City Hub 4 February 2016

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Local theatre has a plan to tackle lack of diversity

BY SHON HO Recent criticism of the Oscars as being “whitewashed”, underscored a common concern about lack of cultural diversity in the arts.

Not just Hollywood, but Australian theatre is trying to bring more minority voices into the spotlight.

The Lotus Asian-Australian Playwriting Program, launched by Playwriting Australia in conjunction with Performance 4a, is an initiative implemented to address the lack of racial diversity within the theatre industry.

In 2013 there were less than five published AsianAustralian plays in the country.

Funded by the Girgensohn Foundation, the Lotus Project supports the development of new plays by Asian-Australian writers across three states from Sydney, Brisbane and Melbourne.

Over the last weekend of January, twelve playwrights attended an intensive workshop in Sydney which consisted of a mix of seminars, master-classes and round table discussions. Topics included intercultural theory, creative development techniques, and processes of cultural awareness.

Sydney based Samoan playwright and actor Sopa Enari attended the Lotus workshop, where she discussed the unconventional artist and the theatre as a microcosm of the culture in which we live.

Enari said that we have only begun a much longer conversation about cultural diversity.

“We won’t necessarily be able to tap into the true diversity of theatre making in Australia until we focus more on the process rather than the product,” he said.

He said that initiatives such a Lotus are important because they provide an avenue for unconventional artists to connect directly into the art form and to access knowledge.

“We talk about homogeneity in our industry and it’s got so much to do with singular way to the stage.”

He said because of the singular path to the main stage for the career of an actor, this can be controlled by the white establishment.

and professional development for emerging Asian-Australian playwrights. Its eventual aim is to get Asian playwrights a residency at a major theatre company and get Asian-Australian plays on stage in the 2019 season.

Roseman said that a nonrepresentative landscape is also facilitated to some degree by the existence of a canon which promotes a theatrical tradition that is still highly Eurocentric.

“Most theatre makers in Australia are white, they come from a tradition of white plays that are hundreds of years old and therefore there are troupes and rules and conventions that are ingrained.”

According to Sydney theatre marker, actor and diversity programs coordinator at Playwriting Australia, Teik-Kim Pok, platforms like Lotus give artists an opportunity to advocate for their work.

“The stories are out there.

They’re already making work, they’re just getting missed,” he said.

The plays that do make money have been tested as a sellable product, they have been for decades, and have been Participants in this years Lotus Asian Australian Playwrite program. written from a particular point of view.

Source: supplied.

I think there’s a chance for theatre to He said there was a lack of role models to encourage a take its place as a social unifier, but at the moment it’s growing generation of writers to develop their own plays. struggling.”

“Unless we are very actively, directly challenging According to Pok, practitioners from diverse preconceived cultural biases, then the conversation backgrounds need to step up, run initiatives to foster stays the same and becomes a self-perpetuating opportunities, and take control of the conversation problem,” he said. as opposed to waiting to be a part of it.

The Lotus program is in its second year of its “I think as a theatrical society here in Australia four year run and provides training, mentoring, we’ve not mustered enough courage to stand up

and do what we know needs to be done,” Enari said.

He said that the assumption that theatres may lose mainstream audiences due to risky programming is unfounded, because it is not something that has been extensively tried.

“A question was put forward to me at a panel discussion at Belvoir once: how do we actually start to create diversity in our audiences? My response then is my response now - make the stage diverse, the audience will just follow.”

“The best hope that we have for diversity is that it doesn’t become its own genre. It should become a part of our theatre culture.”

Rosie Dennis, the artistic director of Urban Theatre Projects, a company based in western Sydney, said she believed that the theatrical landscape does not reflect the populace.

“At Urban Theatre Projects we are committed to investing in new Australian theatre and putting voices on stage and telling stories that maybe haven’t been told before,” she said.

Currently, in conjunction with Belvoir Street, UTP is presenting The Tribe, an adaptation of a novella written by Michael Mohammed Ahmad.

The Tribe taps into the tradition of oral storytelling and presents an intergenerational Arab-Australian Muslim story about a young boy and his grandmother.

Ms Dennis said it is the kind of play people wanted to see. “Something like that is exactly the kind of work we like to make and support because it’s a story that you don’t often hear. It feels real, and it feels authentic,” Dennis said.

The faces on stage, Dennis said, need to be representative of people from all backgrounds, from the eastern suburbs to the west, if such stories are to be properly told.

“The thing to start with would be bolder choices in casting and just start to think about what Australia looks like, and what Sydney looks like,” he said.

Balmain Leagues’ Club can’t afford to move back to historic home: Mayor Published weekly and freely available Sydney-wide.

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BY ANDREW BARCLAY The Balmain Tigers appear certain to lose their chance to return to their spiritual home in Rozelle after Leichhardt Council claimed it would be too expensive for the club to return to the historic venue.

The concerns come amidst an ongoing feud between the developer and council after the developer said it would only accept the club returning to the site if commercial levels of rent were charged.

Leichhardt Mayor and Labor Councilor Darcy Byrne said the club hadn’t been keeping members adequately informed and that they should “start speaking out and fighting for the interests of members”.

Clr Byrne has written to the Balmain Leagues’ Club management seeking confirmation that the club would be able to afford to move back to Rozelle, under the conditions being imposed by the developer.

The site has been slated for a major apartment and retail redevelopment since 2008, when it was acquired by Pacific Link Investment in a deal that had a nominal value of $1, but included taking over the club’s $22 million debt.

However, developers have consistently failed to get approval for the project due to council and community concern over the development’s height.

The club was expected to gain access to part of the Rozelle site under a 45 year lease at market value, but Mr Byrne said its financial position made this increasingly unlikely.

“The developer Rozelle Village has been claiming recently that the Tigers will not return

The Balmain Tigers might be outpriced of their “spiritual home” of Rozelle. Source: Smegs07

to Rozelle in the new development under any circumstance,” he said.

Leichhardt Council recently argued before the NSW Land and Environment Court that the current agreement was unacceptable and that space should be made available at an affordable and sustainable cost for the club.

“Through the current legal proceedings we have sought appropriate assurances that the Balmain Tigers will have a secure and permanent home built in the redevelopment, as the developer has promised from day one,” he said.

“Given the Club’s enormous debts, I am very concerned that they will be incapable of paying

for the fit-out or the rent and will in fact never return to Rozelle if the developer has its way.”

“Alarmingly in the Club’s 2014 financial statement and report to ASIC, reference to returning to a new venue in Rozelle has been removed altogether.”

However, Rozelle Village director Ian Wright slammed Leichhardt Council for obstructing the development.

“The only way that the Balmain Leagues Club can return to that site is if there is an approval to the current application,” he told City Hub. “The simple point there is that there is no approval.”

The Balmain Leagues’ Club was unavailable for comment but the club’s website confirmed it is still their intention to return to the site.

“We need to get back to Rozelle,” it says.

The club’s financial statement for 2014 confirmed the club still has over $11 million dollars in debt outstanding.

President of the Rozelle Resident Action Group, Mark Wallis, agreed it is unlikely the club will return to the site.

He said he supports the idea of the club remaining as part of Rozelle Village, but can’t see it realistically happening under the current terms, given the dire financial position.

“With commercial lease rates, it seems pie in the sky, unless someone wipes out their debts,” he told City Hub. This most recent development comes after a mediation hearing required by the Land and Environment Court which failed to reach an agreement. The case will proceed to court in March when a final decision is expected. city hub 4 FEBRUARY 2016

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No equity for Millers Point Residents

BY LUCAS BAIRD Residents claim that the community own some of the equity The Millers Point in the Darling House. Source: sv1ambo; Flickr community will not get any return on the millions of dollars it has sunk into maintaining heritage properties in the area.

The community has criticised the government for its plans to auction off Darling House in the suburb. The Millers Point community believes that they own around a 20 per cent equity in the property, which would equal $1.2 million if the property sells for the estimated price.

The auction of the former aged care facility is scheduled to take place on the 25th of February and is predicted to bring in around $6 million for “We have no indication in a formal the government.

Millers Point, Dawes Point, The Rocks sense that the state government is going to recognise that contribution,” he said. and Walsh Bay Resident Action Group “The Millers Point community chair, John McInerney, told City Hub that the community will not see any of was expecting some recognition in the funds from the sale. a monetary or resource sense of the “We have no commitment from community’s contribution to the value of the owners of the building, which is that building.” property NSW,” Mr McInerney told The Department of Family and City Hub .

Community Services, who is handling He said that Property NSW had the auction, indicated that Mr indicated to the resident action McInerney’s assertions are true. group that the community in fact “All proceeds from the sale of Millers had contributed “significantly” to the Point properties – including Darling building in its current form.

