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Creative Backlog PROTECTING APARTMENT COMMUNITIES We must act fast to tell the NSW Government that apartment communities should have the democratic right to set the rules for short term letting in their buildings. Short term letting has a place in the economy but unchecked it has serious impacts for areas in high tourist demand. It has already taken an estimated 6,000 homes out of the Sydney rental market, contributing to escalating rents. In apartment buildings there are additional concerns about security, use of common property, waste and costs. I have petitions calling for reforms to protect apartments and neighbourhoods and I need more signatures â&#x20AC;&#x201C; 10,000 â&#x20AC;&#x201C; to get this matter debated in Parliament. Petitions are available from my website www.alexgreenwich.com/petitions or by contacting my electorate office: 9267 5999, sydney@parliament.nsw.gov.au Ground Floor, 21 Oxford Street Darlinghurst.

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Class act brings on class action by John Moyle The Sydney Light Rail project has another headache coming its way as businesses and residents along its route are about to launch a class action suit for losses and damages to property. The class action will be brought by CBD cafe owner and City of Sydney councillor Angela Vithouklas, who has had her George Street business severely impacted by the project. “We knew that we were never going to be treated fairly in terms of compensation and that there were many businesses that were described as illegible under the current criteria, and then there were residents that don’t fit any sort of criteria and have been stonewalled in regards to their homes,” Angela Vithouklas said. Coming on top of the debacle with project sub- contractor ACCIONA who are taking the State Government to court for $1.1 billion for what is says was misleading information supplied in regards to power infrastructure for 106 utility pits controlled by AusGrid. ACIONA are currently on a go-slow while they tangle with the government with no resolution or settlement in sight. “Since January of this year there has been infrequent work and weeks and days go by with  nobody working, so clearly the go-slow is happening here,” Ms Vitjhouklas said. “On the days when they feel like working there is massive noise and there does not appear to be any project management happening and no information about when construction is going to occur.” In 2017 the NSW Government admitted that costs for the 12km track had blown out by $500 million, but that figure is expected to rise before the project’s now estimated completion date of 2020. Meanwhile many small businesses have gone to the wall or are suffering financial hardships from which they may never recover.

Angela Vithoulkas in George Street this week Photo: Alec Smart

“My last count of the businesses that have gone bankrupt due to the light rail would be close to 50,” Ms Vithouklas said. “There are a lot of businesses that are hanging on because they feel compelled to and there are a lot of businesses that can’t walk away because of their legal obligations such as leases.” Ms Vithouklas says that over the past few months she has been working with a team of six to get businesses and residents to sign on and now has a couple of hundred signed on and a law firm on board. “All the signatures have been collected online and because I have been fighting the light rail for some years now we have been able to reach a lot of people,” Ms Vithouklas said.

While transport minister Andrew Constance has been the unsteady hand in public for the project, it is in fact the pet project of Premier Gladys Berijiklian, as she was the transport minister when the coalition came to power in 2011 and oversaw the project’s formative years of planning. The Government at the time saw the project as a jewel in their crown to be unveiled to grateful Sydneysiders in time for the 2019 elections. The whole debacle was foreshadowed in 2012 when Infrastructure NSW’s then chief executive Paul Broad and then chairman Nick Greiner both warned the Government that a pitfall of delays and financial problems lay ahead.

In 2012 Mr Broad told the ABC: “If you add light rail to George Street you will not fix a problem, you will create a problem.” By 2013 Gladys was pondering 10 possible routes for the light rail, and despite warnings that Devonshire Street was inappropriate, she went ahead with that route that saw the demolition of Olivia Gardens in Surry Hills, making 70 long term residents uncertain of their futures. Writing in the SMH  in 2014, Nick Miller warned that “subterranean surprises” could be major risks. Gladys and her current Passepartout, Andrew Constance, could have also looked at the tram wreck that occurred with the Edinburgh project that saw costs blow-out by three times estimations and build time double, while less the half the planned line was produced. That project also saw one of its main contractors, Bilfinger Berger, sue Transport Initiatives Edinburgh for similar underground problems encountered by ACIONA in Sydney. In January of this year City Hub wrote about the residents of Parkham Street, Surry Hills, who had been battling for compensation for damages to their properties with no results. Barbara Best, one of the residents interviewed for that article, has signed onto the class action saying: “I have been trying to get settlement for at least a couple of years and there has been no progress.” Ms Vitjhouklas will make a public announcement regarding the class action later this month and is calling for more people to sign on, particularly people who have suffered damage to their homes. “To continually keep telling people affected by the light rail that it is short term pain for long term gain is one of the biggest insults that this government has ever put forward to its people,” Ms Vithouklas said. For those interested in joining the class action go to sydneylightrailclassaction.info.

