City Hub 20 December 2018

from Bondi to Balmain...

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DECEMBER 20, 2018

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city hub 20 DECEMBER 2018

The (beach) party is over

BY LAURA NEILL For many Sydneysiders and tourists alike, Christmas Day is synonymous with the beach.

It wasn’t so long ago when backpackers and locals descended on Sydney’s iconic eastern beaches armed with Santa hats and eskies full of booze to live the “other” Australian dream –sinking a few cold beers on a scorching Christmas day with their toes in the sand.

In the mid-90s, riots and rubbish-strewn beaches led the council to enforce alcohol bans on Sydney beaches to control the crowds and litter-related damage to coastlines. This summer, alcohol bans will continue to be enforced along many eastern beaches including Coogee, Bondi, Bronte and Tamarama in efforts to prevent anti-social behaviour and encourage families back to the area. Those tempted to crack a cold one in an alcohol-free zone this summer will risk getting their drink tipped out at the very least – at the most, hefty fines can apply under the Liquor Act. Alcohol is already prohibited on all eastern suburbs beaches, with police patrols active in peak periods. Temporary summer alcohol restrictions are also now in place in Randwick City. These prohibit the consumption of alcohol at all beachside parks and reserves in the area on Christmas Eve, Christmas Day, Boxing Day, New Year’s Eve, New Year’s Day and Australia Day between the hours of 8pm and 6am.

The decision to tighten the ban was made at a council meeting last year at the request of NSW Police after consecutive years of drunken behaviour resulted in violence and trashed coastlines.

Last summer, 3,000 drunken backpackers descended on Little Bay Beach on Christmas Day. The year before, at Goldstein Reserve, Coogee, an impromptu rave party on Christmas Day devastated the beach and surrounding parkland. The party began late in the afternoon and quickly grew to such out-ofcontrol proportions that lifeguards left the area

Summer crowds on iconic Bondi Beach. Photo: WikiCommons

at around 7:30pm, concerned for their own safety. The party left a trail of destruction in its wake, with a total of 5 tonnes of rubbish for the council to clean up the next day.

After the carnage, a snap alcohol ban was imposed by the Randwick Council. Randwick Mayor Noel D’Souza said at the time that the council had been left with “no other choice”.

Since then, the party has been over.

“It is disappointing that we have to take such a strong stance, but we need to reassure the

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community that they can feel safe when visiting and enjoying the jewel in the crown of Randwick City, Coogee Beach,” D’Souza said when confirming the ban. “The public outrage about the devastation of the parks and the beach itself on Christmas Day has been quite phenomenal.”

The following year, D’Souza exercised his executive powers to re-enforce the ban just one day after it had expired. His previous attempt to make the ban permanent was thwarted when it lost a vote at a council meeting. Councillors

voting against the permanent ban said that the community was not consulted, and that the addition of more litter bins in the area would alleviate the littering behaviour of large crowds.

Although families in the area were disgusted by the masses of broken glass and trash, some felt that the total ban on alcohol was a little over-kill, with many locals telling the media that the fun had been ruined by a few.

Although council websites warn that police patrols will be out in force this summer, it’s likely that some beach-goers will continue to flout the laws. Last year, the shores of Bondi Beach were dotted with towels and tents and inflatable air mattresses as hundreds of revellers rang in the new year popping bottles and watching the sun rise over the water.

Alcohol aside, the littering behaviour of large crowds continues to cause major environmental impacts. During the summer, Waverley Council operates a beach rake on Bondi’s iconic shoreline to minimise the damage done by massive crowds. However, the tractor often misses micro-litter such as cigarette butts, straws and bottle caps. Micro-litter is consumed by marine life and sits in the stomach undigested, causing death by starvation.

Last January, community group Seaside Scavenge removed a total of 31kg of rubbish from the beach on a single Saturday morning clean-up. Despite Bondi being a non-smoking beach, 4,654 cigarette butts were collected by the group, along with 1,282 soft plastics, 587 straws, 92 coffee cups and 80 plastic bottles.

On the same day, community group Plastic Free Bronte cleaned up Bronte Beach and found more than 1,300 pieces of rubbish, including 451 cigarette butts.

Last year, Waverley Council installed new bins to help prevent littering behaviour, and rangers were introduced to patrol litter hotspots to educate people about littering offences.

According to a 2015 study by Science Journal, around 8 million metric tonnes of plastic goes into oceans each year.

Bars or beaches – where best to drink alcohol?

By Vanessa Lim “Randwick Council works closely with the Eastern Beaches Local Area Command to create a safe, inviting and friendly environment over summer. The experiences we’ve had over the past few years show that alcohol is a major contributor to anti-social behaviour at popular beachside parks. We want our beaches and beachside parks to be accessible for everyone. These temporary alcohol restrictions on public holidays help our local police ensure our popular beachside areas are safe and inclusive for everyone.” – Randwick City Council People like 19-year-old Noah Wilson see the benefits of the council ban on alcohol on the beach but doesn’t think a complete ban is fair.

Noah Wilson said, “I don’t think that’s fair. Groups of young backpackers are probably more likely to binge drink than, for instance, a family who are there with their kids, and the parents who just want to have one beer”.

She agrees fun isn’t decreased because there is a ban, and that they can go elsewhere to celebrate too.

“Just because alcohol is banned at the beach doesn’t mean you can’t have a drink elsewhere.

There’s loads of other places you can drink socially as well, I don’t think it HAS to be done at a beach.”

