and part of an important conservation area. The original building dates back to 1931 when it was constructed as a milk depot.

ď ˝Its demolition is ironic, considering the battle Marrickville Council fought with the original builderď ž In August 2018, after a conciliation conference in the NSW Land and Environment Court, the Inner West Council (IWC) reached an agreement with CD Architects and permission was granted to proceed with Development Application DA201700180 to demolish the premises at 209 Livingstone.

The IWC rejected an earlier application for a 3-storey building with more bedrooms after receiving public

submissions from over 50 residents objecting to a variety of issues, chiefly the replacement building’s imposing size, but IWC accepted a scaled-down compromise.

Heritage impact Although the façade of the original SES premises will remain, it will be grafted onto a two-storey boarding house that will include 23 double rooms and a manager’s apartment, plus a communal living area, alfresco lounge and TV room.

There are also five car parking bays provided, to be shared between 20-39 lodgers, meaning most tenants with vehicles will have to find parking in the neighbouring streets.

The Heritage Impact Statement in the development plan says: “The proposed works will have a minor but acceptable impact on the Inter War Group Heritage Conservation Area.�

The street running alongside the building, Hollands Ave, is part of the Inter War Group Heritage Conservation Area of protected properties in which strict controls are imposed upon residents to maintain the character of their houses.

Marrickville Council – forcibly merged into the IWC in May 2016 – issued a Development Control Plan in 2011 that listed the ‘desired future control’ of properties in the designated heritage area. Among the aims were: “To maintain distinctly single storey streetscapes that exist within the precinct; To preserve the predominantly low density residential character of the precinct.�

The SES Building on Livingstone Rd, Marrickville, will be demolished for a 3-storey boarding house. Photo: Alec Smart

It’s ironic that IWC, Marrickville Council’s successors, allow this building to be demolished, considering the long legal battle Marrickville Council fought with Cyril Cooper, who constructed the original building in 1931.

Cooper, whose family ran Champion Dairy on Botany Road in Waterloo between 1884-1914, relocated to 207 Livingstone Road, Marrickville in 1913, and took over a recently vacated dairy farm, which he also named Champion.

His father joined him in 1914, selling the Waterloo operation, but the local industry was already in decline, despite their leasing Taylor’s farm in nearby Illawarra Rd. This was

due to two massive country-based dairy cooperatives that wrested milk production away from the city – North Coast Fresh Food in the north, which became Norco, and Dairy Farmers in the south.

Spilt milk spat By1923 Marrickville’s dairy industry dwindled down to 9 farms with 370 head of cows between them, while the human population increased to 43,000+, generating constant complaints about straying cows, especially at night when they were released to graze on roadsides. That year Marrickville Council impounded

171 of them, imposing fines on their respective owners.

In 1926 the council declared they would no longer accept new dairy registrations, and within two years stopped re-registering existing dairies.

Cooper was urged to relocate his dairy but in 1931 was given permission to build a milk depot at 209 Livingstone Rd. and become instead a milk vendor. Cooper, by now Marrickville’s last dairy operator, refused to close his farm and fought for nine years to remain in operation.

However, in 1935 Cooper was summoned to appear before the council and ordered to close the farm. He sold the milk vending operation at 209 Livingstone to Dairy Farmers, and the farmland to Marrickville Council, who divided it up to build Ness Park behind and Hollands Ave. alongside, where a developer named Harry Hollands built 22 cottages that are now heritage-listed.

Cooper remained in Livingstone Rd, living at #207, whilst operating a dairy on Sydney’s northern beaches, and lived there until his death in 1950.

Dairy Farmers sold #209 to Marrickville Council in 1944, which initially used it for a girls’ club before passing it on to the SES. Cooper’s house at #207 changed hands a few times until it was eventually demolished in 1965 to construct the St Nicholas Greek Orthodox Church.

The church has since purchased number #209 from Marrickville Council, which they intend to demolish soon..

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Treasure from trash

BY MICHAEL HITCH The Bower Reuse and Repair Centre takes another step towards sustainable living after announcing the people’s choice winner at the conclusion of their ‘ART from TRASH’ exhibition in Marrickville.

The exhibition, held at ‘MakerSpace & Co’ from August 2nd to August 11th, aimed to educate people in the value of what is thrown away and to reduce waste in an artistic context. This year’s winner of the People’s choice award and $500 cash prize, titled ‘Banksia’, was created by student-artist Mia Sabel.

‘Banksia’ is an “experimental lighting concept” that draws from traditional basketry and is made up of crocheted plastic bags, wires and cables, recycled woods and of course… a light bulb.

Ms Sabel said that winning the award was an “honour”, as well as a great opportunity to demonstrate how one person’s trash can literally become another person’s treasure.

“It feels phenomenal. To win an award like this for The Bower with a piece that’s made out of absolute rubbish, in a place full of pieces made of rubbish, is just an honour for me,” she said.

“It was hard. As it grew larger and more flexible and had a mind of its own it became more difficult to work with. I had this vision all along and I tried to shape it towards that vision stitch by stitch.”

Traditions Ms Sabel also discussed the inspiration behind the piece as a symbol for a loss of craft skills as every generation continues.

“I did it during my textiles course at UNSW art and design. I call it Banksia because it kind of looks like a Banksia pod and originally it was about how craft traditions are being lost through every generation.”

“At the beginning the holes are tiny but as the

Mia Sabel with her winning work, ‘Banksia’. Photo: Michael Hitch

work progresses the holes become larger and larger to represent how that knowledge is lost.