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by Erika Echternach Free parking after 7:00pm has been instituted in Sydney’s Inner West with the hopes of reviving its businesses, but it may be too little to reverse the toll that meters took on the area. When meters and parking fees were introduced to the Inner West in 2001, they had a massively detrimental effect on businesses in the area, says John Stamolis, the Inner West Council councillor for the Balmain Ward. The areas that have metered parking Leichhardt, Balmain and Rozelle - saw a sharp decrease in visitors, with the number of paid parking tickets dropping from 25,000 to 19,000 in five years. Mr Stamolis explained that the downturn in customers and revenue has had a devastating impact on local businesses being able to further their businesses and make investments. “The economics is very broad, and it’s impacted our businesses very badly,” Mr Stamolis said. In contrast, Annandale, the only section of Leichhardt to not get parking meters installed, has enjoyed flourishing businesses and thriving shopping centres. Upon the initial proposal of parking fees, about 4,000 business owner names were signed to a petition in protest, Mr Stamolis said, but to no avail. Since then, the last 17 years have been spent rolling out policy after policy trying to revitalise the area and undo the damage that parking fees have done. Mr Stamolis said that none of the policies to date resolved any of the problems caused by introducing parking fees, although the latest policy has come close to improving the situation.

Parking on Darling Street Balmain. Photo: Wikimedia Commons

“Seven pm free parking is the closest one,” Mr Stamolis said. “It’s new, so too early to tell at the moment but it doesn’t seem to be going to produce massive outcomes.” Colin Hesse, the Inner West councillor for the Marrickville Ward, said it was better to keep parking fees within the community because the state bureaucracies tend to make some illinformed decisions. “There needs to be a massive increase in public transport,” Mr Hesse said, adding that the light rail network could be expanded and improved. Maire Sheehan, the former mayor of Leichhardt, warned against thinking of free parking as a magic wand to fix the decrease in businesses’ customers. “Saying that parking is the only factor is a bit simplistic,” Ms Sheehan said. “The issues are much more complex than paid parking.” Ms Sheehan said more research needs to be

done into developing the local economy and the barriers facing Inner West businesses, such as who’s going where to eat. For example, takeaway has become extremely popular as well as going to shopping centres to eat, which used to be unheard of. Ms Sheehan also noted that most of the new businesses opening are not in retail, but entertainment. Based on the negative effect that meters have had on the areas in which they were installed, it was decided not to introduce new meters in Ashfield, Mr Stamolis said. If meters were deemed too detrimental to be installed, why are they being kept in the areas where they are already in place? A possible answer could be that the Inner West Council makes $13,280,532 off parking fines, putting it in second only to City of Sydney on the list of councils making the most off parking fines. city hub 7 JUNE 2018

Moore construction, less park by SOPHIE STOCKMAN Taxpayer’s money is being funnelled into controversial development projects that are restructuring the Moore Park precinct. The development of entertainment and sporting venues within Moore Park are currently threatening the intended purpose of the space as a public area for recreational use. The demolition proposal of Allianz Stadium is being pushed ahead by the Coalition government, who aim to have the project well underway before the state election in March 2019. With the average crowd size only reaching 40 per cent of the stadium’s capacity, the redevelopment has been scrutinised for being an unnecessary use of taxpayer’s money. President of the Paddington Society, Will Mrongovius, is outraged by the proposal to demolish the 30-year-old stadium. “If the stadium is truly in such bad condition that it has to be demolished, then really the SCG Trust should be held liable for not keeping it maintained.” “If the stadium is being run down, then trustees there at the moment haven’t done their job properly.” The Hon. Don Harwin, Minister for Resources, Minister for Energy and Utilities and Minister for Arts defended the Sydney stadium project during legislative council on 15 May saying: “The Coalition was elected on a promise that it would make New South Wales number one again.” “The cost of the stadium only represents one per cent of the amount that will be spent on health and education.” Compounding the impact of the Allianz Stadium demolition on Moore Park and local