“I know a few beaches that have at least one pub within a 5-minute walk from the shoreline,

Where have all the partiers gone? Photo: Vanessa Lim

so you can spend the day on the beach and when you’re done, you can go get a drink with your friends at the bar.”

But bartender Adiana Talakai has a different perspective, saying the problem only moves elsewhere. “As a worker in one of the bars along the beachfront at Coogee, I find that places get packed more than usual now because beachgoers can’t drink near

the beach so they move in to the bars where they get drunk”.

Disagreeing with the drinking ban, she suggested fines could be an alternative to the summer drinking restrictions.

“I mean there’s always a place to drink and have fun. But drinking at the beach parks and having bbqs in the open is such a good time and better than any pub, bar or hotel.” city hub 20 DECEMBER 2018

3

Parliament digs up WestCONnex dirt

BY WENDY BACON WestConnex may be Australia’s biggest infrastructure project but according to Reverend Fred Nile, who chaired a Parliamentary inquiry into its impacts, it’s also the worst example of lack of transparency in NSW. The report is a devastating critique of the 33 kilometre tollway network. The Committee found the NSW government should have considered alternatives and developed a business case before deciding to support the project. In addition, the committee found the business case that was developed left out significant costs including extra road building and public health costs and that the required consultations are ineffective and complaints mechanisms are a failure.

Residents have been exposed to such unacceptable noise, dust and stress that the Committee recommended a special WestConnex mental health unit.

For the most part, the report is a huge public endorsement of WestConnex critics. All of these points have been made repeatedly by community groups, the Greens, the City of Sydney and Inner West Council in EIS submissions and in open letters to the Premier Gladys Berejiklian and before her Michael Baird who ignored them.

The report makes many recommendations to address problems with the project and flaws in infrastructure planning. The government needs to respond to the report by June 2020, which will be after the state election in March.

The report leaves a huge question confronting the people of NSW - what system of governance allows such a cascade of problems to pervade such a significant project on which billions have been spent?

What forces led to independent experts, Councils and the community being so sidelined in planning decisions that fundamentally shape our city?

The report itself throws some light on this question.

While most of it is critical, there is one finding which

WestCONnex campaigners at Parliamentary media conference. Photo: Wendy Bacon

precedes all the others. It’s the first finding: “That the WestConnex project is, notwithstanding issues of implementation raised in this report, a vital and long-overdue addition to the road infrastructure of New South Wales. The committee supports complete construction, including Stage 3 and the Rozelle Interchange so that the project benefits could be realised.”

Of seven members of the Committee, only Greens Cate Faehrmann disagreed with this finding in her dissenting report, which calls for a halt to Stage 3 of WestConnex.

The only evidence to support this finding are short, bland assurances contained in the perfunctory submissions by the NSW government and WestConnex. These were contested by submissions from UTS Dr Michelle Zeibots, the City of Sydney, other transport experts and many individuals and community groups. There were no public group submissions that supported the government’s case.

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The report’s first finding effectively means that the majority of the Committee found that WestConnex must continue even if its recommendations are not implemented and at whatever cost to state finances, public health, property or democratic processes. It’s as if the Committee for Public Accountability is itself endorsing unaccountability. No wonder, community representatives were muted in their response at a media conference on Monday.

As spokesperson for the WestConnex Action Group Kathy Calman told reporters yesterday at first glance the “report did not make sense to me. It’s illogical. On the one hand the project has gone rogue and on the other, its full steam ahead.”

But back to the bigger question. What sort of democracy and government do we have in which a parliamentary committee finds that a $20 billion project has huge flaws and yet despite that - and without any guarantees that these issues will be resolved - supports the project proceeding?

The Committee finds that privatisation has made transparency and accountability harder to achieve.

WestConnex has now been sold to Transurban, which will not only collect tolls but manage all construction apart from the Rozelle Interchange.

But privatisation is more than the sale of assets - it’s also privatisation of decision making. It began when Infrastructure NSW, led by ex Liberal premier Nick Greiner and dominated by private interests, pushed WestConnex onto the NSW Master Transport Plan.

It continued when companies involved with failed tollways steered WestConnex planning and drove its Environmental Assessment, reducing the function of government to a tick box exercise; and when construction companies were awarded contracts without a basic design in place. It also involves the removal of citizens capacity to influence the planning agenda and their powerlessness in the face of corporate giants, who engage an army of community engagement officers who block rather than resolve complaints. It’s ‘independent’ air monitors that are selected and controlled by construction companies.

This is the huge issue that the Inquiry leaves hanging in the air. On the question of construction companies and the road lobby, the report is almost silent. They are barely even listed as stakeholders.

There was evidence about allegations of past improper and criminal conduct by WestConnex contractors, conflicts of interest and political donations that were all but ignored in the report.

Was this because with not enough time, an understandable decision was made to prioritise the experience of residents, or was it because the pressure to allow ‘business as usual’ to continue is too great?

These are the questions that go to the heart of a functioning democracy and dog our communities whether it is Northconnex, Anzac figs, the Powerhouse, heritage in Parramatta, the Sydney stadium, Beaches Link or an 80 metres development near an unfiltered stack in Homebush.

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5

An overarching concern for public art

by Michael Hitch The City of Sydney Council has hit the pause button on the controversial Cloud Arch project as tensions rise over the $22 million sculpture.

The contentious art piece, set to soar over Sydney’s newly “pedestrianised” George Street, was originally expected to cost $3.5 million and has divided Liberal and Labour Councillors as the project is deferred.

The City of Sydney has already spent $2.25 million on the project, while additional redesigns, artist and project management fees are expected to exceed the allocated budget for public art until 2026/27 under the City of Sydney’s Long-Term Financial Plan.