“My grandma taught me how to crochet and I might not pass that knowledge on to my children.”

Art from Trash raises important issues regarding sustainability and overconsumption The opening night of the exhibition saw a turnout of approximately 300 people with 63 pieces of artwork displayed by 33 artists. The Bower estimates roughly 700 people have showed up to the exhibition during the week.

Artworks presented at ‘Art from Trash’ ranged from sculptures to sketches, raising

important issues regarding sustainability and overconsumption. The Inner West Council also presented two judge’s awards worth $250 on the opening night, to works inspired by fast-fashion and food-wastage.

The Bower partnered with the Inner West Council, EDGE Sydenham and MakerSpace to bring the ‘Art from Trash’ exhibition to Sydney from its origins in Hobart, which has had more than 5000 visitors and over 130 local and nationally-known artists present their work.

Sustainability General Manager of The Bower, Guido Verbist, said that the exhibition succeeded in telling a tale of sustainability and that the event’s first-time success has emboldened The Bower with stronger connections to community and creativity.

“It’s the story about showing people how you can reuse ‘pre-loved’ goods as we call them, because there’s always a good use for these thing,” he said.

“We always have looked at the role of The Bower as an organisation that has to tell the story of reuse, time and time again in different ways and this is a different way of telling that story.

“There is a reuse possibility for items that you think would have no functionality anymore and that’s why we do it.

“We can, by doing this, tap into a new audience that we are less active with or less informed about what we do and that’s a big bonus for us because we see a lot of new faces here. Even the vast majority of artists here have not previously interacted with us which creates a new network and gives us another way to tell the story about reuse and repair.”

Other artists present for the closing night included sisters Anna Mango and Tarja Martin, who presented dresses made from bubble-wrap and other brightly coloured plastic as a statement against the growing fast-fashion industry. Both sisters share a love of stylish sustainability and “jumped” at the chance to combine both passions for the exhibition.

“We pick with pride,” said Ms Mango as she smirked at Ms Martin.

“You know how necessity dictates: a lack of the dollar bills makes you more enthusiastic about diving into trash,” Ms Martin continued. “So really, when you live a low-economic lifestyle, you’re looking after the planet and the next generation.

“We have a love of drag queens, and therefore we have a love of the avante-garde. We love fashion, so it all came together as a memento to wearing worldwide waste. As soon as we heard this was happening, we jumped in.”

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Food, affordable food

BY ALEC SMART The massive surge in high-rise apartment construction in inner-west Sydney has created a significant hike in rental prices as more people flock to live near employment hubs. This, along with substantial increases in household electricity charges, the costs of medical services and products, kids’ school tuition fees, fuel prices and common necessities, means many low-income people especially pensioners and welfare recipients - are struggling to pay their bills.

However, while eating out might be beyond the means of many low-income people, thanks to food cooperatives like the Food Pantry in Marrickville, high-quality, tasty and nutritious food is affordable.

Situated in Addison Road Community (Addi Rd) in north-eastern Marrickville, it is a low-cost supermarket that provides groceries, fruit and vegetables to over 500 customers a week.

Voluntary effort Joanne Ryan, Partnerships Manager, explained to City Hub: “Food Pantry is run by volunteers. We buy from the Foodbank and accept donations of stock that is either close to its use-by date or near its ‘best before’ date from a number of partners, including Barilla, IGA and QE. We also receive donations from individual members of the community.”

Food Pantry was founded in 2015 with a grant from the NSW Environment Protection Agency (EPA) in response to a research paper by the Addison Road Community Organisation (ARCCO). This revealed that food insecurity in the Inner West was a significant and increasing issue.

Food Pantry launched in a 20sqm shipping container set up in the Addi Rd carpark.

“Funds from the EPA also enabled Addison Road to purchase a vehicle to collect food donations, and fridges to store donated food,” said Ms Ryan.

Demand for the service grew substantially, so in

dietary requirements,” said Ms Ryan, “including vegan, halal and gluten-free. We’re trying to modify our range so that it appeals to a wider community.

“We also provide a mobile food pantry service to provide food relief in other areas of Sydney where there is a high level of food insecurity.

Volunteers at Food Pantry, a discount supermarket in Addi Rd, Marrickville. Photo: Alec Smart

2017 the community supermarket relocated to hut 9 on the Addi Rd estate, at 60sqm, treble the size of the shipping container. “At that point we were selling about $1,500 worth of food a week,” Ms Ryan revealed, “and had about 70 customers over three days.”

Food Pantry provides food relief to 1500-1800 people per week Then, in early 2019, now catering to over 500 customers a week, they moved into the ARCCO building, hut 1, which will expand to 100sqm after renovations.

Ms Ryan explained to City Hub: “The purpose of the Food Pantry from the beginning has been

twofold: to rescue perfectly good food from going to landfill, and to make this available to individuals and families in the local community experiencing food insecurity.”

The Food Pantry is staffed by 25 volunteers and is open 12 hours a week on Tuesday, Wednesday and Thursday.

Amanda Noble, a Food Pantry shopper, told City Hub: “I’m on a pension, a single mum to two kids. I began using it again recently for the first time in about 8 months and was really amazed at the difference in things available and the quality. I spent $80 and came out with 3 bags. Some items normally considered ‘luxury’ were available at a fraction of the price. Makes a huge difference when you are living from hand to mouth.”