Allianz Stadium Photo: Sophie Stockman

residents is the proposal to redevelop the Entertainment Quarter complex. In its master plan released last year, the government-established Centennial Park and Moore Park Trust outlined a vision for a commercialised sporting and entertainment redevelopment of the area. However, local residents aren’t too happy about the developments. Mr Mrongovius says that the Paddington Society is totally opposed to the proposed overhaul of the Moore Park precinct. “All of these so-called developments are a threat to open space in Moore Park.” “All these developers are trying to get a free ride by using Moore Park, and that has to be stopped.” Mr Mrongovius thinks it is terrible that over $7 million of tax payer’s money is set to be spent on the redevelopment of Allianz Stadium when Paddington is in desperate need of other government services. “It’s ridiculous that money is being spent elsewhere when what Paddington really needs is a public school.”

“The plan for the stadium is a complete waste of money.” The consortium of business men and women who purchased the lease for the Entertainment Quarter precinct four years ago, known as Carsingha Investments, is planning to expand the Entertainment Quarter significantly in the future. Consortium member, Gerry Harvey, told BusinessDay that potential for redevelopment was ‘endless’. Carsingha Investments and the Centennial Park and Moore Park Trust are reported to be in close discussion, exploring “more commercially orientated sport and recreationalbased activities” for the precinct. A spokesperson for the Centennial Park & Moore Park Trust says that proposed developments need to adhere to the Moore Park Master Plan, the relevant State Environmental Planning Policy, the Centennial Park and Moore Park Trust Act and the lease for the Entertainment Quarter. “Carsingha have not submitted a master plan to the Trust for endorsement.” However, the Centennial Park and Moore Park Trust is reported to be “working very closely” with Carsingha Investments over the future of the Entertainment Quarter. Director of Advocacy for the National Trust, Graham Quint, is sceptical of the plans being made by Carsingha and the Trust for developments in the parkland precinct. “Some of that area has been listed by the National Trust for many years, so to simply convert over to commercial development would be a step in the wrong direction.” Mr Quint explained that the National Trust was scheduled to meet with stakeholders such as Carsingha and Centennial Park and Moore

Park Trust regarding the development, but the meeting was unexpectedly cancelled and has not been rescheduled. “The problem is that various proposals are kept a secret and aren’t consulted upon with the public.” “We find out that bad things are happening often once they’ve already been set in stone, so it’s much harder to make changes then.” Mr Quint said that the National Trust would be all too pleased to meet with the stakeholders concerned in the Moore Park developments so that everyone can find out what is really happening. The consortium is reported to be currently negotiating an extension of the lease to allow for a $500 million investment into sport, markets, retail, offices and serviced apartments. However, the Entertainment Quarter is organised under State Environmental Planning Policy No. 47, which limits the development to film, television and video related proposals under state legislation. Independent Member for Sydney, Alex Greenwich, is strongly against proposals to commercialise the precinct. “It is an outrageous betrayal of past commitments that promised to limit development and commercialisation of this public land.” “The land was part of Macquarie’s original Sydney Common bequest set aside for public recreation and is needed now more than ever as surrounding populations expand and need additional open space to be healthy.” The extension of the lease would have to be approved by the State Government as well as the Centennial Park and Moore Park Trust for the proposal to commercialise the area to go ahead.

Winter Magic

city hub 7 JUNE 2018

Tenancy reforms help women leave By Lanie Tindale Proposed NSW tenancy law reforms allowing domestic violence victims to end their tenancies immediately has widespread support among politicians and domestic violence specialists. These changes mean that domestic violence victims will be able to terminate their tenancy without penalty and will prevent them from being blacklisted by landlords because of property damage caused by an abusive partner. Senior solicitor Kellie McDonald from the Women’s Legal Service NSW supports the amendments. “Under the current tenancy laws in NSW women escaping violence need a final apprehended violence order (AVO) with an exclusion order to leave without penalty. Additionally, even then they have to provide 14 days notice,” said Ms McDonald. Susannah O’Reilly from Legal Aid NSW’s Domestic Violence Unit said that it can take “several months from start to finish” for an Apprehended Domestic Violence Order (ADVO) to be obtained. The reforms will accept a provisional ADVO as evidence of domestic violence, which can take effect immediately if an application is made by police. Ms O’Reilly said that in NSW, “more than 95 per cent - of applications for apprehended domestic violence orders are made by police on behalf of people who need protection.” The reforms will accept a certificate of conviction, family

Tenancy laws to prevent domestic violence victims from being blacklisted. Photo: Malia Jenkins

law injunction order or a statutory declaration signed by a medical professional, such as a general practitioner, as proof of domestic violence. Greens spokesperson for tenancy and rental housing, Newtown MP Jenny Leong, said that domestic violence victims “are reluctant” to engage with the criminal justice system, “so it’s important that other respected professionals are given the opportunity to be able to sign a statutory declaration.” Sydney University academic and domestic violence social worker, Susan Hewerd-Belle, welcomed this provision.