City of Sydney Deputy Lord Mayor and Labor Councillor Linda Scott said that the blowout threatened the future of Sydney’s public art after voting to cancel the contracts for the Cloud-Arch project.

“As a Labor Councillor, I’m strongly committed to the provision of public art in the centre of Sydney for the cultural and economic benefits it brings to our global city,” she said.

The proposed Cloud Arch looming over George Street.

Photo: Junya Ishigama, City Art Sydney

“A diverse and vibrant global city in the 21st century needs public art to thrive for the public good.

“The cost blowout associated with Cloud Arch would threaten the future of public art in our City. Whether a different iteration of Cloud Arch in the future, or a new public art project, we deserve more public art in our future, not less.

“I’m disappointed that the Liberal councillors have voted against the recommendation to cancel the Cloud Arch contract, thus supporting a cost blowout of $22 million. This is not the responsible way forward for art in our city.”

The unique sculpture comes from awardwinning Tokyo-based architect and artist, Junya Ishigami, and is intended to act as a “gateway” to the pedestrian section of George Street with the light rail passing beneath it.

The light rail project, which has similarly seen setbacks and budget blowouts, is also being blamed for the pause, with concerns that the sculpture’s construction will be hindered until the complex light rail project is completed.

However, despite the concerns about loose budgets and light rails, Liberal councillors Craig Chung and Christine Forster voted

against the motion to cancel the contract for Cloud Arch and in doing so supported the cost blowout.

Independent Councillor Angela Vihuelas said she knew the light rail project would seriously affect the construction of Cloud Arch and that Councillors who voted against the cancellation had their heads in the clouds.

“I was quite horrified on Monday night when some of the councillors appeared to be grief-stricken over the cancellation of the project,” she said.

“I always doubted that the Cloud Arch project was ever going to happen, simply because of the light rail project.

“It never had a definite costing, we were never provided with a firm installation plan and there always seemed to be problems attached to it.

“Given the proposed positioning of the public artwork smack bang in the middle of light rail construction, and the problems that light rail has brought to this city, I am not surprised that at the end of the day the contracts had to be cancelled.

Unfortunately, the project itself has only been deferred.”

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Town Hall Square still in limbo

BY Allison Hore Despite being in the works for over two decades, Sydney’s proposed Town Hall Square is still in limbo, with a spokesperson for Sydney Council unable to provide any information about the starting or completion dates of the project.

The Town Hall Square development is a key part of the City of Sydney’s Sustainable Sydney 2030 project, which aims to make Sydney a more “green, global and connected city”. The Square would open up the area opposite Sydney’s Town Hall and create a public gathering place similar to those in other cities.

The planned square would complement the George Street light rail and be part of a new CBD pedestrian boulevard which connects three city squares at Circular Quay, Central Station and Town Hall.

“Good planning and urban design is essential to ensure that as the city grows, its buildings, streets, squares and parks are beautiful and sustainable, supporting the wellbeing and resilience of residents, workers and visitors,” writes the City of Sydney Council in its Sustainable Sydney 2030 strategic plan.

Early plans for the Town Hall Square had the space as a 5,300 square metre area at street level, with an underground retail and supermarket precinct.

The Square would be used for both ceremonial and everyday purposes, and would be similar to public squares in Melbourne and Brisbane opposite their town halls.

“This is a long-term vision for the people of Sydney,” Lord Mayor Clover Moore told the Sydney Morning Herald in 2004. “It will provide a legacy for residents, workers and visitors.”

The timeframe for the project’s completion was unclear, but at that time, in 2004, the council suggested the project would take “10 years at most”.

When asked about current funding for the project, the spokesperson replied, “there are

Sydney Town Hall and the Woolworths building across the street with the light rail construction site across the road.

Photo: Allison Hore

currently no funds set aside for the Square’s development”.

Despite the lack of a budget for the project, the spokesperson confirmed that buildings on the block had been already been purchased with the project in mind.

“The City has been acquiring properties for the future development of a Town Hall Square,” she said.

In 2004, the City of Sydney acquired the building on 207 Pitt Street for $19.9 million.

At that time it already owned the Woolworths building directly opposite Town Hall, as well as the Hotel Coronation and the Lowes building on the corner of Pitt and Park streets.

In early comments on the development of the Square, Clover Moore said that the City of Sydney would consider compulsory acquisitions of the buildings they were unable to negotiate a purchase for.

“Acquisition of all of the properties will be by negotiation, where possible, or failing a satisfactory negotiation, by compulsory acquisition,” Moore told the Sydney Morning Herald.

One of the final pieces of the puzzle, the Pittsway Arcade, was purchased by the City of Sydney in 2016 for $43 million. No moves for compulsory acquisition of the remaining properties have yet been made.

Former NSW Minister for Transport, David Campbell, said in 2009 that the planned CBD Metro rail line would provide the opportunity for the Square to finally go ahead.

But construction of the Pitt Street Metro station, which was originally meant to be on the Town Hall Square site, has begun on a city block adjacent to the proposed Town Hall Square location.

Campbell told the ABC that negotiations had already begun with owners and leaseholders in the buildings on the site which were set to be demolished.

However, almost a decade later, demolition of the buildings doesn’t look like it is anywhere on the horizon. Businesses are still operating in all of the buildings and new leases were being offered even in October this year. The price of renting office space in Pittsway Arcade runs from $550 per square metre.

“Commercial revenue generated from the properties is used to fund city services,” the City of Sydney spokesperson said.