“We bring in foodstuffs that cater to a variety of

Kelly Reed, 24 Originally from: UK Now lives: Sydney

Food for thought There is also a ‘Vege-Table Monday’: “This is an initiative with Foodbank NSW and ACT,” Ms Ryan said. “Every Monday morning, they deliver about 400-600 kg of fruit and veg to us and we make it available to the local community for $2 per bag.

“Our clients include some people who are budget conscious shoppers but mostly people who are unemployed and relying on New Start and Youth Allowance; underemployed - relying on casual, part time and temporary work; relying on the minimum wage; on a disability pension, or their carers; students; refugees and asylum seekers (many of whom have no work rights); and aged pensioners.

“Addison Road Community Centre was recently awarded a grant from Inner west Council to refurbish the kitchen in the Gumbramorra Hall. This will provide an opportunity for Food Pantry customers to learn how to make tasty, nutritious meals using produce from the Food Pantry, and also from the community gardens on site. We also hope to be able to run bottling and pickling classes, using our excess fruit and vegetables so this doesn’t go to waste.

“Combining the Food Pantry, Mobile Food Pantry and Vege-Table Monday programs, ARCCO is providing food relief to about 1500-1800 individuals per week. Our numbers are increasing, and we are being approached by services in other areas of Sydney to provide a mobile food pantry service to their local community.”

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Opinion

Breaking up the Bankstown Line

BY ROYDON NG Forcing 19,000 commuters to catch three separate trains to reach the City Circle doesn’t seem to concern the NSW Government despite warnings that the Sydenham to Bankstown Metro will reduce reliability on Sydney’s train network.

Community anger is growing at the government’s broken promise for public consultation in the Bankstown Line shutdown’s Temporary Transport Plans which are yet to be released, even though Sydney Metro announced in 2017 that draft plans would be published “several years beforehand”.

Doubts are also being raised over the 2024 opening of Sydney Metro City and Southwest, with Treasury unable to announce the specific cost of the southwest section from Sydenham to Bankstown.

As the NSW Budget is increasingly stretched by the government’s rush to build toll roads, the funding option for Sydney Metro may come from privatisation of the railway based on the Hong Kong MTR’s business model of high-rise development above and around Metro stations.

The Sydenham to Bankstown Metro is the prime example of the government sacrificing the community’s public transport needs for the interests of property developers.

“Not Welcome” in Sydney Using cleverly worded brochures and fancy video animations, the government has been busy covering up the fact that Sydenham to Bankstown is barely half of the entire T3 Bankstown Line.

In fact, the current Bankstown Line begins in the City Circle followed by Redfern, Erskineville and St Peters before travelling to Sydenham then eventually to Bankstown, with train services continuing either to Lidcombe or Liverpool.

By referring to the Metro Southwest project as the “Bankstown Line upgrade”, Transport Minister Andrew Constance is leading the charge in ignoring the impact on stations east of Sydenham

Displaced Bankstown Line commuters will also add 10% to patronage at Strathfield, with Lidcombe bracing for a 22% increase in rail boardings.

Transport Minister Andrew Constance is also refusing to officially release the complete Bankstown Line shutdown schedule, perhaps in fear of a backlash from businesses fearing, a repeat of the Sydney Light Rail construction debacle.

A March 2019 protest against the Sydney Metro Southwest rail line. Photo: Roydon Ng

and west of Bankstown that will not be receiving Metro services.

Every Bankstown Line commuter will lose direct access to the City Circle, but the hardest hit will be the 19,000 commuters from the nine stations west of Bankstown, now being forced to interchange twice.

Hardest hit will be 19,000 commuters from the nine stations west of Bankstown Stations such as Chester Hill, Villawood and Sefton having already lost the Inner West Line: City to Liverpool (and Bankstown) via Regents Park train service in 2013, will now have to change at Bankstown and again at either Sydenham or Central Station to reach the City Circle.

Shutting down the Bankstown Line will have serious impacts on the Inner West and Canterbury-Bankstown, no matter how the government tries to downplay the increased traffic congestion among a host of other consequences arising from the Metro.

Unlike the Epping to Chatswood rail shutdown with replacement buses having the pleasure of a multi-lane motorway and dedicated lanes around Macquarie Park, the Inner West does not have the capacity to handle the substantial increase traffic from former train commuters now driving, let alone 100 buses an hour arriving at Sydenham.

Transport for NSW documents also reveal that shutting down the Bankstown Line will increase overcrowding at Ashfield, Strathfield and Lidcombe stations on the T2 Inner West Line.

Passenger numbers will more than double at Ashfield from 2,486 to 5,218 in a single hour during the morning peak.

Restore Inner West Line The Sydenham to Bankstown Metro isn’t the first cut to the Bankstown Line and unfortunately won’t be the last, with a Sydney Metro newsletter announcing the line’s future termination at Cabramatta.

The breakup of the Bankstown loop began in 2013 with the termination of the Inner West Line at Homebush and the termination of the Bankstown Line at Lidcombe.

Previously the Inner West Line was the City to Liverpool (and Bankstown) via Regents Park service, with Bankstown commuters having two options of travelling to the City Circle.

Original rail plans drafted in 2011 show that cuts to both the Inner West Line and Bankstown Line was to allow for conversion of the line for Metro, but only Sydenham to Bankstown has been officially earmarked for the time being.

The extensive impact on Canterbury-Bankstown and Inner West caused by Sydney Metro is completely avoidable because the Sydenham to Bankstown Metro isn’t about improving public transport but designed and financially modelled to benefit developers in their pursuit of high-rise.