She said: “If a woman’s going to go and speak to any kind of random health professional about domestic violence the most frequent person they go and see is their GP.” She said that “in the main, medical practitioners don’t actually get a huge amount of … in-depth education about domestic violence.” She said that social workers and psychologists are “very well placed” to sign a statutory declaration. Women’s Legal Services NSW’s Kellie McDonald agreed with Ms Heward-Belle that “the list of professionals able to provide evidence of domestic violence through a statutory

declaration [should] be broader than GPs as not all victims-survivors feel able to talk to their doctor about domestic violence.” Ms Heward-Belle said that specialist domestic violence refuge workers have “specialised skills” that make them the best professionals to support domestic violence victims. Minister Prevention of Domestic Violence and Sexual Assault, Pru Goward, said that the measures “will enable tenants to escape domestic violence much faster,” protecting them when they decide to leave their relationship. Ms Heward-Belle said that the time when they decide to leave a relationship is “a really high-risk period for domestic homicide to occur”, because leaving “reduces the amount of control that the perpetrator has over the victim and their children.” “It may actually be necessary for that person to go into hiding,” Ms HewardBelle said. The reforms also seek to address landlords listing victims on tenancy blacklists, which may be caused by a violent partner who destroys property as a tactic to coerce a partner into staying. This is a form of economic abuse, which is when one partner controls the other by limiting their ability to make or spend money. Ms Heward-Belle said it may include threats such as: “if you leave me I will make allegations against you to FACS or I’ll get you kicked out of our social housing or I’ll dob you into Centrelink.” President of the Property Owners

Association of NSW, John Gilmovich, said that the proposed reforms will “transfer liability of damage caused by the tenant due to domestic violence to the property owner.” Mr Gilmovich said that there “is definitely a risk” that the laws will be taken advantage of. “What private doctor … is going to deny issuing a certificate or doctors note to their patient (the tenant) confirming a discussion about a domestic violence situation at home? And why should they be the decision maker without knowing all the soft or hard facts at hand?” Mr Gilmovich said. Ms Atchinson said she does not believe the reforms will be taken advantage of as “we haven’t seen any examples of abuse” of measures such as domestic violence leave. “These kinds of measures are not being used often, and they do require businesses or in this case, property owners to stand up and support victims and survivors, but they are life changing for those who are able to escape domestic violence.” The reforms have been on the table since 2016. Ms Atchinson said that “as a result [of a two year delay] we are seeing victims and survivors forced to stay in rental properties and not being able to get to safety.” Ms Leong also said that ending no-grounds evictions would prevent domestic violence victims from “being kicked out of their home for no reason because of the dodgy or greedy landlord.”

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Striking Strife in Hallowed Halls by ERIKA ECHTERNACH Thousands participated in a 24-hour strike at UNSW hosted by the NSW division of the National Tertiary Education Union (NTEU) on 30 May, including academics, professional staff, students and other unions. The strike was primarily meant to raise awareness over the job security crisis at UNSW, but also called for improved academic workload conditions and more consultation with staff over major decisions, such as the recent controversial switch to a trimester system. About 73 per cent of UNSW’s staff are casuals or on fixed-terms contracts, meaning nearly three in four staff members are in insecure roles, not knowing whether they will receive another wage cheque or not. These figures are considerably worse than the already discouraging national average of two in three staff at Australian universities not having a permanent job. Casuals are also pressured to do a considerable amount of work for no pay, while struggling to conduct the research that will further their personal academic careers on the side. Throughout the event on Wednesday, there was strike action at each gate at UNSW and a speak out in the afternoon during which chants of “The workers united will never be defeated” could be heard echoing through the campus. A casual academic at UNSW, Jason Heffernan spoke at the gathering, expressing distress at his casual colleagues being blackmailed by management to do extra work or risk being denied a promotion. “We’ve had enough of them treating us like mindless machines, we’ve had enough of being overloaded and over-worked,” Mr Heffernan said. Dr Sarah Gregson, the NTEU branch president at UNSW, said casuals were being treated like second-class citizens, but the rally would get them