The idea of a Town Hall Square was first proposed in the 1980s and revived by former mayor Frank Sartor. He said that for the plan to go ahead they would need to wait for the Woolworths’ lease of the George Street building to expire in 2015.

A spokesperson for Woolworths said that they couldn’t provide any details of their lease at the Town Hall location because “the details of these leases are confidential”, but he confirmed that the lease had not run out in 2015.

With major anchor stores like Woolworths still trading business-as-usual, with new leases being offered and with a change of location for the Pitt Street Metro station, the future of Town Hall Square remains uncertain.

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9

MEET the locals

Be the sculptor of your own body!

BY IRINA DUNN Want to have a pert new bottom without an expensive operation?

Like to get rid of those love handles without facing the surgeon’s knife?

Fancy getting a smooth belly without suffering unsightly scars?

Balmain beauty salon Skulpt Face & Body offers a variety of non-invasive procedures to make you look your bikini best.

Skulpt is the only clinic in Australia to offer the Evolt 360 Body Scanner, which is performed prior to treatment, again at six weeks and then a final one at the 12-week point. This is an effective way to measure client results. Scan results are viewable via the Evolt Active app, which is downloadable to client mobile devices.

What does this machine do?

With an Evoltactive machine, the Skulpt consultant can give you precise readings on where your fat lies and whether it is “Optimal,” “High,” or “Low” for that area.

You stand on the machine clothed but in bare feet and hold two handles loosely in your hands while the machine scans your body.

The machine uses a scientifically validated test known as Bioelectrical Impedance Analysis (BIA), a rapid non-invasive method of screening total body composition.

BIA passes a safe, low-intensity electrical current through the body via the tactical points on the machine, namely the feet and hands. The resistance to the flow of the current records the difference between muscle mass and fat mass (including visceral and subcutaneous), water and mineral content.

The machine measures skeletal muscle mass, total body water, bone mineral content, protein, body fat percentage, visceral fat levels and total

Put the holiday celebrations firmly behind you. Photo: Supplied

energy expenditure, and age match to body (fitness age), inter alia.

The most popular of Skulpt’s body-sculpting treatments is called Cryolipolysis, a terrifying name for what may sound like an alarming procedure – fat freezing in localised areas.

Treatable areas include chin, arms, abdomen, thighs and knees.

As Skulpt notes in its brochure, “If you can squeeze it we can freeze it”.

Men select this treatment to get rid of their “man boobs” (and burn their bras?).

One to three treatments are recommended, spaced eight weeks apart. The costs are reasonable compared to what you would pay for surgery.

One applicator costs $290, with decreasing costs rising to $1,000 for four applicators. You can expect 20-40% fat reduction in the treated area. Whoopee! No more bra rolls! No more love handles!

An applicator is a vacuum suction cup which comes in different sizes depending on the area of the body being treated. Skulpt is offering a special deal for Hub readers of two applicators for the price of one until the end of January.

With its “Butt lift”, Skulpt promises to “Sculpt, Smooth and Tighten Buttocks”. How? This involves a combination of cavitation, radio frequency skin-tightening and fat melting.

Ultrasonic cavitation is a process by which

ultrasound waves break down the liquid fat membrane and cause the fat cells to disintegrate into a liquid state.

Also used in shaping the butt is radio frequency skin tightening, which penetrates the skin layers to selectively heat the skin tissue. This local heating causes an immediate contraction of collagen fibres and simultaneously increases the metabolism of the fibroblasts which accelerate the production of new collagen and elastic fibres.

As the brochure states, “The concentration of collagen fibres and the regeneration of the collagen and elastin deposits tighten the skin layers, creating a smoother healthier and younger looking skin” or, in other words, “a smoother, healthier and younger looking butt”!

Skulpt recommends eight weekly treatments.

A one-hour session costs $179, while a course of eight one-hour sessions is $1,075, which is not bad for a new butt.

Other treatments include Cellulite Treatment, Face Skin-Tightening and Chin Cryo, which uses cryo-freeze technology.

Locating from the city to larger premises in Balmain 12 months ago allowed Skulpt to service more clients in a larger space. There is free parking on the premises, and Skulpt offers organic teas, free wifi and Netflix to watch during treatments. Or, if preferred, clients can take a well-earned nap.

Consultations are gratis. Skulpt also offers a free analysis on the Evolt 360 Body Scanner as part of its personal service. Skulpt consultants will discuss what treatments would be suitable for the best outcome, and advise on a personal and tailored treatment program.

Skulpt Face & Body, 485 Darling Street Balmain.

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FEATURE

NYE In The Park: Returning to its original home of Camperdown’s Victoria Park this massive music festival event offers a unique escape from the anticlimactic, overcrowded drama of the CBD and promises a night of live music across two stages, dancing, gourmet street food and affordable drinks in a spacious, relax setting, topped off with an enormous midnight fireworks display.

To help attendees celebrate 2018 and optimistically look forward to 2019 NYE In The Park will feature dance music royalty The Presets alongside The Jungle Giants, Hayden James, Thandi Phoenix and the Thundamentals.

Victoria Park, Parramatta Rd, Broadway. $79-$169+b.f.Tickets & Info: www.nyeinthepark.com

As yet another year rapidly runs away from us it’s time to begin planning how we’re going to ring in 2019. Luckily for our readers the team at the City Hub have done all of the hard work for you and found some of the best New Year’s Eve (NYE) events from all around town.