There is so much hardship on families, commuters and businesses that can be avoided if the government would respect the wishes of the community and restore the Inner West Line.

Roydon Ng is an investigative journalist and member of the Restore Inner West Line (Liverpool via Regents Park) community action group.

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city hub 15 AUGUST 2019

FEATURE

Titus Andronicus

By Rita Bratovich Titus Andronicus was Shakespeare’s first tragedy and it makes Game Of Thrones look like Sesame Street!

Written in line with the genre then known as “revenge plays” and vengeful it is aplenty; by the end, the death toll is 14 alongside incidents of rape, mutilation, torture, and cannibalism. Oh, and also, most of this occurs among blood relatives. Obviously, there are some hard choices to be made when staging such a play, especially around how literally to depict the carnage. During an infamous, rather graphic performance at London’s Globe Theatre in 2014, audience members reportedly vomited and fainted. Thankfully, Bell Shakespeare’s upcoming staging at the Sydney Opera House will be more implicit than sanguinary.

“This production is not about the gratuitousness of the violence; it’s about the toxicity of revenge, and also trying to bring together a sense of the humanity of the characters who do appalling things,” explains Jane Montgomery Griffiths who has been cast in the lead role of Titus. “It weaves together violence and families in a very interesting way.”

The play itself was written during a time when watching humans be dismembered was considered entertainment, so its extreme violence was pretty much de rigueur.

However, that shouldn’t lead to an oversimplified reading of it.

“It’s not just black and white in this play, there are a fair few nuances,” says Griffiths.

She says the director, Adena Jacobs, whom she describes as a visionary, is looking beyond the sensationalism of the violence. “Adena is trying to create something which actually finds beauty in the horror.”

When Griffiths was first informed that she had been cast as Titus - who remains a male character - she thought about visiting the Melbourne barracks and learning how to be a drill sergeant or soldier.

“Then as we got into rehearsal, that became less and less significant because, I suppose, one of the things now that we are as a society is we’re much more open to nonbinary gender positions, we’re allowed to play, and I found the idea of playing with the masculine and the feminine really interesting,” says Griffiths.

Adding another dimension is the fact that she is a mother. She found she had to coalesce her maternal instinct with her perception of the male psyche. In one scene, Titus kills his own son in a fit of rage.

“As a mother, I couldn’t imagine doing that; as a twisted war veteran, which is what Titus is, I can imagine him doing that,” says Griffiths.

With its near relentless parade of bloodletting, it might seem like the play is thin on character development, but Griffiths emphatically disputes that idea.

“For Titus, there’s an incredible journey. I’ve played some pretty meaty roles, but this is without a doubt the biggest journey of a character I’ve ever experienced.”

It’s a journey that takes Griffiths into some disturbing territory, but she finds it energising, strangely beautiful, even cathartic.

“Actors are funny people …and virtually all actors not just love a challenge, but love having a role where they can go into places and into emotions that they would hopefully never experience in their life,” she explains.

“Certainly for me, exploring those immense emotions is fascinating, and sometimes very satisfying. You know it’s like when you have a

Jane Montgomery Griffiths Photo: Brett Boardman.

Bell Shakespeare’s Titus Andronicus in rehearsals.

Photo: Brett Boardman

really good cry to get it out of your system and you feel better after that.”

Does she feel apprehensive about what she might find?

“Nah. I’ve done too many dark roles for that.

I think I’ve discovered all the strangeness in myself by now.”

Whatever that strangeness is clearly has a strong appeal for director Adena Jacobs. She has worked with Griffiths on several projects during the last ten years and she thought exclusively of her for the role of Titus.

Similarly, she has cast Tariro Mavondo in the male role of Aaron, the Moor. The characters are still addressed as male but there is no attempt to hide the fact they are being played by women. Other characters are played by an ensemble in multiple roles. Jacobs says it gives the play fluidity and makes it less conventional. As written, it is predominantly male with only two female characters.

“That kind of arrangement is [ …] very uninteresting to us now, and problematic - it leaves us nowhere to go except just to say that there’s a lot of patriarchal violence things we know,” says Jacobs. “We are a group of artists in 2019 and we’re primarily a group of queer and feminist artists, so our relationship to these particular images of violence and these questions and ideas are very different.”

Switching genders reframes the play, provides an alternative perspective. For instance, there is a scene at the end of the play where Titus kills his daughter for shame, and the idea of a male general killing his daughter for shame has a different meaning to Jane as Titus and as a woman doing it. Ultimately, the play is not so much about gender as it is about family, violence, and retribution.

“The emotional core of the piece is all of these parents’ relationship with their children and their desperate desire to keep their children safe - which they fail at and which leads to dire consequences and vengeful acts…” says Jacobs. She sees the intergenerational and perpetual violence as one of its overarching themes. “These cycles of violence are reiterated through the generations and they will continue to be reiterated. There is something so fatalistic and nihilistic about the text as written.”

In terms of staging, Jacobs has created a surreal landscape that is neither modern nor historical.

“It feels like a newly made-up world in some way, it’s a parallel world,” she explains. The costumes are also non-definitive, nontemporal, non-gendered. The design overall reflects on the history, myth, and art around violence.

“It’s a mythological space, so it kind of draws from all those things.”

The violence is implicit, not graphic, but very much at front and centre thematically.

“I think Shakespeare’s intention was to interrogate violence, and why there is such a scale of violence and what our relationship is to it, you know once we’re surrounded by it and affected by it to the point of excess.”