House – will be reinvested into building

an estimated 1,500 additional homes in NSW, helping reduce waiting times for people on the social housing waiting list,” a spokesperson told City Hub. Local member for the Legislative Assembly, Independent Alex Greenwich, agreed with Mr McInerney.

Mr Greenwich said that the government had forced the elderly care home out, by making rents too expensive and their business “untenable”.

“When concerns about the future of Darling House were raised, I advocated for the Government to renew the lease and peppercorn rent to ensure Darling House could continue to provide aged care,” Mr Greenwich said.

“However the government’s decision to charge commercial market rent for the property made it unviable for the small non-profit to continue and the Board of Darling House closed the facility.”

Mr Greenwich made clear that he will continue to oppose the sale of social housing in Millers Point, due to the needs and concerns of the vulnerable in the area.

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5

Locks changed as indie theatre continues battle with City

The money you never knew you had

BY CHRISTOPHER HARRIS Supporters and friends of the beleaguered Archway One Theatre gathered on Saturday to protest the shock move by the City of Sydney to change the locks on the theatre.

The move to physically lock out the theatre company on last Friday morning came as a surprise to the community, who thought there was a glimmer of hope for the theatre, following a string of council compliance issues.

The theatre company said that the move happened unannounced and that The it was contrary to their understanding with the recently deceased deputy Lord Mayor, Robyn Kemmis, who had indicated that further negotiations would take place in January.

According to the theatre’s artistic director, Rachel Jordan, the theatre company was due to resume discussions on January 8, but that never occurred.

“Instead, there’s has been little constructive response from anyone at the City of Sydney, and locking us out seems to indicate that any negotiation has ended before it even started,” Ms Jordan said in a statement on Friday afternoon.

Ms Jordan said that discussions between Eva Cox AO and Clr Kemmis had resolved some “bureaucratic misunderstandings.”

She said that the company had undertaken a fire audit, which revealed nothing unsafe about using the building as a performance space, which was the City’s original problem with the company.

Ms Jordan said that her independent audit contravened the findings of the City.

BY LUCAS BAIRD There’s $218 million sitting in a NSW Government bank account, and it could belong to you. Well, at least some of it, anyhow.

A Greens MP has claimed that a public awareness campaign should be created to ensure people are aware of unclaimed funds.

Greens Member for Balmain, Jamie Parker, told City Hub he was “astounded” that the Office of State Revenue (OSR) had managed to accumulate around $218 million in unclaimed funds from deceased estates, dividends and other sources.

“It is a matter of people being aware that the unclaimed money has been forwarded to the OSR,” Mr Parker said.

Mr Parker indicated that funds for an awareness campaign would be easily found from several years worth of accumulated interest.

“An ongoing public awareness campaign could be easily funded from a percentage of the interest earned on the unclaimed money by the OSR,” he said.

“Once forwarded to the OS R, the pooled funds of over $200 million would attract enough interest to

She also said that the fire report done by council contradicted the theatre’s own council report done on the same date and time.

“What we’re trying to do is say remove the padlock, let us back in and stay to June, and we agree to make the changes which should only be a couple of thousand. In that time, we can have a conversation about whether or not we theatre was locked out last Friday. Source: Sardaka can have an arts facility for the local community, as it was stated in the original The company agreed not to use the space until the findings of another independent fire plan.”

A City spokesperson said that a variety audit were released. of safety risks had also been identified She said that the council resolved to help in addition to the archway being used the theatre become compliant if they were for things outside of its DA. It said an found not to be. independent audit found significant Social justice advocate Eva Cox said that access, fire safety and electrical works are the City may have breached the law by not necessary for the premises to be compliant adhering to the process. with building code requirements and other “This high handed insensitive action safety regulations. City staff have been in makes a nonsense of City of Sydney’s touch with the tenants more than 10 times claims to concerns about due process in recent months to offer them alternative and fairness, as well as encouraging local City hire venues for their activities and cultural initiative. CEO Monica Barone was opportunities to apply for the City’s supposed to liaise directly with the Archway accommodation grants and creative spaces 1 group to discuss their future, but this programs, and will continue to do so has never happened. Barone has sought to where possible. undermine due process and the law by her The City’s CEO and staff have at recent decision.”

Speaking to City Hub earlier this week, all times acted transparently and in Ms Cox said that since the death of Robyn accordance with the strategic direction of Kemmis, the council had backflipped on Council, and the tenants have been fully the plan. informed during this process.”

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cover administration expenses for maintaining the register, processing claims and public awareness advertising.”

“The money should remain available for claim by the rightful owner,” he said.

Mr Parker said that despite the possibility of funding resources for schools and hospitals if the money was uncollected, the money should remain open for the rightful owner to collect.

The OSR last publicised the unclaimed money on the last Monday of January.

They asserted that the money had accumulated because private enterprises and government agencies had been unable to locate the owners.

Minister for Finance Dominic Perrottet urged businesses and families to check to see if some of the money is theirs.

“OSR’s website is easy to navigate, and the unclaimed money search facility is free, so it’s well worth having a look,” Mr Perrottet said.

“If it’s your money, you’re entitled to claim it,” he said.

City Hub reached out to the OSR to see if they were considering a public awareness campaign, but they did not get back in time for publishing.

HAVE YOUR SAY ON A MARKET IN MARTIN PLACE The City of Sydney invites your feedback on an application for a market in Martin Place, between Pitt and Castlereagh streets.

The proposed market will operate from 10am–5pm on Saturdays and Sundays on the first weekend of every month. It will include around 40 stalls showcasing high-quality food, local artists, jewellery and other artisan products.

You can see details and provide feedback from 1 to 26 February 2016 at sydneyyoursay.com.au For more information about this market proposal, please contact Michael Russell, Markets – Project Manager, on 02 9265 9333 or email mrussell@cityofsydney.nsw.gov.au

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7

Westconnex faces Randwick mounting opposition residents

BY KE N J I SATO Protesters occupied a drill site at the Tempe Reserve on Tuesday morning, settling in with lawn chairs and picnic blankets in an attempt to block construction of the Westconnex New M5 road interchange.

Drilling was delayed and police were called to the scene. A move-on order was issued and the protesters left the scene peacefully. No arrests or charges were made.

The New M5 has Activist climbs drill rig.

Source: supplied. long been a sore point among those opposed to the WestConnex road project, because of fears the planned road from Beverley Hills will bombard the inner west with traffic, causing chaos for local residents.

The N SW Department of Planning and Environment has been flooded with over 9000 submissions in response to the New M5 Environment Impact Statement, which closed for submissions last Friday.

Last Wednesday, January 27, local residents gathered in Erskineville, one of the suburbs expected to be most impacted by the road, in a final push to urge the community to send in last-minute submissions to oppose the project.

Darren Jenkins, president of the Friends of Erskineville community group said the gathering highlighted the wide spectrum of concerns from traffic to the local environment.

“It raised a broad number of things including the air quality, the demolishing of large swathes of Sydney Park, noise pollution, increased traffic, right through to the huge waste of public funds that this will be,” Mr Jenkins told City Hub .

He said that the forum’s biggest complaint was the government’s lack of transparency around the project.

“It sets up this curtain of secrecy behind which the government can advance its agenda without exposing it to the daylight of scrutiny,” he said.

Mr Jenkins, who is a barrister, also said that the length of time allowed for submissions was too short, considering the complex nature of the documents.

“There were an extraordinary number of documents for the public to get through, and a lot of those were technical documents that were difficult for a layperson to grapple with. There should have been a longer period of time, the documents should have been put forward in a more accessible way, and the community should be properly armed with the resources to give this proposal proper scrutiny.”

“The timing is just one factor in a broader problem with the way that this submission has been given over for scrutiny,” Mr Jenkins told the City Hub. Janet Dandy-Ward, member of the WestCONnex Action Group [sic], said despite the brevity of the submission period, the amount of responses was estimated at over 9000.

“We’re bordering on a record, and that’s not counting the ones individuals submitted,” Ms Dandy-Ward told the City Hub .

She said that it was more impressive considering that people were responding to an 8000 page document, which was available either in P DF form online, or in local libraries.

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city hub 4 FEBRUARY 2016

“This was put on display at the end of Novemb er and we were g iven until the 2 9th of January. That’s peak holiday time,” she told the City Hub .

She also said that locals were not told enough ab out the project in the first place. She said that different outcomes, such as those calculated by the City of Sydney, varied significantly from the government’s studies.

“We know from other information that people are going to be coming into a traffic jam. This is billed as the solution for Sydney but we know that people are going to run into traffic in the city and beyond – the suburbs that are going to be deeply affected” She told the City Hub that the Baird and Turnbull governments must give time for real community consultation because they planned to spend $16.8 billion of taxpayer money.

The Erskineville forum was presented

by EcoTransit Sydney, who has been pushing for environmentally friendly public transport solutions to Sydney’s congestion.

The group’s spokesperson, Colin Schroeder, told City Hub that there were cheaper, more efficient alternatives.