The Botanist Kirribilli: Assemble your best garden attire and head down to The Botanist’s NYE Croquet Club. Celebrate the New Year with drinks, canapés and dancing before popping outside at midnight to watch the city fireworks light up Sydney’s iconic skyline for just $120 per person, which includes Four Pillars Gin & Tonic on arrival plus two-hours of flowing drinks and canapés.

17 Willoughby St, Kirribilli.Tickets & Info: www.thebotanist.com.au

Harbour Hoopla: The ultimate NYE event for families, big groups or those looking for a night of fun - Harbour Hoopla at the Royal Botanic Gardens is an all ages event which offers plenty of interactive entertainment The Endeavour The Butler, Potts Point: With stunning city with a vintage circus theme. There is an Tap Rooms. views, The Butler is the ideal venue for an expansive viewing area for 3,000 people and Photo: supplied unforgettable, luxury NYE celebration. Kick-off plenty of seating on the grass. the festivities with an eight-course Iberofree and the entertainment will feature some of the Hard Rock Café: For a more budget friendly Get in quick on this one as the four other American feast for $195 per person (includes a city’s best DJ’s such as Avon Stringer and Acaddamy. option look towards Sydney’s Hard Rock Café events being hosted by the Royal Botanic glass of champagne on arrival) before continue 69-73 Pitt St, Sydney. FREE - RSVP for a FREE in Darling Harbour.

Gardens have already sold out. into the night sipping on a fabulous range of craft Cocktail on arrival. Info: Which three options available there is Bennelong Lawn,The Royal Botanic Garden. cocktails (two hour beverage packages available www.republichotel.com something here to suit everyone. $335+b.f. per person.Tickets & Info: for $75-$85 per person).

Whether you want to go with the family www.rbgsyd.nsw.gov.au 123 Victoria St, Potts Point.Tickets & Info: Tayim: If you would prefer to celebrate NYE with friendly dinner package - featuring a delicious www.butlersydney.com.au arguably your greatest meal of the year than look selection of starters, main course meals, Endeavour Tap Rooms: Do you prefer craft no further than Sydney’s newest restaurant,Tayim. desserts and beverages. beers over cocktails and wine? Well the Taylor’s Rooftop: The team at Taylor’s Located in the boutique Harbour Rocks Hotel Or look at the more extensive adults only Endeavour Tap Rooms in the heart of The Rocks boutique rooftop bar are treating Sydney to a you’ll be able to enjoy the specially curated five options, Dance Package or the Whole is the place for you.

NYE countdown carousal with a tropical themed course Middle Eastern degustation menu.

Shebang (Dinner and Dance). Beginning at The Endeavour Tap Rooms are definitely the twist. In their unique open-air oasis right here in Or for an even more luxurious experience 10pm the Dance Package rocks all the way place for you if you have a large group of friends the comfort of our own vivacious city with upgrade your evening with Tayim’s exclusive into the early hours of New Year’s Day, to celebrate with thanks to the venues Brew Bar, views of the harbour and fireworks attendees ‘Dinner and Fireworks’ package which features a featuring a DJ, open bar and a fireworks which is ideal for groups of up to 25. Spend the will be treated to a chilled out, hassle free six course degustation menu with four matching show at midnight. night in your own private space sipping tap beers evening beginning at 6pm and running right wines and access to the hotel’s rooftop.

2-10 Darling Dr, Sydney. and enjoying delicious native-inspired canapés. through until 3am.

Nurses Walk,The Rocks.Tickets & Info: $99.45-$283.05+b.f.Tickets & Info: 39/43 Argyle St,The Rocks.Tickets & Info: To make this event even more tempting entry is www.tayim.com.au www.hardrock.com www.taprooms.com.au

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ARTS & ENTERTAINMENT Coppélia

Caitlin Berry and Jonathan Hickey.

Photo: David Hooley

REVIEW: Aspects Of Love This light-hearted if somewhat old-fashioned romp through the landscape of love is executed perfectly by the Hayes Theatre ensemble despite the serious limitations of the stage size and the narrative structure of the work.

Andrew Lloyd Webber’s musical explores love in many permutations over a period of 17 years through six characters: Rose, a rising stage star played by Caitlin Berry; Alex, her younger lover, played by Jonathan Hickey; George, Alex’s rich aging uncle, played by Grant Smith; George’s lover Giulietta, played by Stefanie Jones; and Jenny, the daughter of Rose and George, played

by Ava Carmont, Charlee Kwintner and Gemma Keighran at different ages.

The orchestra of 10 musicians sits behind a curtain at the back of the stage, accompanying a long list of songs from the opening Love Changes Everything to the closing Anything But Lonely.

If there’s a fault in this production it is certainly not in its execution but lies in the poor dramatic structure, which ignores psychology in the interests of declarative statements from the major characters. Consequently, I often found myself doing a double take as yet another love combination materialises on stage without any warning, such as when Rose and Giulietta kiss passionately, or Alex ends up with Giulietta.

Despite the flaws of the production, the ensemble performed wonderfully, making this a really

enjoyable musical evening.And if you’ve never been to the Hayes Theatre at the back of Kings Cross, go have a look. It’s a little gem.

Spoiler alert: some of the combinations of lovers are positively creepy! (ID) Until Dec 30. Hayes Theatre, 19 Greenknowe Ave, Potts Point. $79-$89+b.f.

Tickets & Info: www.hayestheatre.com.au

Prada’s Priscilla’s: An All-Male Christmas Revue The enchanting tale of Coppélia is coming to Sydney, bringing with it magic and mischief for children aged three and older to enjoy.