Staff and students protest at UNSW Photo: NTEU NSW

one step closer to the right to work in safety and security that everyone deserves. Many students wearing “Staff working conditions are student learning conditions” T-shirts gathered to support the staff and demonstrate their linked fate with their educators. Maddie Powell, the National Student Union representative at UNSW said students unequivocally stand with staff united against attacks from management because the conditions staff must work under directly affects the students’ learning environment. “They attack you and they attack us for the same reasons, it’s because they don’t see the university as a place of learning or a place of innovation, they see it as a cash cow,” Miss Powell said.

Miss Powell declared it a disgrace that UNSW Vice Chancellor Ian Jacobs receives a wage of $1.2 million a year yet hoards that money and tells the university staff they don’t deserve better wages. Although the university is quite wealthy with about $53 million in surplus, its staff members are treated poorly. Those gathered at the rally were equally disgusted with the greedy behaviour of the university management as Miss Powell, cheering in support. Dr Gregson said she was pleased with the overall turnout and effect of the event. “We managed to get a really good presence on each of the main gates and the atmosphere was terrific, especially the solidarity between staff and students,” Dr Gregson said. “The university was very quiet that day, suggesting that a lot of staff and students stayed home in support of our campaign.”

The unions put up a united front, with many of them sending their support to UNSW staff. While the UNSW staff member were on strike, their colleagues at ADFA in the ACT were simultaneously on strike to stand up for better working conditions at UNSW. Dr Gregson added that the NTEU has seen a big boost in membership, indicating that more people are realising the importance of the union and the issues that it campaigns about. At the speak out, the NTEU’s NSW Division secretary Michael Thomson said the strike was a strong and visible event, which would prove valuable at the bargaining table. The union is currently bargaining with the university management and should be finished by the end of June. Dr Gregson said the strike was important for demonstrating widespread concern for the issues being negotiated, including improved job security and regulation of workloads for education-focused staff. Regardless of the outcome of the bargaining, the NTEU members are dedicated to continuously raising awareness about the unjust conditions that university staff members must work under. “We need to keep the conversations going all year round,” Mr Heffernan said. Although hopeful about the negotiation outcomes, Dr Gregson expressed a dogged determination not to relent until the union’s demands are adequately met. “We retain our right to take further protected industrial action if reasonable accommodation of our claims is resisted by management,” Dr Gregson said. In the words of Mr Thomson, “If we have to do it again, we have to do it again. But we’re going to make sure that they know we’re prepared to fight and we’re prepared to win.” One thing is certain: The NTEU is not giving up without a fight.

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Kings Cross Liquor Laws on Ice by John Moyle The Minister for Racing, Paul Toole’s recently announced he would lift liquor licencing restrictions on new small venues offering live music, arts and culture in Kings Cross and the CBD from June 1. Sydney’s mainstream media missed the mark by offering unanimous praise for his decision. In discussing the first significant change to the licensing freeze since 2014 Minister Toole said, “the change means the Independent Liquor and Gaming Authority can consider new on-premises licence applications for dedicated live music venues as well as venues that host visual or performing arts or other cultural events.” Mr Toole added “The Government is expecting a boom in low risk venues as a result.” The Government also raised the patron limit for low risk venues from 60 to 100 across the state and extended trading hours for small bars in Kings Cross and the CBD from midnight to 2am. “We welcome this but over time we will see whether this will make any change or not,” Doug Grand, CEO and Coordinator, Kings Cross Licensing Accord Association said. Since 2016 the number of small bars in the Kings Cross and CBD has double to around 60 and have possibly reached a critical mass, along with other limiting factors. “Part of the problem with small bars is that they cater to a more affluent clientele,” Doug Grand says.