“The few things EcoTransit has suggested could be done very, very cheaply for under a billion dollars, instead of nearly $20 billion for a road to nowhere,” he said. Mr Schroeder told City Hub that one alternative was to extend the light rail from Dulwich Hill to Sydney Airport through Sydenham and across Sydney’s southern industrial area.

He told City Hub that this would allow people to catch trains to the Airport or City, and would ease congestion on the M5 at a fraction of the cost.

“Sydney’s transport needs cannot be solved by building this massive tollway project. You can use half the amount of money and achieve much better outcomes with public transport.”

But Mr Schroeder said that he doubted the government would listen to alternatives.

“What Westconnex is really about is shifting public money to the private pocket. It’s about giving public money for big construction projects without any real purpose for solving Sydney’s congestion. This is a corruption of process,” he said.

Labor Councillor Linda Scott spoke at the meeting. She told City Hub that she did not support the New M5 on the grounds that it would not meet its stated objectives.

“It doesn’t provide a solution to get freight away from Kingsford Smith and Port Botany, and it doesn’t have a road that goes to the airport,” she said.

Clr Scott said she was also worried about the “terrible consequences” she predicted for the inner city.

“Huge traffic congestion will impact on our vital green space, and it will reduce our green space in Sydney Park. But the key concern is that this is public money not delivering on the project objectives.”

She said a business case needs to be established before public money was committed to the project.

“We need a clear evidence based case for what should happen here. The whole process has been political, rather than evidence based.”

mourn trees

BY KENJI SATO Planted before Federation, a canopy of trees was chopped down in the name of progress.

But it didn’t have to be that way, according to Randwick residents and local politicians, who are reeling following the destruction of some of Sydney’s oldest fig trees.

Light rail construction continued along Anzac Parade and Alison Road last week, where hundreds of trees, some of which are up to 130 year old, were cut down.

But local activist and Total Environment Centre member John Bellamy told City Hub that the fig trees were “irreplaceable”.

“They’re invaluable. They’re of priceless local, national, and international significance,” he said.

Mr Bellamy told City Hub that many of the heritage listed trees were planted in the 1870’s by Charles Moore, founding father of Moore Park, and that the trees were dedicated to the ANZAC soldiers in 1917, when Randwick Road was renamed Anzac Parade.

Anzac Parade, before and after.

Photo: Keeping Randwick’s Trees Instagram.

Randwick Council opposed their removal and had urged the government to consider an alternative south-east light rail route, which would have saved the trees.

Randwick Greens Councillor Murray Matson said that he was saddened by the government’s “refusal” to work with local council.

“The Alison Road removals have left me sadly lacking confidence in the state government on the issue of tree preservation,” Mr Matson told City Hub. “I’m trying to look towards the future, but I would still say that the government needs to review its protocols for how it deals with local government on the issue of tree removals across Sydney.”

“There surely is much more scope to preserve our urban forest than what has been displayed to date.”

N SW Opposition leader Luke Foley had previously announced his opposition to the felling.

“This decision is wrong and the trees that still can be saved should be. It’s all well and good to build infrastructure and chase progress, but progress without preservation leads to destruction,” Mr Foley told reporters in late January.

“Every possible effort should be made to protect these iconic and magnificent trees that have been a part of the community for more than one hundred years.”

NSW Premier Mike Baird has assured residents that new trees would be planted in place of the ones cut down, with two trees planted for every small tree removed, four trees for every medium tree removed, and eight trees for every large tree removed.

“For us all to be chopping down these historical trees is an international disgrace of the highest magnitude,” he said.

“We are gridlocking the city for three years and chopping down 800 trees for a light rail that is going to be worse than the existing bus system. It’s a complete and utter farce.”

Mr Bellamy said that despite previous disappointments, he and the Total Environment Centre would continue the fight to save the trees through doorknocking, letterboxes, and rallies.

“We’ve all created this crazy machine that is creating, and will continue to create hell on earth. But people are starting to wake up. Many Australians, myself included, have been pretty complacent. But the thing that changed my life forever was seeing 150 year old Moreton Bay fig trees chainsawed down in front of me. And I’m sure that’s been true for others.”

The Total Environment Centre will be holding a “Hands Off Our Trees” rally in Anzac Parade on Valentine’s Day on February 14.

In an email to constituents on Tuesday afternoon, Sydney MP Alex Greenwich said it would take a concerted community campaign to get the government to reconsider its approach.

His initial submission supported using the existing busway instead of parkland for the light rail route.

“We need a change in thinking that values our trees and open green space or ‘urban sanctuaries’ and I encourage concerned citizens to link up with the Total Environment Centre’s work in this area.”

city hub 4 FEBRUARY 2016

9

WestConnex 101 and why the secrecy needs to stop City Hub reporter and local activist, WENDY BACON spoke at a WestConnex forum in Erskineville. The following is an edited transcript of her speech. The full version is available on the Altmedia website.

To be honest, I was not well informed about Westconnex until the announcement in 2014 that a massive interchange would carve up the nearby community in St Peters, spewing thousands of extra trucks and cars onto our local roads. I knew the NSW LNP government had grafted Westconnex onto its transport plans as a result of reports heavily influenced by interests connected to the road building and property lobbies. I knew that the philosophy driving plans for a 33 kilometre system of toll ways have long been rejected by many contemporary urban planners. Indeed, I was aware of the history of motorway planning from the early seventies when I was involved with the campaign to stop an expressway knocking over last swathes of Glebe, a plan stopped by the Wran Labor government about 40 years ago. I was aware too of the continual failures of NSW governments to provide adequate public transport, particularly for Sydney’s Western suburbs.

A year later, I can say that I know a lot about Westconnex, but there’s a lot I don’t know because of secrecy. Last year, Westconnex was turned into a private company called Sydney Motorway Company (SMC). Although it is still publicly owned, this was a tactical move by the Baird government to take Westconnex outside the NSW freedom of information law, known as GIPA (Government Information Public Access) which means that its contracts no long have to be released publicly; and also despite millions of public funds being spent on PR, important information continually has to be prized out of Westconnex.

There are so many uncertainties and impenetrable reports. For example, Westconnex buries much of the important information in its 8000 page New

M5 EIS deep technical appendices, each of which is hundreds of pages.

There are many reasons why our community should fight tooth and nail to stop the Westconnex.

I will just cover several major ones.

The first is that the project won’t achieve its objectives. It won’t solve traffic congestion – in fact, it will create it. Westconnex would be a tragic waste of Federal and State funds that should be spent on public transport, innovative ways to manage traffic better and work places, and build more schools and health care facilities where they are needed. This is not my view - it is the view of numerous Australian and international experts around the world - I won’t list them here. If you want to read more about how Westconnex fails its objectives, I would recommend transport researcher Chris Standen’s submissions which are published on the People’s New M5 EIS. (m5eis.org).

What is perhaps most frightening about the EIS process is that Westconnex’s so called professional experts who are working on the EIS for the M4 East do not seem to even acknowledge, let alone engage with a whole body of work that critiques their EIS. They ignore powerful arguments raised by independent consultants hired by Council and in 4800 submissions to the M4 EIS of which over 99.9 rejected the project. Many of these submissions were detailed and well researched. None of them were found to have any weight. Instead the Response to Submissions reports there will be rising levels of just repeats the original arguments. potentially deadly fine particulate Will the NSW Planning Department pollution, the Westconnex answer condone this – we will see soon. to critics is always the same. It Whether it is claims about travel time either doesn’t matter or at least savings, the demolition of the habitat of even if it does, it’s not significant. the endangered Green and Golden Bell This brings me to my second Frog at Arnciiffe, the failure to model major point. This planning any noise impacts above 2 floors, the process is so deeply corrupted failure to respond adequately the National Trust, that we need to say NO. The Baird government which has objected to knocking down scores of is treating our communities with huge arrogance heritage buildings in Haberfield to hot spots where – not just in the Inner West but also in the south

“Don’t let anyone tell you this is the inner west against the west”

West and western Sydney and even the eastern suburbs where community concern about the need for light rail to involve the destruction of hundreds of old tress is being ruthlessly swept aside. We need to demand that the community be included in planning. When private interests capture planning processes, there is no democracy.

My third point is - don’t let anyone tell you this is the Inner West against the West. Since I became involved in this campaign, I have been out to Homebush were Auburn North Public School is stranded between a widened M4 and a Parramatta Rd that is predicted to become even more congested. It will need noise protection on every building. I’ve been to Erskine Park where Westconnex is dumping tons of asbestos waste with not even the adequate protection we have seen at St Peters. I’ve seen whole parks removed for construction of a widening King Georges Rd at Kingsgrove in preparation for the New M5. The EIS shows that traffic congestion and air pollution will be worse on the roads in this area after Westconnex. The Baird government is deliberately planning to make the environment in the South West worse. There are still no serious plans for extra public transport for any part of Sydney West of Parramattta where it is hard to survive with out a car. These are the people who would be slugged for Westconnex tolls.