“Storytime Ballet: Coppélia is set in a magical world. It’s all about young sweethearts, Swanilda and Franz. They sneak into Dr Coppelius’ mysterious toy workshop and discover the secrets of his mechanical dolls as they come to life. It’s the perfect introduction to ballet for children,” Lead Ballerina, Chantelle Van Der Hoek said.

Coppélia will be set to the wonderful Léo Delibes score from the original mainstage production, however they will perform to a specially recorded version by Orchestra Victoria. Van Der Hoek will be performing the lead role of Swanilda.

“We have been working in the studios with The Australian Ballet Artistic Director, David McAllister and Madeleine Eastoe who have been expertly choreographing Storytime Ballet: Coppélia. The ballet has come together so beautifully, encapsulating all the highlights from the main stage production.”

The performance will share a new appreciation of ballet for young children, allowing them to not only experience ballet for the first time, but also gain an understanding of the story being portrayed.

“The performance is just under an hour long and has a narrator to guide the audience through the story. It’s interactive and children are encouraged to come dressed in their favourite ballet-inspired outfits and dance along.”

The story will bring joy to the children and Van Der Hoek hopes to hear laughter and delight as they watch the beautiful performance.

“We hope they have so much fun that they dance all the way home.” (JM) Until Dec 29. Sydney Opera House, Bennelong Point, Sydney. $44-$56+b.f.

Tickets & Info: www.australianballet.com.au

Prada’s Priscilla’s are here to make the Yuletide gay with a truly unique Christmas Revue hosted by the six-foot something songstress herself, Prada Clutch.

“It’s all your favourite Christmas hits with a drag twist,” said Prada. “Everything colourful, glittery, sparkly and camp… Who doesn’t love Christmas, right?”

In this 90-minute extravaganza, Prada’s Priscilla’s will take you on a journey through the herstory of Australian drag before switching things up with a festive collection of Christmas hits and live tributes to musical icons including Mariah Carey, Barbra Streisand and Cher. “It’s Jingle Bells with balls!”

Prada’s gang have toured the country

city hub 20 DECEMBER 2018

camp by the bucketload, accompanied by an Australiana themed educational experience (sure to spice up your dinner table trivia) and tributes to the biggest divas in the game - how could it get better than this?

Carols in the Domain? I don’t know her. (AM) Dec 21.The Juniors Kingsford, 558A Anzac Parade, Kingsford. $35-$40.

Tickets & info: www.thejuniors.com.au

The Illusionists: Direct From Broadway

Simon Painter and Tim Lawson first staged their spectacular, multi-talent show at Sydney Opera House in 2012, and since then have created unique circus and magic themed productions that have thrilled audiences around the world.Their latest show, The Illusionists: Direct From Broadway features a line-up of extraordinary performers, each at the pinnacle of their specialised craft.

a&e

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entertaining audiences everywhere from metropolitan cities to drought-stricken rural towns, exposing people to everything from the famous Les Girls of Kings Cross to a crosscountry trip with Priscilla Queen of the Desert – to the surprise and delight of husbands and boyfriends who’ve been dragged in along the way.

Prada brings a polished professional edge to her shows and an all-inclusive vibe that welcomes many audience members who’d be otherwise uninitiated to the drag world. Under the eye of producer and original Les Girl Monique Kelly, Prada also promises an authentic adventure into the foundations of Aussie drag.

A pack of the country’s most talented drag queens (and dancers) serving up Christmas

12 STAGE 14 SCENE 15 Sounds 15 SCREEN

Jeff Hobson (The Trickster) is as hilarious as he is stupefying; Jonathan Goodwin (The Daredevil) is a death and logic defying escape artist; Kevin James (The Inventor) uses his genius to devise new, utterly confounding tricks;An Ha Lim (The Manipulator) seemingly produces cards out of thin air; Chris Cox (The Mentalist) “reads minds” so convincingly it’s freaky; Maddox Dixon (The Showman) is as

charismatic as he is clever; and finally, the only female on the team, Robyn Sharpe (The Warrior) a breathtakingly fearless sharp-shooter with a cross-bow and nerves of steel.

Sharpe is an ex-gymnast/ cheerleader/dancer who first joined The Illusionists in 2015 as an assistant in a magic act. Eager to have her own act, she took up the cross-bow.

“I like the idea of magic that sort of walks the line between illusion and reality, and that’s what the cross-bow is.What you see on stage is actually happening, I am actually shooting the cross bow at my assistant and it is really dangerous”, says Sharpe.

Born in Brisbane, Sharpe now lives in Los Angeles where she can freely practise her act (weapons laws in Australia prevent her from practising here). While the crossbow requires an incredible amount of skill, Sharpe is fully aware that

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

it’s the live target that really enthrals audiences.

“I think the element of danger is really important because without it I don’t think the act would be exciting to watch,” she says, but is emphatic that safety is always the first priority.

“If I didn’t feel confident taking the shot, I would just walk off stage.”

As is true for the other performers, showmanship is an integral element of Sharpe’s act. She fully transforms into The Warrior on stage - an alter ego who is bolder, more commanding than the offstage, mild and meek Sharpe. She says the persona is important because “you want the audience to go on a journey with you and feel what you’re feeling on stage.” (RB) Until Dec 29. Sydney Opera House, Bennelong Point, Sydney. $59-$119+b.f.Tickets & Info: www.sydneyoperahouse.com

Contributors: Emily Shen, Irina Dunn, Jade Morellini, Mark Morellini, Mel Somerville, Olga Azar, Rita Bratovich, Sarah Pritchard, Shon Ho, Riley Hooper, Erika Echternach & Lili Sekkai, Joseph Rana, John Moyle, Angela Stevens, Will Fournier, Gabe Merkel & Lanie Tindale, Madison Behringer, Allison Hore.

city hub 20 DECEMBER 2018

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Screw Loose

by Peter Blazey

First published 20 years ago, Peter Blazey’s audacious, irresistible autobiography Screw Loose is now available in a revised edition with a foreword by Michael Kirby.