CONTENT WARNING

Titus Andronicus contains rape, body harm, amputation, murder, infanticide, gendered and racialised violence. Please be advised that this production will include this confronting content. It is recommended that any audience member concerned about this subject matter should familiarise themselves with the play before purchasing tickets.

Aug 27-Sep 27. Sydney Opera House, Bennelong Point, Sydney. $45-$95+b.f. Tickets & Info: www.bellshakespeare.com.au city hub 15 AUGUST 2019

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ARTS & ENTERTAINMENT Photo: Robert Catto

Rainbow’s End

This powerful and contemporary Indigenous play penned by Australian playwright Jane Harrison and presented by Moogahlin Performing Arts focuses on three generations of indigenous women, against the backdrop of the Queen’s visit to Australia in 1954.

Actress Dalara Williams who plays the role of Gladys explained that the play details how this family handles the situation of what was happening in Australia.“It’s a story about different generations that inspires hope, determination, resilience and is primarily about the battle between these generations.”

There are five performers on stage, but the main focus is on Gladys, as she journeys through life with her teenage daughter Dolly and grandmother Nan Dear. “I enjoy playing Gladys. She is so full of hope and she has this lightness about her. When you initially step into a new play you don’t know who the character is until the second or third week of rehearsals and by that time I realised how lovely Gladys was.”

Studied widely in high schools as part of the English syllabus, this stage-play which inspires the ideology that indigenous and non-indigenous communities can live together if they put their egos aside should appeal to all audiences. “It focuses on three generations, so I think it does cover a wide audience, whether they are indigenous or non-indigenous, and regardless of age because we have certain actors who are representing certain age groups on stage.”

Dalara stressed that it’s very important for audiences to come along and watch this play as indigenous voices are silenced at times in this country. “There are many topics covered which we still face today including housing issues, education and the right for indigenous communities to control their own destinies. On a brighter note, audiences will see the beauty of how we live and how we tell our stories and I think there needs to be more of that.” (MMo) Until Sep 1. Darlinghurst Theatre Company, Eternity Playhouse, 39 Burton St. Darlinghurst. $46-$59+b.f. Tickets & Info: www.darlinghursttheatre.com

When West Side Story debuted on Broadway in 1957 it was met with gape-mouthed awe by audiences and critics alike. The modern, gritty, version of Romeo And Juliet, set in an urban immigrant ghetto in New York it was a dramatic departure from conventional musicals of the time. According to Todd Jacobsson, who has been cast in the lead role of Tony in Opera Australia’s upcoming production, “It sort of changed the face of the musical theatre art form…all of a sudden they made a show that was incredibly relevant, it told the story of the day and it actually dealt with real issues. That’s partially why it’s so popular and important to tell now.”

Jacobsson still remembers seeing the show for the first time as a young boy - it changed his life. Now, many years later, he is playing one of the most coveted roles in theatre.

city hub 15 AUGUST 2019

“It is incredibly big shoes to fill,” he says, acknowledging the many performances that have come before, including the Oscar-winning film adaptation. But he adds, “I’m kind of blessed with having the honour try and do it.”

This is an indoor staging of the musical and has a completely different cast and design to the outdoor

performance staged earlier this year. In fact, this is the original and definitive version of the show and includes the legendary choreography created by Jerome Robbins for the first Broadway production. Joey McNeely, who is directing this production, learnt the choreography directly from Robbins.

“This was the first show where dance was used to further the story

instead of just stopping and entertaining an audience. So it’s a vocabulary that people weren’t used to and I think, even today it’s one of the most powerful pieces of dance ever,” says Jacobsson.

Touching on themes of racism, immigration, adolescent angst, as well as an intense, ill-fated love story, it’s an emotionally packed show.There are plenty of iconic scenes and numbers, but Jacobsson easily names his favourite,“Maria.” It’s a song he has sung in various settings throughout his life and in this show he sings in the spotlight alone on stage.

“To get to do that to an audience of 2000 plus by yourself with an orchestra of 35 in front of you - it doesn’t get much better than that.” (RB) Aug 16-Oct 6.Sydney Opera House, Bennelong Point, Sydney. $49.90-$249.90+b.f.

Tickets & Info: www.opera.org.au

Hydraulic Fucking

Cheryn Frost.

Photo: Vivienne Linsley

Yuwaalaraay artist Cheryn Frost will be playing across the gender spectrum as she plays both male and female characters in Hydraulic Fucking,

a queer political performance where she will also portray Mother Earth as a disco-ball slinging drag queen.

“Hydraulic Fucking looks at the destruction of Mother Earth at the hands of our government and multi-billion dollar corporations. We’ve screwed her long enough, and she’s fighting back.

This is for our mother,” said Frost.

This new work examines the destruction of our earth and the environmental impacts from fracking and the mining industry. In a bold statement, Frost draws parallels between the misuse of land and sexual consent.

Frost hopes that this performance will be a “fire

starter” for audiences, saying: “I hope you to go away from it and do something about it. These companies are assaulting the land, Mother Earth is screaming out for help, and we can’t be bystanders. The fight is on, and it’s not long until the change is irreversible.”