It’s the environment of the Inner West that would be destroyed –but it’s the people of the West who will pay through tolls, unhealthy car dependency and a lack of public transport.

The biggest weapon the Baird government and Westconnex have is making us feel helpless and that we can do nothing. With contracts already allocated, the whole planning process is designed to encourage passivity. But we are not going to accept this; we are not going to let them roll over us. To use an old slogan, one thing is for sure, if we don’t fight, we don’t win.

MEET the locals

Broadway is Sydney’s Live music makes for a good Saturday next must be foodie destination at The Cauliflower

Foodies of Sydney, get excited about a whole new food destination: Broadway’s new expanded and enhanced dining precinct.

While patrons may have to wait a while for the $55 million redevelopment to bring an improved food court, they won’t have to wait that long to enjoy the food.

In the month of February, Broadway is launching a pop-up food festival in February that will offer a range of new dining options alongside the 15 food stores and cafes that will continue to operate throughout construction.

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All retailers on Level 2, including Hoyts Cinemas, will remain open and operational during the redevelopment, which is due for completion in Spring 2016.

The first food retailer to open as part of the new food offering for Broadway will be The Gardens: a new concept for Georgio Michael, founder of Janus. Launching in April, the restaurant’s timber and steel framed glass fit-out by Otto Design Interiors takes inspiration from the surrounding Ultimo, Glebe and Chippendale creative hub.

To add to the shopper experience, Broadway will launch free Wi-Fi centre-wide in February.

Where are you headed this Saturday night?

For a fun night of live music and a little bit of dancing, why not head to the Cauliflower Hotel?

The large pub, located on Botany Road in Waterloo has a great bar and fantastic bisto, with top notch pub food, including pizza, bistro classics, as well as the “three wise pigs” schnitzel.

Let the night come alive with fun bands, performing covers of the 80s 90s and the

best hits of more contemporary times. The pumping entertainment will have the most reluctant friends taking to the dance floor in no time.

There is a well-stocked bar with a great wine list, a range of beers including local craft numbers from Young Henry’s as well as Four Pines.

There’s also a fun range of cocktails to really get the night going, as well as a range of delicious jugs, which are only $20.

NEW YEAR, NEW JOB! SAlES PERSON WANtEd

DO YOU WANT A NEW chAllENgE, WE WANT YOU! Call on a range of local business both over the phone and in person.

Provide advertising solutions across multiple platforms including digital, print and native editorial packages. We are centrally based in Ultimo and focus on the core inner city from Bondi to Balmain.

We maintain a lead data base system with thousands of contacts.

We are seeking someone who is willing to hit the phone, pound the pavement and reach for the sky. Sales experience desirable, media sales experience preferred but not essential. CV and cover letter please.

Email: chris@altmedia.net.au city hub 4 FEBRUARY 2016

11

ARTS FEATURE

JUDY! BARBRA! LIZA! BETTE!

These are the names we shan’t forget!

BY ANDREW HARRISON The great divas: Judy Garland, Barbra Streisand, Liza Minnelli and Bette Midler – they’re back! And just in time for Mardi Gras, with a classic live cabaret presented by Screamers at The Seymour Centre’s class Sound Lounge. Performing three quintessentially raucous shows only, with cabaret table seating and a fully equipped bar, it’s certainly something that will take the edge off.

With last year’s effort coincidentally intertwining with the fall of the Abbott Government, this time around the production has been unambiguously intended for Mardi Gras as it looks to rejoice with the LGBTQI community.

“It’s specifically designed for Mardi Gras and we thought it was time for a celebration. Our show last year had a stab at bringing down the Abbott government and in the week that we performed the show he had been ousted. So we thought that it was pretty good timing,” explained Director of the show Gavin Vance.

The Cabaret scene in Sydney has experienced a bit of a resurgence in recent times and according to Vance, there’s no coincidence that politically extreme periods will breed a witty and precise response from the artistic community.

“All he [Abbott] wanted to do was stop the boats and send the boats back, which is one of the most inhumane things I’ve ever heard of.We were just at a loss.We were about half way through rehearsals when he knighted Prince Phillip, and that was just something that tipped us over the edge.We were embarrassed internationally that we were being led by such a monster,” said Vance.

Jackie Vance.

Photo: Lisa Madden

Fridays: 12, 19 & 26 Feb – 8pm.

Seymour Centre Sound Lounge, City Road, Chippendale. $20-$35+bf. Tickets & info: seymourcentre.com

mardi gras film festival

“I think that’s why the scene is bigger at the moment. In extreme times, it pops back up again. We need to express those scenes and work out, through dialectics, how we can move forward,” he added.

Hosted by Velma Vegas and the Vaguetts, who have a colorful past in this arena, the spectacle will not only get you singing along to all of the divas greatest hits but will be giving you a rarely seen look into their early lives as performers.

“Velma waxes lyrical throughout the show about their story. Some parts of their story are seldom told and there are some really interesting little shrieks about what happened to those women in their lives,” said Vance.

“Something that pops up in every single interview is this idea of them being difficult women, so that’s something that’s really interesting that Velma latches onto and talks about as well. They were women that struggled in a man’s world.”

With the impeccable choice of venue, the Seymour Centre is sure to bring the very best out of The Vaguettes – Dan Holland on keys, Stan Valacos on double bass and guitar and Tim Bradley on drums.

“It’s a great little venue, it’s 120 seats only, so it’s perfect for the beautiful raw, live sound that we’ve got. All the musicians are saying that acoustically it is the best in Sydney,” elaborated Vance. “It’s perfect for that speakeasy cabaret feel and a great night out.”

feb 18 - mar 3 2016

full program out now

THE LADY IN THE VAN

RADIANT SEA

WEST NORTH WEST

CHEMSEX

SAT 20 FEB 4.15PM & SUN 21 FEB 6.30PM

SUN 21 FEB 7.30PM

WED 24 FEB 7PM

WED 2 MAR 8.30PM

Alan Bennett and Nicholas Hytner, who adapted Bennett’s queer classic The History Boys, re-team for the wonderful true story, The Lady in the Van. Starring Dame Maggie Smith.

When Marek meets young, French engineer, Jean the two strike up a friendship. As Marek comes to terms with his feelings he makes a decision that will affect the both of them.

The story of three young women in modern-day Japan as they struggle to meet cultural and societal expectations, and ultimately, connect and fit in.

This British documentary is a fascinating and honest insight into the lives of modern gay men who engage in weekend-long, drug-fuelled orgies, a.k.a. ‘chemsex’ or ‘wired fun’.

Ticketing and more info at

queerscreen.org.au 12

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city hub 4 FEBRUARY 2016

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ARTS & ENTERTAINMENT Review: The Barber of Seville

Phil Scott’s REVIEWING THE SITUATION Photo: Mark Baxter

Paolo Bordogna (Figaro) and Anna Dowsley (Rosina). Photo: Keith Saunders

Elijah Moshinsky’s production of Rossini’s The Barber of Seville, now reprising in Opera Australia’s summer season, is a delight from its first lighthearted notes to the final cords.

The opening scene between Count Almaviva, who is disguised as a poor student, and Figaro, the Count’s former employee now turned independent barber and general factotum, takes place against a really cute backdrop of a row of miniature terrace houses and tall palm trees designed by the inventive Michael Yeargan.

On the pavement outside Rosina’s home, the Count has engaged a troupe of singers and musicians to serenade his beloved, the ward of her jealous old guardian who intends to take her as his wife.

Figaro can help the Count gain entry to Rosina’s household disguised as a drunk soldier seeking a billet, and later as her music teacher, and this is where the comedy escalates to hilarious heights.

As the Count, Kenneth Tarver’s mellifluous light tenor is a treat for the ears, while Paolo Bordogna is as engaging a Figaro as you could ever see on stage.

Anna Dowsley’s Rosina is lively, charming and humorous, while Warwick Fyfe once again extracts maximum laughs as the cranky old Bartolo.

The ensemble work of this production is superb, with 30 performers on stage at times, and by the end of the boisterous second act, all is resolved in favour of the lovers while Figaro pockets his reward.

Rossini was fully aware of his genius. He famously said, “Give me a laundry list and I will set it to music”. (ID) Until Mar 22, various show times. Joan Sutherland Theatre, Sydney Opera House. $44-$330.Tickets & info: opera.org.au

The productions at Hayes Theatre Co. are usually a delight. Returning this year to their 2016 Cabaret season for its fifth performance is one of its finer productions, Reviewing The Situation.