Candid and at times provocative, these self styled ‘uncalled for memoirs’ encompass five decades in the life of the controversial Australian journalist, biographer and gay activist.

Blazey got the scoop on the death of Harold Holt and also wrote the definitive biography of Sir Henry Bolte and The Secret Diary Of Jeffrey Kennet Aged 45 And A Quarter.

During the 70s and 80s he was a journalist for The Australian, The National Times and The Bulletin.

Running against Alan Jones

in the 1978 NSW state election under the slogan ‘Put a Poofter in Parliament’ Blazey received 108 votes.

In the early 80s Blazey inherited a small fortune and worked hard to squander it, which included buying Barbara Stanwyck’s former Hollywood mansion.

Diagnosed with AIDS in 1984 he became an outspoken opponent of the anti-AIDS drug companies of the day claiming that they were ‘peddling poison’.

And then there were the women in his life.

To his end Peter Blazey was an unapologetic free spirit, and this account of his life remains as vivid, incisive and entertaining as when it first appeared in 1997. (JM)

THE NAKED CITY

HITS AND MISSES AT THE SYDNEY FEST

With Coffin Ed Throughout the world major cultural festivals inevitably reflect the social environment and historical background of the cities in which they are held. Look at Australia for example.The highly successful and always innovative Adelaide Festival has built its brand on both the intimate layout of the city itself and decades of strong patronage of the arts.The Perth and Melbourne festivals have been traditionally more conservative in their programming, relying heavily on proven festival content from abroad.

Here in Sydney our own festival has a somewhat chequered history, one that says a lot about the brash, opportunistic and at times chaotic nature of this city. After many years of experimentation, punctuated by numerous hits and misses, the festival would appear to have reached a certain equilibrium – financially successful and warmly embraced by the populous at large.

But it wasn’t always that way.

Established in 1977 under the directorship of the late Stephen Hall (aka ‘Festival Hall’), the early years reflected the pageant like celebration of its predecessor The Waratah Festival combined with an increasing artistic input. Hall often attracted criticism for his more populist approach that included

miniature train rides for kids in Hyde Park but slogged it out, gradually adding more and more highbrow content.

Hall remained as director until 1994, clocking up an incredible 17 festivals but was finally axed after his final festival ran up a loss of $500,000 – a lot of dosh at the time. Since then most of the directors have held tenure for around three years with the idea that a turnover of supremos encourages new ideas and diversity.

Whilst the last few decades have seen theatre, dance and the visual arts well catered for at the Sydney Fest it’s often the music content that has captured the attention of audiences.

There have been some memorable hits and misses here. Following Hurricane Katrina the 2006 Festival staged a superb tribute to New Orleans with concert in the Domain featuring The Dirty Dozen Brass Band,The Preservation Hall Band and Terrance Simien.

For many years the Bacardi Club in the Hyde Park Barracks operated as a popular outdoor venue, featuring both local and international artists.There were many great shows but one night that is worth recalling is the appearance of Afro American blues and soul singer Margie Evans.There was a sudden downpour before the show and the audience were all handed white hooded ponchos.As Margie was about to take the stage she caught a view of the crowd for the first time and later joked she

was horrified at the thought she was about to confront a Klan rally.

Other festival music highlights worth particular note include Celia Cruz at the State Theatre,Tuareg guitarist Bombino and soul great Lee Fields in the Spiegeltent and a tribute to the late Jackie Orszaczky with the Budget Orchestra in the Festival Village.

One of the less successful music projects during the past decade was the transformation of the cavernous Sydney Town Hall into a giant nightclub style music venue, labelled Paradiso.The 2013 and 2014 roster featured some fine international acts including Japan’s Osaka Monourail and a reunion version of the legendary Kashmere Stage Band from the US.The venue looked super and the shows were well attended however the sound was a shocker – a muddy acoustic soup (like most heavily amplified music in the Town Hall) and many punters left disappointed.

Nevertheless this kind of experimentation and innovation is what arts festivals are all about and directors should be encouraged to take a gamble, rather than just playing safe and protecting their box office figures.There is something about those balmy January nights in Sydney that says it’s time to be adventurous.

Personally I would like to see the miniature train rides back in Hyde Park but I guess that’s another story!

Flickerfest 2019 Program Announced This past week a beloved Sydney cinema institution, Flickerfest, announced its full program for the upcoming 28th iteration in 2019.

The Academy and BAFTA Award accredited film festival will screen a selection of 200 of the very best short films, chosen from an application process which included 2,700 films from over 100 countries, during its 10 day program. The 2019 program is a testament to 14

city hub 20 DECEMBER 2018

Flickerfest’s standing within the world of cinema as a leading platform for short film.

Flickerfest screens a vast array of film styles and genres, divided into fur separate showcase programs such as the beloved FlickerKids - a full day of delightful family programming, Rainbow Shorts, featuring the highest quality LGBTIQ+ shorts from around the world, Short Laughs - a program of pure joy and side-splitting laughs,

Love Bites - juicy stories about relationships, as well as the special FlickerUp National Youth Competitions for talented Australian filmmakers under 18.

Look out for City Hub’s more comprehensive and detailed dive into the program in our first issue of 2019 on January 3.