Hydraulic Fucking is one of three works from boundary-pushing young artists premiering as part of the 3x3x2 Festival Of New Works at PACT Centre for Emerging Artists, also featuring Emily Dash and Christie Woodhouse. (AM) Aug 14-24. PACT Centre for Emerging Artists, 107 Railway Parade, Erskineville. $25-$30.Tickets & info: www.pact.net.au

REVIEW: The Grapes Of Wrath The New Theatre’s goal is to promote fresh talent in less prominent productions aimed at discerning ‘thinking’ audiences, who expect originality in their theatre-going experiences and who demand more than the same old flamboyant ‘guaranteed hit’ musicals playing around town.

They have hit the mark with their latest production based on John Steinbeck’s classic 1940 Pulitzer Prize recipient The Grapes Of Wrath which later spawned an acclaimed film starring Henry Fonda and Tony award-winning Broadway play.

Set during the great depression of the 1930s, the story surrounds the Joad family who pack their truck and confidently head from drought-stricken Oklahoma to California where work allegedly abounds in this ‘promised land’.

Theatergoers who have read the novel or seen the film will initially ponder whether this play may be too mammoth an undertaking for Independent Theatre, as many storylines concentrate on their road trip and disastrous flood scenes.

a&e

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West Side Story

12 STAGE 14 SCENE 15 Sounds 15 SCREEN

The set designers have succeeded with basic props including tables and wooden crates in creating the illusion of a truck and flood sequences materialising on stage without water through clever lighting and sound techniques.An ounce of imagination is all that is required from audiences to visualise these scenes.

Dramatic with humorous elements the play is quite lengthy at a running time of 130 minutes.

Intermittent narration, songs and dance aid in storytelling which detract restlessness in what may otherwise have been an exhausting first act to sit through.To avoid confusion extreme attentiveness is important, as there are 17 actors on stage many of whom portray multiple characters.

Momentum builds in the second act with loud explosions of emotions on stage as death, family breakups and the reality of their journey to tragedy becomes apparent.The whole theatre is effectively transformed into a stage, as the actors run up and down the stairs in pivotal action scenes.

This is an ambitious production of Grapes Of

Arts Editor: Jamie Apps For more A&E stories go to www.altmedia.net.au and don’t forget to join the conversation on Twitter at @AltMediaSydney

Photo: Bob Seary

Wrath which should appeal to older audiences who enjoy live arthouse theatre. (MMo) Until Sep 7. New Theatre, 542 King Street, Newtown. $20-$35+b.f.Tickets & Info: www.newtheatre.org.au

Contributors: Irina Dunn, Mark Morellini, Olga Azar, Rita Bratovich, Joseph Rana, Madison Behringer, Allison Hore, Renee Lou Dallow, Alannah Maher.

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city hub 15 AUGUST 2019

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Photo: Peter Brew Bevan

Chicago

It’s got fabulous songs, stunning choreography, a story literally ripped from the headlines, and more razzledazzle than a Christmas tree.

Broadway’s longest-running musical of all time, Chicago, opens in August with

an amazing new production featuring a stellar cast.

Based on the true story of sensationalised trials of two women accused of murder in 1920s Chicago, the Kander and Ebb musical with a book by

legendary choreographer, Bob Fosse, is a stylised depiction of a frenzied media circus that feels lamentably too familiar today.Tom Burlinson plays flamboyant lawyer, Billy Flynn.

“Billy is a very successful lawyer. He’s never lost a case. He’s very experienced and he knows what he’s doing,” says Burlinson.

He sees Billy as a kind of celebrity, surrounded by beautiful women, manipulating the press - and the facts to get what he wants.

“Billy is an expert in creating fake news, he doesn’t mind bending the truth at all in order to get his results,” Burlinson explains. “But he has to be convincing because otherwise people would see right through him.”

Burlinson’s career began with television and several highly acclaimed films but the

latter part of his career has centred around stage musicals and singing Sinatra and jazz/big band standards. So this role is right in his wheelhouse.

Casey Donovan first came to light as the winner of Australian Idol in 2004, and while she has continued to record and perform songs, she has also augmented her resume with roles in theatre and stage musicals. She’s very excited about playing Matron ‘Mama’ Morton.

“I love mama. She’s sassy, she’s staunch.

Staunch is a word I use a lot when I refer to Mama.You know, there’s [sic] lots of different colours to Mama.Although she’s hard on the surface, she does a lot for the girls in jail,” says Donovan.

Mama, like all the characters in Chicago, is shaped by her surroundings and is what she is as a matter of survival. She sleeps with one eye open.

“Back in the 1920s you had to do that, you know, you couldn’t turn your back on anyone, and you couldn’t walk down a dark street without thinking[…] You had to get from point A to point B and stay alive,” explains Donovan.

Donovan is also no stranger to relentless, often crazed media hype, and that’s why she loves playing Mama; Mama knows how to work the system.

She cites Class, a duet with Velma, and Cell Block Tango as two of her favourite songs, but it’s all the other performances that she really enjoys.

“Watching these women just smashing it on stage with their dancing, it’s beautiful to watch.” (RB) Aug 20-Oct 13. Capitol Theatre, 13 Campbell St, Haymarket. $79-$205+b.f.Tickets & Info: www.chicagothemusical.com.au

THE NAKED CITY

A TABLOID ODYSSEY

With Coffin Ed I’m not a reader of the Daily Telegraph but I admit to occasionally picking up a discarded copy in a coffee shop or on public transport. Call it a kind of strange perversion but I am always intrigued to read what Andrew Bolt, Piers Akerman and Miranda Devine have to say in their various opinion columns. Most of the time it’s totally predictable as they inevitably attack

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the left, spin the conservative line and express their own personal outrage on a variety of topical issues.