For over thirty years pianist, singer, writer and comedian Phil Scott has been delivering cabaret audiences from boredom. This seasoned cabaret artist has now teamed up with director Terence O’Connell to create the varied and entertaining Reviewing The Situation. Phil’s exceptional talent for one-man shows has seen him delight audiences in many different performances including The Twink and The Showgirl and Mario, and he was also a script consultant on Priscilla, Queen of the Desert The Musical.

Using this vast experience, Phil has created his latest work that is a celebration of the life of acclaimed composer and lyricist Lionel Bart. For the less aware, Bart wrote the long running

The Pride

a&e

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the more liberated present day.

“In the 1958 portions of the show these two men, Oliver and Philip, are confronted by society’s denial of their right to be together,” London explained. “[In] the present day, they come up against themselves really, and in different ways in which they can’t help but live their lives.”

Through wicked humour and raw emotion, The Pride will get under your skin, exploring the ever changing attitudes to love and sexuality. After receiving incredible reviews in the UK, this highly topical play is one that will leave the audience talking for days. (NB) Feb 9–Mar 6. Eternity Playhouse, 39 Burton St, Darlinghurst. $38-$45.Tickets & info: darlinghursttheatre.com

Photo: Helen White

Darlinghurst Theatre Company are proud to present the highly anticipated Sydney Premiere of The Pride as part of the 2016 Sydney Gay and Lesbian Mardi Gras. Brilliantly written by Alexi Kaye Campbell, The Pride is an emotional and poetic reflection on gay identity and sexual liberation, celebrating authenticity, empathy and understanding. “[The Pride] examines the battles that have been fought within ourselves and with society…what we are as humans and what we can be,” explained Simon London, who plays the part of Philip.

“It’s all about the search for authenticity…it celebrates true connection between people and it really celebrates empathy and understanding of different people and how they feel and what they need.”

The Pride jumps between two parallel love stories – one set in the repressive past, 1958, and the other in

musical Oliver! amongst other hit shows, and some of the famous pop songs for artists like Cliff Richards.

The show tells the sad yet true story of Lionel, an East End Cockney from a poor Jewish family who at the height of his success owned a huge home in Chelsea (the Fun Palace) where he held fabulous parties.

Unfortunately for Lionel, his success did not last and to settle his debts, he had to sell his rights to Oliver! and move to a cramped flat above a launderette. This latter part of Lionel’s life acts as the premise and setting for Reviewing The Situation.

Only playing for a limited run of 4 days – entertaining, eclectic, sad yet fun – Phil Scott’s Reviewing The Situation is an interpretive work of art not to be missed. (JR) Feb 4–7. Hayes Theatre Company, 19 Greenknowe Ave, Potts Point. $40-$35. Tickets & info: hayestheatre.com.au or (02) 8065 7337

10 STAGE 12 SCENE 13 Sounds 14 SCREEN

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

Contributors: Brendan Modini, Carmen Cita, Craig Coventry, Greg Webster, Hannah Chapman, Alicia Sim, Nyssa Booth, Lauren Edwards, Peter Urquhart, James Harkness, Lauren Bell, Leann Richards, Lisa Seltzer, Mark Morellini, Matthew Bernard, Mel Somerville, Michael Muir, Olga Azar, Rocio Belinda Mendez, Sarah Pritchard, Sinead McLaughlin, Siri Williams, Athina Mallis, Leigh Livingstone, Joseph Rana, Shon Ho, Jacqui Rothwell, Anvi Sharma, Emily Shen, Silvia Cheung, Andrew Hodgson, Irina Dunn.

Dora’s Pirate Adventure

Kevin Hart – What Now?

This comic genius may use his short height as a tool for humour, but he doesn’t fall short when it comes to dishing out oodles of sarcasm.

Following up on his recently revived movie career success (yes, he played a forgettable baddie in an even more forgettable flick called Fool’s Gold some nine years ago), Kevin Hart is coming to Australia for the first time this February with his show, What Now?.

Since his showbiz start in 2002, Hart has gone on to become one of the best stand-ups and comic actors around. His unique style and art of delving into self to create comic masterpiece sketches has made him a delight to watch.

From playing at venues such as The Boston Comedy Club, Stand-Up NY, The Laugh Factory, and The Comedy Store in Los Angeles – Hart has achieved global fame and he takes his talent to the next level with shows in Perth, Brisbane, Melbourne and Sydney from early February.

You may have to start a fight to get the tickets, but it’ll be worth it! (JR) Feb 7–8, 8pm. Allphones Arena, Olympic Boulevard, cnr Edwin Flack Ave, Sydney Olympic Park. $99.90-$149.90+bf. Tickets & info: whatnowtour.com or livenation.com.au

If you have children that are huge fans of Dora the Explorer then this new live show is exactly what you need. Dora’s Pirate Adventure, presented by Nick Jr and Life Like Touring, is doing one last whip around the country for a finale show.

Dora’s Pirate Adventure follows all your favourite characters such as Dora, Boots and even Swiper as they search Treasure Island for missing treasure. Along the way they encounter Dancing Mountain, the Silly Singing Bridge and several familiar faces.

Dora the Explorer is a kids’ show on Nick Jr that encourages kids to use their reading, counting and musical skills. One of the unique aspects of Dora the Explorer is the way she incorporates the use of the

Spanish language to teach children along the way. Like the television show, Dora’s Pirate Adventure is an interactive and participation heavy show for children from 2–5 years old.

As this is a finale tour, it is ideal to take children who are fans of Dora to these last shows. Not only an entertaining show, it is a great learning experience for toddlers and pre-schoolers, as well as being filled with music and dancing. Parents are sure to get involved as well. (LB) Feb 9–10, 11am and 1pm.

Theatre Royal, 108 King Street, Sydney. $30-$70+bf.

TIckets & info: ticketmaster.com.au or 136 100 or nickjr.com.au/doralive

The Picture of Dorian Gray – Reimagined People can expect a completely new view on an Oscar Wilde classic, quite controversial in its time, at an independent theatre that’s been around for 72 years in a quaint old church dating back to1868.

The Picture of Dorian Gray at the Genesian Theatre has still very much got the same plot points and the same characters, but it is an original work that’s been workshopped from scratch to create an engaging production that people can relate to and think about for a long time.

The play is adapted by Nathan Farrow, an Australian playwright/actor and his script is really something to behold.

“We’ve taken the themes, the motives and plot points used

THE POOR KITCHEN This unique production is set in Southern Italy where the food is delicious, the people are gorgeous, and the pasta is perfection, leaving room only of course for the politics that tie it all together. Recently having inherited an olive farm in Italy, Elle finds herself sharing her newfound table with the spirits of a brutal and intriguing past. Be sure to save yourself a seat at The Poor Kitchen, BYO sense of humour and an urge to be moved! (RM) Until Feb 6. Old 505 Theatre, 5 Eliza Street, Newtown. $22-$33.

Tickets & info: old505theatre.com THE TRIBE Author and playwright Michael Mohammed Ahmad has adapted his novel The Tribe, with director Janice Muller, into a play.The story features a

child’s view of the Muslim-Australian experience, growing up in Sydney’s west, and immersed in the world of immigrants who don’t care about lurid tales of terrorists or stereotypes.The show is staged in a Surry Hills backyard, with the narrator (Hazem Shammas) and cellist (Oonagh Sherrard) summoning Bedouin storytelling traditions. (OA) Until Feb 7. Belvoir Theatre, 25 Belvoir St, Surry Hills (meet at the theatre to be guided to the backyard venue). $25–$48.Tickets & info: belvoir.com or 9699 3444 JASPER JONES Dealing with a lot of issues – from race matters, to growing up and issues about women ¬– it’s partly a ‘whodunit’ story but mostly a coming of age tale about a couple of kids in Western

in the book and made it a bit more contemporary,” explained Stephen Lloyd-Coombs, the play’s director. “The theme of vanity plays on the question that beauty is only skin deep and if you look beneath the surface, what do we actually find? With Dorian Gray what we find is a person who’s swayed by the opinions of others, who takes on a lifestyle of hedonism that throws his friends and morality to the wayside as he becomes this creature, this monster that lurks beneath the surface.”

You really feel a connection and compassion for Baz (Richard Mason) and to Harry (Martin Portus) although he’s a more sinister character, he’s very charming and witty and

Australia in the 60’s. Jasper Jones is fictional, but set within the time frame of the Vietnam War and Australian politics.

(MS) Until Feb 7. Upstairs Theatre, Belvoir Street Theatre, 25 Belvoir St, Surry Hills. $37-$92.Tickets & info: belvoir.com.au or 8396 6242

culture.A dark period in Australian history portrayed with respect for both sides. (GW) Until Feb 20. Sydney Theatre Company, Roslyn Packer Theatre, Hickson Rd, Walsh Bay. $69-$116.

Tickets & info: sydneytheatre.com. au or 02 9250 1777.