Jan 11-20. Bondi Beach, Bondi. $18-$170+b.f. Tickets & Info: www.flickerfest.com.au

Rüfüs Du Sol

By Jamie Apps Maintaining a creative work flow is key for any musician, and many have their own unique techniques to do just that.According to Rüfüs Du Sol band member James Hunt the key for them is getting out of their comfort zone when writing music. City Hub spoke with Hunt recently about how this mindset has impacted their latest release, Solace, ahead of their homecoming tour of Australia.

In order to foster their creative energy Rüfüs Du Sol chose to work in an entirely new city and environment when they decide it’s time to write and record new music. For their previous release Bloom this meant heading to Berlin to “soak up the electronic music” there, then for the follow up Solace they chose to relocate to Los Angeles.

“We like to shift our workplace up because it feels like it makes you a little bit more creatively open because your in a slightly

Gregg Arthur Quintet: In A Sentimental Mood

uncomfortable space rather than being somewhere you’re used to,” said Hunt before explaining the decision to choose Los Angeles, “LA simply made the most sense because we’d been touring in the US a lot.”

Not only did the band change location for this record but they also brought with them an array of new influences and inspirations.

“After touring for two years you definitely get hungry to start writing music again, so when we moved over to Los Angeles to write the new record we brought a bunch of new synthesises and toys to set up this playground for ourselves.”

As they were playing in this new “playground” the group were adamant on not being overly regimented because as Hunt explained, “often some of the best ideas come out of experimenting and playing around rather than a calculated approach.”

Whilst this sense of fun and playful experimentation can lead to some of the best music it can also negatively impact the work life balance, a problem which Rüfüs Du Sol encountered during the making of Solace.

“We were so excited about the process but it became a little bit unhealthy after a while and we were working until 6am every night.”

Battling through this tough period for the band inevitably manifested itself in the music.

“I think some of that exhaustion and emotional turbulence came out inherently in some of the lyrics as everything became a little bit more introspective. It was a little bit cathartic, looking back on it now each song is like a snapshot of a point in time.”

Jan 1. Field Day Festival, The Domain, St Marys Rd, Sydney. $155-$250+b.f.

Tickets & Info: www.fieldday.sydney

Colette

This film is visually gorgeous, with fussy attention to detail and intelligent design choices that contribute to the storytelling. Of course the script has the luxury of a ready-made true biography that is filled with audacious sexual improprieties and the life writ large of the late 19th century, early 20th century literary world in France.

The musical soundtrack is superb, with exquisite

melodies that perfectly underscore the emotion of a scene without being intrusive or obvious.

Keira Knightly claims her place among cinematic esteemed in her brilliant, captivating portrayal as French erotic novelist, Colette, who slowly lifts each finger of her husbands grip to become an independent, successful writer.

Dominic West is Willy, the husband and publisher who

You should not miss hearing Gregg Arthur’s honeyed voice at the Camelot Lounge at Marrickville on Sunday December 23.

Gregg’s voice has been likened to Frank Sinatra’s, but he has his own distinctive tonality which is mellower, sexier and more expressive.

He is both a great interpreter of the jazz classics, and also has a terrific feel for the American musical tradition.

Tony Bennett says of Gregg’s vocal style: “I love the way you sing. You have a fan in the way you phrase… it’s perfect”.

This is high praise indeed coming from such an internationally acclaimed artist as Bennett.

Not only is Gregg’s voice technically perfect, he is also a sensitive and intelligent performer, instinctively understanding the melody and lyrics of the songs he choses to interpret.

His rendition of I’m In The Mood For Love puts the listener dangerously in the same mood, so watch out where you listen to it!

Gregg would be welcome under my window at any time of day or night to serenade me, and I’m sure the neighbours would be too entranced to object if it were after midnight!

Last Call is Gregg Arthur’s latest EP released worldwide on Fanfare Records through Sony Music. (ID)

Dec 23. Camelot Lounge, Marrickville Rd & Railway Parade, Marrickville. $37.90+b.f. Tickets & Info: www.camelotlounge.com

The Favourite

unashamedly bathes in ghostwritten literary fame. They both enjoy extramarital exploits, but Colette’s needs eventually mature beyond the simplistic and deceitful - offerings of her much older husband.

Despite the saucy source material, it’s a fairly safe film and there is an element of “male gaze” in the script and directing. But still definitely worth watching. (RB) WWW1/2

No matter how many Oscars this may win, it won’t come near what it deserves.This is film making at its finest.

The quasi historically accurate story of Queen Anne’s rule during the British/French hostilities of the early 1700s is told with wicked humour, unmitigated vulgarity, lush visuals and gold-statue winning performances.

Olivia Colman is the debilitated, reluctant queen, more concerned

about her 17 rabbits and the doting attention of her advisor and covert lover, Sarah Churchill (Rachel Weisz), than running the country, leaving that to the more capable Sarah.When Sarah’s cousin,Abigail (Emma Stone) unexpectedly shows up having lost her title and wealth and wishing some kind of employment, a battle ensues for the affections of the queen.

The script is deliciously witty, and at times, even whacky, to wit, an

odd dance scene and even odder kinky orange tossing scene.The soundtrack is an aural buffet of familiar baroque tunes and minimalist, experimental music.

While some of the visual effects are obvious, in particular the use of fish eye lens and odd angles, there are also subtle surprises in things like costume and props. The last scene is extraordinary.

Even the credits are inspired. (RB) WWW1/2 city hub 20 DECEMBER 2018

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A GLITTERING, RAUCOUS NIGHT ON THE TOWN

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