Last week I grabbed a coffee-stained copy of the Tele off a train seat which featured Miranda Devine’s take on the recent mass shooting in El Paso, in which she wrote: “The bodies in El Paso were barely cold when Beto O’Rourke started blaming President Trump.”

She then went on to accuse the Democratic presidential candidate of “disgusting opportunism” for his attacks on Trump, in which he labelled the President a racist and a source of anti-immigrant rhetoric. It was textbook Devine with once again her favourite whipping boy, the amorphous mass of the ‘left’, copping the blame for distorting the true reality.

Her diatribe aside, what really caught my attention in her column was a quick mention that she was soon joining the crew at the New York Post, a newspaper she noted was Donald Trump’s favourite (as opposed to his least favourite The New York Times and Washington Post). It seems Miranda is off to NYC to cover the Presidential elections and carry on a fine tradition of Australians who have made their mark at one of America’s most notorious tabloids.

Rupert Murdoch bought the Post back in 1976 for US$30.5 million and between 2001 and 2016 it

was edited by former Daily Telegraph editor Col Allan, an old school, iron-fisted newspaper chief who quickly earned the nickname of ‘Col Pot.’ Even though Col resigned a few years ago he is apparently back as a special advisor, gearing the Post up for another pro-Trump campaign in 2020.

The Post was also home to another celebrated Australian between 1976 and 2008, in the shape of the late Steve Dunleavy, a legend in US newspaper circles noted for his numerous exposes and sleuth like scoops.

The newspaper is perhaps best known for its lurid front pages and outrageous tabloid headlines, the most famous of all being the immortal “HEADLESS BODY IN TOPLESS BAR”, penned by the late staffer Vincent A Musetto and widely regarded as the greatest headline in New York newspaper history. The story followed a robbery at a Bronx strip club, during which one of the victims was decapitated. In defence of the headline, Steve Dunleavy later recalled: “How do you tell a sensational story other than sensationally.” Other infamous headlines included “GOOD NOOSE – Saddam sentenced to hang”, “ARAFAT DEAD And he won’t be missed”, and “Boy Oh Boy! Jacko cleared of kid molest.”

During the last Presidential election, the Post made no secret of its support for Trump and its dislike for Hillary Clinton with numerous anti-

Clinton headlines such as “DELETER OF THE FREE WORLD” in respect of her email controversy. As her campaign continued her tabloid name was shortened to “HILL” as in “HILL’S SLIP IS SHOWING”, “HILL HEALTH CRISIS” and “HILL OF BEANS.” Whoever becomes the Democratic candidate for 2010 can expect much of the same.

The New York Post makes no pretence whatsoever of being a quality newspaper – it’s an unashamed tabloid rag, aimed at a particular readership. As far back as 1980, the Columbia Journalism Review stated that the “New York Post is no longer merely a journalistic problem. It is a social problem – a force for evil.” Despite its numerous critics, it remains the fourth largest newspaper by circulation in the US and no doubt a regular source of inspiration for Trump’s latenight tweets.

Back in 2010 Miranda Devine left the Sydney Morning Herald to join the Daily Telegraph and whilst her secondment to the New York Post could well be temporary, it does seem a bit like a slippery slope of journalistic standards. I would imagine we will still be getting her first-hand insights as to the looming US election, reprinted in the Tele and totally free of any bias towards the re-election of the Post’s favourite front page sexy symbol – Donald Trump!

The Freedman Foundation Travelling Scholarship Exhibition

Eight emerging Australian artists will be given the opportunity over the course of August to showcase their works at the renowned UNSW Galleries thanks to the Freedman Foundation Travelling Scholarship For Emerging Artists.

Each year the scholarship is awarded to artists to aid with the costs of international travel as they research and develop their own individual artistic styles. This year’s exhibition will feature new works or iterations of works from eight of the countries brightest young talents; Spence Messih, Sara Retallick, Roberta Joy Rich, Alexandra Spence, Tiyan Baker, Kieran Bryant, Callum McGrath and Laetitia Olivier-Gargano.

Through a range of media including sound,

sculpture, video and photography, the artists’ works explore an array of themes often reflecting on their personal relationship to sites and cities visited as part of their Scholarship program.

From discomfort and the uncanny, transgender, queer and gender-variant histories, slavery and race relations, to how death and intimate acts are mediated in the internet age, the works demonstrate a deep consideration of the global landscape and our place within it.

Until Sep 7. UNSW Galleries, Cnr Oxford Street and Greens Road, Paddington.

FREE. Info: www.artdesign.unsw.edu.au/unsw-galleries

Roberta Rich

Vast Hill

By Jamie Apps With smash-hit Netflix show Stranger Things reinvigorating a passion for 80s music, fashion and culture Sydney band Vast Hill are sweeping the scene at precisely the right time.

Ahead of the release of their debut album, More Than You Imagined, we sat down with one half of the duo, Adin Milo, to speak about the band’s formation, their inspirations, and the influence of Stranger Things on their popularity.

Vast Hill came together after Milo and bandmate Elle Kress met during their time at the Australian Institute of

Music. After being tasked with working together on various projects throughout the course of their studies the pair came to realise that they had very similar interests in music. Given this realisation, the duo decided it would be a good idea to work on music together as they drew influences from many different overlapping areas.

Milo told City Hub one particular moment stood out in his mind as a definitive source of inspiration for Vast Hill, “Elle and I were watching Drive starring Ryan Gossling and both loved the music by Electric Youth in the

movie, so they were a big modern inspiration.” Since then the band have found inspiration from “Empire Of The Sun for their more modern, electric take on 80s sounding music” and are now even venturing back to classic 80s music.