THE SECRET RIVER Adapted from the novel by Kate Grenville, this play tracks the story of the conflict between transported convict William Thornhill and the Dharug people, on whose land by the Hawkesbury River he attempts to settle.

Joshua Brennan plays Dan Oldfield, another convict taken on by Thornhill to help work his land. Oldfield struggles between Thornhill’s dubious morality and the grim treatment of the local indigenous

THE GOLDEN AGE A production that still resonates with theatregoers since its inception in 1985, strikingly exploring Australia’s dark commencement as a nation by asking the questions at the very core of our history.“The score of this narrative is huge, the story spans from the wilderness of Tasmania through to war-torn Berlin…” said director Kip Williams.“The questions that [playwright] Louis [Nowra] was asking back in the

Dorian himself (Michael Yore) comes across as a lovely young lad who’s led down the wrong path. The performers themselves accentuate these points in a delicate, clear and precise manner.

It’s a drama and a comedy (more so a drama because of all those morality questions), but with horrors and dark secrets. Oscar Wilde is well known for his wit and sharp jabs against society, and his characters have clever quips that make you think about what’s happening in society today. (MS) Feb 6–Mar 19. Genesian Theatre, 420 Kent Street, Sydney. $25-$30.

Tickets & info: genesiantheatre.com.au mid-eighties are questions that we’re still grappling with 30 years later…” (AH) Until Feb 20.Wharf 1 Theatre, The Wharf, Pier 4/5, Hickson Road Walsh Bay. $64.Tickets & info: sydneytheatre.com.au or 9250 1777 LA BOHEME In this tragic tale of first love, Natalie Aroyan plays the consumptive seamstress Mimi, while Yosep Kang sings Rodolfo, her confused and fickle lover. In setting the story in Germany’s Weimar Republic of the 1930s, rather than Paris in the 1830s, director Gail Edwards modernised the production and gave set designer Brian Thomson the opportunity to create the interior of a spiegeltent on stage. (ID) Until March 23. Joan Sutherland Theatre, Sydney Opera House.

$44–$330.Tickets & info: opera. org.au or 02 9318 8200 LADIES DAY Written by Alana Valentine, this play focuses on a female writer in Broome and her experience and conversations with gay men in the community.All of these stories are based on real life interviews and heavy research.

Valentine is seeking to express ideas and themes that normally aren’t publicly known or discussed with the community, regarding the LGBTQ experience in regional Australia. Darren Yap is the director of this evocative play, with a large musical portion by Max Lambert. (AMal) Feb 15–Mar 26, various show times.

SBW Stables Theatre, 10 Nimrod Street, Kings Cross. $20-$55.

Tickets info: griffintheatre.com.au city hub 4 FEBRUARY 2016

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THE NAKED CITY

MIKE NOCK’S RECORD LEGACY With Coffin Ed, Jay Katz and Miss Death We are all familiar with artists selling their paintings for relatively small amounts of money and then later seeing them traded for Sotheby’s style prices.The same escalation of value is rare in the mass produced music recording industry, however the renewed interest in vinyl has thrown up some very collectable, and rather pricey, items.

Take the case of Sydney jazz musician, the acclaimed pianist and composer Mike Nock, who recorded the ground breaking album ‘Move’ back in 1960, later described by Dick Hughes in the Daily Telegraph as “one of the greatest jazz recordings ever made in Australia”.

Some years ago Mike spotted an original vinyl copy of the album for sale on a Japanese website for $3000, and the album is now highly sought by collectors all over the world.

Not surprisingly other albums from Mike’s back catalogue also demand high prices amongst vinyl obsessives.When the noted crate digger Donny Benet was in Sydney last year for the At First Sight vinyl festival at Carriageworks, he admitted that he had secured his holy grail some years ago – a copy of Mike’s 1970 album Between or Beyond, purchased for a mere $1000!

The good news of course is that you can now enjoy the

lifetime exploring ever music on albums such as since. It may be true one ‘Move’ for the price of a can never go home again digitally enhanced CD. – but maybe that’s Even better, you can because we really never experience a special live leave it!” performance from Mike The album certainly and a present day evokes a historic and version of the Three exciting time in the Out Trio at Foundry Australian jazz scene, 616 next week. Some with seminal clubs like El 55 years later, Mike and Rocco in the Cross.As two new members of Mike recalled: the trio will be revisiting “Our music was very the original album, exciting and energetic, reinventing it for the no one had heard music modern day.As Mike played like this in explained: Australia before and we “We’re learning the very quickly began original arrangements as are CD copies of the original Move album ey Sydn drawing capacity crowds a starting point to play available from Birdland Records in to our gigs.We appeared the music from our current on several TV shows like Six O’clock Rock and were perspective.This is turning out to be a bigger challenge generating a huge buzz around town.” than I originally thought, but I’m finding it an incredibly The original Three Out Trio featured drummer Chris interesting process and a huge journey of self-discovery, as Karan and Dutch bassist Freddie Logan, and had a major the music contains most of the concepts I’ve spent my

IAN GREIG Exhibition

In February, Arthouse tangle of light and shadows.

Gallery will be presenting “I activate the surface of a new series of paintings the paintings via a

by Sydney-based artist Ian combination of glazes and Greig. more opaque layers, which Inspired by the visual allows the previous layers to experience of water, maintain a presence, thus Greig says that “the achieving an appearance of surface of a pond is movement and instability that analogous with painting, enhances the feeling of flux presenting an interplay of and transience,” said Greig. inverted perspectives, Echoing the refractions and ambiguous depth, shifting ripples upon creeks and ponds, Ian Grieg, ‘And whence does comes this spatial illusions and the pensive and trancelike air so sweet’ transient echoes and sensation that is produced by traces of a reflected reality”.

Greig’s work, looks towards an abstract subterranean Whilst the paintings draw upon the natural and subconscious reality. environment, they are not rooted in the exploration of Grieg explained that the paintings probe an outward material landscape. Greig brushes upon a “metaphysical depths that, at times, have a metaphysical world beyond what can be measured or cosmological dimension – an awareness of the observed through an introspective examination of a presence of the infinitely large and the infinitely state which exists outside corporeal physicality. small intertwined.”

He explained, “this exhibition is an adventure This kaleidoscopic experience touches upon into this ephemeral realm in paintings that span the budding realisation of a realm which is elusive both the figurative and the abstract.” and intangible, yet suspended vividly in a physical A soothing fluidity is created through the bleeding visual form. (SH) rich colours and vibrant tones of the paintings, Until Feb 20. Arthouse Gallery, which seemingly seep into each other, generating a 66 McLachlan Avenue, Rushcutters Bay. sense of calmness which captures the delicate Info: arthousegallery.com.au CHEN QIULIN – ONE HUNDRED NAMES This exhibition includes over a decade of photographic and video work focusing on the central issues of migration, displacement, ancestry, urban development and its disruption of traditional culture and way of life.

Qiulin’s favourite piece is the installation ‘One Hundred Names for Kwong Wah Chong’, the latest iteration of her ongoing video works documenting the decaying process of one hundred common Chinese family names carved from tofu. (AMal) Until Feb 27. 11am-6pm. 4A Centre for Contemporary Asian Art, 181-187 Hay Street, Sydney. Info: 4a.com.au LUMINOUS WORLD An exciting new exhibition brings together a selection of 61 different paintings, photographs and 16

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ceremonial objects by some of Australia and New Zealand’s most significant contemporary artists. Collected from artists such as Paddy Bedford, Rosalie Gascoigne, Bill Henson, John Mawurndjul and Lena Yarinkura – the works all carry with them a message built around the theme of ‘light’, which carries with it a symbolic resonance. (JA) Until Feb 27, 11am-5pm, Mon-Sat. National Art School Gallery, Forbes St, Darlinghurst.

Info: nas.edu.au/NASGallery DAMMERSCHLAF Exploring the liminal states of creative practice and the processes of translation involved in the making and interpretation of art, this exhibition showcases site-specific work of three of the inaugural Artspace One Year Resident Studio Artists – Nick

impact on the face of Australian modern jazz.After their inaugural album ‘Move’ became a best-seller (and where are all those vinyl copies?), they played on the 1960 Jazz Festival sharing the bill with names like Dizzy Gillespie, Sarah Vaughn, Coleman Hawkins and Teddy Wilson, later touring New Zealand and recording the follow up album ‘Sittin’ In’.

Unfortunately Mike does not have a large box of these original vinyl albums sitting in his garage at home, but the monetary value is secondary to the importance of the release.As he notes: “Apart from being the first hard-swinging local modern jazz album released in Australia,‘Move’ was also the first recording of my quite extensive international catalogue, which would make it attractive to many record collectors.

It took me many years to appreciate how good this first album was, as I always thought I played much better on the follow-up album ‘Sittin’ In’, but musicians are often the worst judges of their own performances.”

Mike Nock is joined by bassist Brett Hirst and drummer James Waples for ‘Three Out Redux’: Friday Feb 12, 8:30pm. Foundry 616, 616 Harris Street, Ultimo. $16.50-$21.50 (dinner & show packages available).Tickets & info: foundry616. com.au or stickytickets.com.au

Stefan Dunlop & Adrian Hobbs at Galerie Pompom Galerie Pompom starts off their new year with two new exhibitions, Stefan Dunlop’s ‘I like your old stuff better than your new stuff’ and Adrian Hobbs’ ‘Parental Guidance Recommended’.

Dunlop will showcase four pieces at Pompom where he focuses on the romanticising of natural landscapes, some within historical moments. The Queensland based artist used candy and pastel colours within all of his pieces, which juxtapose the themes he is trying to convey to the audience.

He finds the Baroque, Pop and Impressionist movements very interesting. He has completed residencies in Dallas, Texas and Leipzig, Germany – plus he has studied in London and New York City.

Adrian Hobbs is a local Sydney artist and for this exhibition he has researched chaos through mathematics, science, history and philosophy. This research has allowed him to develop a certain understanding of chaos, which he has recreated through a visual element of object paintings. Hobbs wants his paintings to express unprescribed possibilities instead of fixed ones, and wants to destroy the mundane traditions of one painting with

Dorey, Mikala Dwyer and Clare Milledge.

Collaboratively creating an immersive experience, the artists address perceptions of reality, alternate spiritualties and the supernatural. The use of organic materials and an interest in the processes of alchemy and natural flora unite the three practices. (SH) Until Feb 28. Artspace, 43-51 Cowper Wharf Road, Woolloomooloo. Free.

Info: artspace.org.au EL ANATSUI – FIVE DECADES Internationally acclaimed Ghanaian artist El Anatsui presents his first major exhibition in Australia. The exhibition presents more than 30 works collected from 1970 until the present, and covers a wide range of mediums from ceramics, drawings, sculptures and woodcarvings right up to the large-scale, intricate and

Stefan Dunlop, ‘Study after Jan Van Wildens’

one meaning. Hobbs has studied at Sydney College of the Arts and had his first solo exhibition in April 2015 at the Verge Gallery.

(AMal) Until Feb 28, Wed-Sat 11am-5pm & Sun 1-5pm. Galerie Pompom, 2/39 Abercrombie Street, Chippendale.

Free entry. Info: galeriepompom.com The opening night for both these exhibitions is on Wednesday 10 February from 6–8pm.

expansive installations for which Anatsui is best known for. (JA) Until Mar 6, 10am–6pm.

Carriageworks, 245 Wilson St, Eveleigh. Free. Info: carriageworks. com.au LLOYD REES: PAINTING WITH A PENCIL 1930-36 A celebration of Sydney telling the artists story through a series of stunning pencil drawings and sketches. Having been an active artist for more than 70 years, Rees’s work has been the center of many exhibitions. However, this is an in-depth examination of Rees’s drawings from the 30’s (a period of rapid modernization in Sydney) and includes over 30 never seen before images.

A classically beautiful exhibition. (NB) Until Apr 10. Museum of Sydney, Cnr Bridge and Phillips St, Sydney. $5-$10.

More info: sydneylivingmuseums.com.au

WHEN SILENCE FALLS This exhibition encompasses painting, video and sculpture – presenting the work of contemporary Aboriginal artists alongside contemporary international artists. It considers the violence and loss of often-unacknowledged historical events: cultural displacement, political oppression, ethnic cleansing and massacres. Featuring a new major acquisition by Australian Indigenous artist Judy Watson, as well as significant loans from Naomi Milgrom, Ben Quilty, and Gene and Brian Sherman; this exhibition speaks strongly of conflict, but does not look to blame. (AM) Until May 1. 10am–5pm daily, Weds until 10pm. Art Gallery of NSW, Art Gallery Road,The Domain, Sydney.

Free (exhibition catalogue $16.95).

Info: artgallery.nsw.gov.au

Chvrches: The first of the St Jerome’s Laneway Festival sideshows takeover the Enmore Theatre tonight when Glaswegian three-piece Chvrches take to the stage for a special performance. They’re known for their intelligent pop which has led to them to becoming one of the biggest bands in the game right now.

Thu, Feb 4, Enmore Theatre Boyfriend & JJCC: Two phenomenal bands from the K-POP genre arrive in Sydney this weekend with two special performances at the esteemed Carriageworks.As well as their two performances, the two South Korean boy bands will be doing interviews on stage which will provide audiences with a unique insight into the groups.

Fri-Sat, Feb 5-6, Carriageworks Father Sydney Vol. 6: This weekend Father, which started as a little trap party in Perth before spreading its reach across the country, plays host to its biggest show to date.Welcoming two huge acts in the trap scene from the US in Gent & Jawns as well as CRNKN, this event will be off the charts and you can expect nothing but moshpits and sweat.

Sat, Feb 6, Max Watts José Gonzalez: One of the most unique voices in the indie folk renaissance is set to perform in our most iconic of venues this weekend when he arrives from Sweden.This show is set to bring a heartfelt intimacy to the

Opera House as José serenades audiences with his meditative mix of pattering percussion and subtle vocals.

Sat, Feb 6, Sydney Opera House James Crooks: Having released his debut single Naturally ft. Paige IV last year, James Crooks’ career has continued to blossom with his addition as a support early next week for Health as part of the St Jerome’s Sideshows.

With his alternative-pop sound implementing elements of electronica and hip-hop to compliment his soul filled voice, Crooks is one act which you should ensure you arrive early to see.

Mon, Feb 8, Oxford Arts Factory DIIV: Hot off the heels of detailing their upcoming sophomore album Is The Is Are and releasing a new single Under The Sun, this New York based four-piece are set to arrive in Australia for the first time this year early next week.

Tue, Feb 9, Factory Theatre Thundercat: Taking his jazz roots, Los Angeles native Thundercat has gone on to do collaborations with an exotic mix of other artists such as Flying Lotus, Stanley Clarke,Wiz Khalifa and Earl Sweatshirt. Joining him on the night will be Zambia-raised Sampa The Great, a female poet and singer-songwriter who creates inspiring music, poetry and visual art.This show will appeal to all the senses.

Wed, Feb 10, Max Watts

William Fitzsimmons

By Jamie Apps Since I started writing this column I’ve spoken to some incredible artists and heard some amazing background stories, but none more so than recently when I had the opportunity to speak with American singer-songwriter William Fitzsimmons.William grew up in Pennsylvania with two blind parents, both of whom were also musicians, then went on to work as a mental health therapist and finally made the gigantic leap to become a full time musician.

Obviously growing up with two musicians as parents meant music was always around William, and the fact that his parents were blind only heightened its importance for the family.“Music was a very important part of their lives, from my experience that is pretty common in the blind community because you use your ears more and there is nothing better for the ears than music,” explained William.“I don’t remember a time that I wasn’t involved in music, whether I wanted to be or not, it was always there.”

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for something that was exciting in a different way to all my previous work as a psychologist, and I think the little kid with the blind parents that never got to do anything liked the idea of travelling the world.”

When asked how he was feeling ahead of his first Australian show,William said:“Very early on I remember getting a lot of MySpace messages from Australia and I thanked them by taking ten years to get over there, but I can sincerely say I’m more excited to go to these shows than I have been in a while.”

Feb 9. Newtown Social Club, 387 King St, Newtown. $49+b.f.

Tickets & info: newtownsocialclub.com

The Jezabels – Synthia

The seventh studio album by the Bondi Cigars is like a carefully crafted cocktail, refined through 26 years of experience and development.

The recipe begins with a base of blues and roots carefully mixed together so that neither element overpowers the other.Then, as the album progresses we begin to get a little more complex and experimental with the additions of some other genres, which the band are clearly respectful of and passionate about, such as funk and R&B. Across the 12-track offering, Child In The Desert continues to offer up new layers and complexities, which helps to avoid the album becoming entrenched in the sad blues vibe. Bondi Cigars manage to employ an upbeat vibe thanks to the dash of R&B zing. WWW

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As William matured he took the experiences and difficulties from his childhood and funnelled them into working as a mental health therapist for six years.“The notion of rescuing other people sounded good, but for me and I think a lot of my peers, especially the most aware practitioners in the field, it was really about trying to figure out our own sicknesses and what was going on in our head first,” said William.“I loved the therapy thing, it was really fulfilling but it was also really hard work and took a pretty heavy emotional toll.”

During his entire life music was always there for William “as a way to get away” so it was a natural progression when his hobby began to burgeon into a potential career.“Music was never really a thing, I never had illusions or a great desire to get up on stage, so it was surreal when people wanted to buy my record because I was literally printing blank CD-R’s on my home computer and sending them out when I got cheques in the mail,” he explained.“I had a taste

For a haunting mix that is also pretty danceable, The Jezabels have got the recipe.