“Now we’re starting to listen to the classic bands from the 80s such as David Bowie, Hall & Oates and INXS,” explained Milo, “There are a heap of songs from the 80s that are so good but it’s hard to find artists who were doing continuous quality work.”

This very single heavy, ‘one-hitwonder’ circumstance is something

Once Upon A Time…

In Hollywood

As the title of Quintin Tarantino’s ‘penultimate’ film suggests this is an endearing warped fairytale story of Tinseltown. Blending fact and fiction Once Upon a Time...

In Hollywood is a loving homage to Los Angeles and the cinema/ television industry of 1969, a period which quite obviously influenced Tarantino.

these new stars just so happens to be Dalton’s neighbour, Sharron Tate (Margot Robbie).

This, however, is as deep as the relationship between the two men and Tate will be until their fates ultimately entangle in the closing act of the film.

The three separate storylines of Dalton, Booth and Tate play out throughout the course of three days as they lead to the infamous Manson Family Murders.

Along the way, there are some fantastic scenes with incredible performances by DiCaprio, Pitt, Robbie, and a cast of supporters.

Unfortunately, though these all feel incredible disjointed and unlike Tarantino’s previous outings, such as Pulp Fiction, the storylines fail to come together as a singular cohesive piece fo art.

For lovers of Tarantino’s The film centres on actor Rick slow methodical approach to Dalton (Leonardo DiCaprio) storytelling Once Upon A Time… ad his long-time stand double, In Hollywood will feel incredibly come best friend and assistant, familiar as it edges towards a Cliff Booth (Brad Pitt). The two fiery burst of intensity to close men are continuing to get older out the film. For many though the and thus struggling to maintain ending may prove to be incredibly their relevance in an industry divisive, due to its jarring tonal which is quickly shifting its shift. (JA) WWW1/2 focus to new stars. One of

which Milo says Vast Hill are “petrified of” of repeating today.

“Already people are seemingly in love with Heartbreaker more than anything else at the moment. So we run the risk of writing versions of Heartbreaker 50 different times in our career, which is something we don’t want because we want to evolve.”

As Milo was careful to explain, this evolutionary process has already begun on the upcoming album.

“There are some songs on the album which have the Oblivion tinge to them and some that are more in line with Heartbreaker.We’ve tried to formulate it like a proper album, it goes up and down rather than just on one level.”

This process was also heightened by working with producer/mixer Luke Million explained Milo, “Luke is the King Midas of mixes, everything he touches turns to gold. We were so thankful that we were able to get him on the project because he’s worth a million buck, excuse the pun.”

When asked how he feels Stranger Things has impacted Vast Hill Milo said, “I think that is a good thing because as more people watch the show the 80s aesthetic becomes familiar to them and doesn’t seem so niche or nostalgiadriven only. So then when they discover our music they realise that there is an influence on our music, we’re not simply recreating the 80s.”

Aug 16. Oxford Art Factory, 38-46 Oxford St, Darlinghurst. $11.61+b.f. Tickets & Info: www.oxfordartfactory.com

Killswitch Engage Atonement

Trailblazing metalcore legends Killswitch Engage return with their eighth studio album, Atonement. The culmination of two turbulent years of work the record packs an aggressive punch which is complemented by incredibly technical guitar riffs and some of the bands most heartfelt lyricism ever.

Atonement is a clear example of Killswitch Engage’s maturation as both a band and as men. This comes through via the powerful lyrical performance from Jesse Leach, who is back at the top of his game despite recent vocal surgery.

Unfortunately though, after eight albums the group appear to have fallen into a somewhat formulaic approach to songwriting. When Killswitch Engage kicks into high-gear they are unmatched, but this doesn’t occur often enough on Atonement.

For diehard fans, there are easter eggs and moments to love here but sadly this record may struggle to cpture new listeners and fans. (JA) WWW1/2

Blinded By The Light

Blinded By The Light, directed

by Gurinder Chadha, is described as a, ‘feel hood film’ and, that is exactly how it should be described. From the very beginning, this film exudes a positive energy and pace which does not give in to the mundane ordinariness of it’s setting but rather, transcends it.

The film is set in Luton, North London in the 1980s, and tells the story of Pakistani teenager, Javed, growing up in a traditional family and yearning to break free of restrictions imposed on him by his conservative father.

So far the story sounds like the format of many musicals but here is where the unique wonders of this film begin.

Javed is a poet and it is through writing that he wants to make people listen. Based on a true story of journalist Sartraz Manzoor who also co-wrote the script, the film is all about finding a voice. The voice, Javed finds, however, is that of Bruce Springsteen. For in Springsteen’s lyrics there is, in the words of Javed’s friend Malik (Kulvinder Ghir), “a direct line to all that’s true in this shitty world.” Viewers are taken on a journey of

discovery as Javed finds his own voice through the power of Springsteen’s words and music, which he spreads throughout his hometown.

The music and lyrics are infectious and if, like me, you’ve never really taken note of the brilliance of Springsteen’s lyrics, now is your chance to become a “Bruceter.”

Co-starring Nell Williams as Javed’s progressive girlfriend, and Dean Charles Chapman of, Billy Elliot fame, Blinded By The Light is also perfectly cast.

A feel a good film on every level. (RLD) WWWW

city hub 15 AUGUST 2019

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city hub 15 AUGUST 2019