Synthia is more of what listeners love from the band, intriguing depth and music from the soul, stretching out from ears to limbs in microseconds.

It is a secret that is felt in the body, surpassing word and making the heart beat faster without the brain being able to tell why.

Pumping from chest to fingertips, hips and toes, radiating for an eternity of three to seven minutes, leaving a trace of a pulse in its wake.

Listeners won’t be disappointed in the familiar yet new tracks and the voice we can recognize in an instant, pitched higher than even dogs can hear and chasing the listener through the music, it follows a beat of its own. WWW

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Steve Jobs

The Danish Girl This poignant biopic drama set in Copenhagen in the 1920’s is inspired by the extraordinary true story of Danish painters Einar and Gerda Wegener, and details their mental anguish upon the realization that Einar was in fact a woman trapped in a man’s body.

Categorized as schizophrenic, perverse and bordering on insane, Einar defied medical opinion and was the first recipient of complex sex reassignment surgery, which could potentially lead to happiness and new beginnings – or tragedy.

Eddie Redmayne is perfectly cast and delivers another astonishing and moving performance as Einar/Lily, his smooth feminine features radiate sensuality as a woman and he convincingly

brings the alluring Lily to life. Alicia Vikander shines as his loving wife Gerda, the catalyst to Lily’s emergence, when she asks her husband to model a dress.

Nominated for 4 Academy Awards including nods for Redmayne and Vikander’s performances, this beautiful story of selfdiscovery and one person’s courage, who claimed “doctors intervened to correct an error in nature”, is thought-provoking and heart-wrenching at times.

Mature audiences should connect emotionally with Lily and be inspired by the lady who followed her heart and inadvertently gave birth to the transgender movement. (MMo) WWWW

In another biopic of the late, great co-founder of Apple, director Danny Boyle and writer Aaron Sorkin provide an update for the Steve Jobs story.

Based on the biography by Walter Isaacson, their dramatisation takes a deceptively simple approach to storytelling, arranged in three distinct acts set in real time before Jobs takes the stage at three major product launches. Fitting decades of personal and professional development into three snapshots without being contrived is a difficult task – it’s one that Sorkin (with his trademark quick-fire banter) and Boyle have done well.

There are tension-boosting tools in both the dialogue and action – building as Jobs get closer to taking the stage – and visual techniques (such as imposing footage behind a long monologue) to break up the Sorkin trademark of heavy dialogue. It all works, especially with a strong cast who are more than able to do the heavy lifting.

Michael Fassbender is suitably intimidating as the inventor with a passion for perfection. His

performance is fierce and compelling, and Kate Winslet is beautiful as Jobs’s emotional conscience and confidante, Joanna.Their dynamics play perfectly off of each other as the only human relationship that Jobs seems to feel comfortable with.

Although an intimate endeavour, Steve Jobs focuses more on his career highs and lows, moving his personal life to the background. It’s telling that the people who have no professional connection to Jobs (his ex and his daughter, for example) have the least screen presence.

The technique and subtle artistry involved in creating this film are mirrored in the life of the subject (who considers himself an artist and comments on this multiple times) and it has been noted that some creative liberties with the timing and conversations have been taken. However, Steve Jobs is a fascinating insight into an innovative genius who paved the road for the way we live our lives today. (LL) WWW1/ 2

Dirty Grandpa The aptly named Dick (Robert De Niro) takes his grandson Jason (Zac Efron) away from his control-freak fiancé (Zoey Deutch) for the weekend, aiming to get laid in the land of Spring Break.

True to formula, amid crass humour and the odd attempt at poignancy, Dick will probably be a hit with the kids and Jason will probably find true love. Apart from the strangely hypnotic banter Dick shares with college girl Lenore (Aubrey Plaza), there is little of WORLD SQUARE SILENT CINEMA The World Square is hosting its free outdoor cinema and it will be difficult to find a better way to spend those lazy summer evenings than just taking a seat back and relaxing as you get to enjoy the classics: favourites like The Holiday and Love Actually and cult-classics such as Muriel’s Wedding, Bill & Ted’s Excellent Adventure and Romeo & Juliet will ensure that audiences are glued to the headphones and deck-hairs provided by the organisers. (JR) Until Mar 16, 7pm Weds. World Square, 680 George Street, Sydney. Free. Info: ticketpro.com. au or worldsquare.com.au THE WINTER’S TALE – LIVE Revolutionizing the cinema and theatre experience, the Kenneth Branagh Theatre Company Live brings to the big screen a unique escapade: The Winter’s Tale, Shakespeare’s classic tragicomedy of obsession and redemption. Artistic re-imagining of the classic lends The Winter’s Tale an aura of fine 18

city hub 4 FEBRUARY 2016

interest in this road movie meets Rodney Dangerfield’s Back To School.

De Niro has shown a talent for self-parody in recent years; The Intern showed he could do it with a touch of class. What this movie shows is more than most of us would like to see. Just how bad is Dirty Grandpa? At the screening I attended, some guy had his phone out most of the time and I didn’t even care.

(CCov) W

production. Judi Dench as Paulina steals the show, with Adam Garcia as Lord Amadis and Kenneth Branagh as Leontes making this version a vibrant and mesmerizing production. Perhaps the most striking element is the use of visuals and colours. (JR/JRoth) WWW1/2 Broadcast live to select cinemas Feb 3, 4 & 6.

Tickets & info: the-winters-tale. branaghtheatrelive.com ROOM A film essentially in two halves – the first exploring the horrifying circumstances as captives in a 10 by 10 windowless room that Jack (Jacob Tremblay) and his Ma (Brie Larson) live in before escaping.

This is where the second half of the film kicks in, as Jack and Ma adjust to the outside world in very contrasting ways. Due to this structure the film does feel a touch disjointed, but thankfully the performances by Tremblay and Larson are outstanding. Both actors perfectly capture the emotions one

would feel being so suddenly thrust into an unfamiliar environment. (JA) WWWW1/2 POTLIGHT The story of the investigative journalism team from the Boston Globe who uncovered the atrocities committed by a remarkably large number of Catholic Priests, firstly in Boston and then later around the world.

This film could easily have become slow, plodding and depressing – but it masterfully avoids those pitfalls by mixing the overarching story of the Catholic Church with the day-today research and personal lives of the four journalists. Spotlight is a masterpiece in that it manages to perfectly balance all of these separate yet intertwined stories, and ensure each piece of the puzzle seems just as relevant as the last.

(JA) WWWW1/2 LOOKING FOR GRACE A teenage girl is on the run, her panicked parents are in pursuit, and

a large sum of cash is missing in this suspenseful, fragmented film. Writer/ director Sue Brooks is definitely more infatuated with the small moments than the overall plot.

Unexpected characters and twists are continually introduced, a bread crumb trail of clues reveals dark secrets of greed and passion, amusing anecdotes, pure moments of human connection and all eventually taking a much darker turn than you would have foreseen.

Patient viewers should find pleasure in this remarkably packaged Australian film. (AM) WWW1/2 THE HATEFUL EIGHT Quentin Tarantino’s eighth film is truly an epic, clocking in at over three hours long for the 70mm offering (which is highly recommended). The film sees eight despicable characters trapped together within Minnie’s Haberdashery as a means of escaping a brutal Wyoming blizzard.

The ensemble cast, which has for a large part been drawn from past

Tarantino films, all perform stunningly. This is very much a signature Tarantino offering, with extremely graphic scenes broken up by moments of dark humour that will have you cringing at yourself for even laughing. (JA) WWWW CAROL Cate Blanchett plays Carol, a glamorous and refined lady living in a loveless marriage who meets and falls in love with Therese (Rooney Mara), a much younger lady who is desperate to break away from her mundane life. Undeniably the best film of the year, this is pure cinematic indulgence, artistically flawless with electrifying performances from Blanchett and Mara who are supported by a highcalibre cast. Audiences will be allured by their magnetic attraction and the love affair, which escalates sensually and erotically. (MMo) WWWW1/2 POINT BREAK A re-make of Kathryn Bigelow’s 1991 surfer-crime

film, this fails to retain the charisma and chemistry that made the original such a cult classic. Following Johnny Utah (Luke Bracey), a motorcross champion turned FBI recruit, in his undercover assignment into a group of extreme athletes who pull off a string of fantastical crimes. While the stunts are extraordinary to watch, it hardly makes up for the constant dismissal of logic in the plot, nor the failure to develop rich characters. (ES) WW1/2 GOOSEBUMPS To finally see the Goosebumps book series by R.L. Stine come to life on the big screen is a dream come true for many. The stories are brought together in the vain of Jumanji, with magic books summoning the monsters from the stories – this was a great way to bring these non-connected stories together. Jack Black is effective in his role as R.L. Stine, but at times the voice he uses for the character can become grating. (JA) WWW1/2

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