Dee Minor and the Discords at Frankies Pizza in the CBD. Photo: Alec Smart

Another problem facing small bars is that their size prevents them from offering little more than a solo balladeer in the corner, so it is unlikely that small bars will be responsible for an upswell in entertainment or the presentation of significant cultural events. The City of Sydney has attempted to mitigate the dearth of

entertainment venues in the Cross and the CBD by installing a Nightlife and Creative Sector Advisory Panel, but without viable venues their advice will be academic at best. Another factor facing Kings Cross and the CBD is the lack of real support for the sector. While Melbourne has dedicated $22 million over the next four years

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for the live music sector, NSW has come up with a paltry $1 million for the next 12 months and insists on continuing with a Parliamentary enquiry into entertainment, that to date has not addressed the elephant that is the lock-out laws. That the City of Sydney, and in particular Lord Mayor Clover Moore, bemoans the lock-out laws and passes

the buck to the State Government for upholding the laws, the fact that they exist at all lays squarely at her feet. The first liquor licence freeze for Kings Cross and the CBD was in response to a proliferation of licenced premises and was implemented at the behest of none other than Clover Moore, who at the time crowed “This measure was introduced in 2009, by the Premier, in response to my calls for a moratorium on new liquor licences in areas of concentrated liquor outlets.” In the same statement the lord mayor also said “I will ask Council to continue the existing freeze on new and expanded footway dining areas...” “The liquor freeze over a decade has stopped venues from progressing,” Doug Grand said. “If venues continue to struggle to be profitable it is not good for the community and the premises. General manager of the World Bar, Greg Turton said “The area currently has assault rates at an alltime low so measures that encourage business diversity and confidence are welcomed.” None of the recent debates or changes to the liquor freeze are really doing anything to progress the cause of the larger venues and night clubs, which have had their freeze extended a further 12 months until June 1, 2019. There are currently 30 clubs in Kings Cross and the CBD offering live music.

MEET the locals

Wok Station by RITA B RATOVICH Wok Station Thai Restaurant has an enviable location diagonally opposite Union Square in Pyrmont, making it a great pit stop for passing commuters, a convenient place to meet for lunch and a handy spot to have dinner before a night out - or as a night out itself. The cantina style interior gives it a convivial vibe, while its simple elegance makes it suitable for a casual meal or a special occasion. Owner, Joy, only recently purchased the restaurant, having moved to Sydney from Port Macquarie several months ago. She began her hospitality career as a chef and has always been interested in improvising on authentic Thai cooking to create eclectic and inspirational - yet still very traditional dishes. When she arrived in Sydney and started hunting for a restaurant, Joy was immediately attracted to Pyrmont. “I like the environment around Pyrmont. People are so friendly, and the restaurant is right in a good spot,” she says. “There’s lots of human traffic around here.” Joy is the fourth owner of Wok Station and has managed to retain a loyal base of preexisting customers as well as gathering new fans. Her goal is to try and please everybody: “We changed the menu [to] make it more convenient for customer. And if [the] customer still want[s] to order some food from the old menu I’m happy to do it.” Currently, she’s working on some new lunchtime menu items which will include

wanton stir fry; crispy wanton with pad thai sauce; salmon and soft-shell crab special. They also have a promotional deal running: for every $29 worth ordered you get a free glass of wine. With winter coming on, it’s getting very quiet at night in Union Square, so the restaurant relies heavily on lunch time trade and evening take-away meals. They also provide catering and Joy will happily discuss a custom menu. Watch for the intricate sculptured fruit garnish on the side of the platters, proudly carved by Joy herself. As a newcomer to the area, Joy is very keen to make herself and the restaurant known and loved. Her commitment to customer service, quality and community is strong: “We cook fresh food here and all the ingredients are from local product - we support local… I would like people to come and try my food and give me a comment comments are brilliant for small business!” To that end, Joy often walks among her dining patrons, directly asking for feedback and actively responding to any problems or requests. It is paramount that the restaurant has a warm, welcoming ambience - that it feels almost like home. Staff are enthusiastically encouraged to be pleasant and smile. “I tell my staff ‘everyone has to be friendly - no friendly, no job!’” she says firmly. “[Customers] want to come in and have a glass of wine and see a beautiful smile.” Respect and congeniality are natural reflections of Thai culture, Joy believes.

Photo: Wikimedia Commons

**** On the menu are lots of familiar Thai favourites but once you taste the food you’ll realise it’s not just the usual fare. For starters, try the fish cakes, they’re juicy, firm and flavoursome; or the salt and pepper squid it’s just the right texture and not too heavy on the salt or pepper; or the vegetable fried spring rolls with their crisp, flakey pastry and tasty filling. The mains menu offers a wide selection including salads, stir fries, curries, noodles and barbecue, and the generous servings are perfect for group sharing. If the red curry beef is anything to go by, their curry sauces are a lovely balance between thick, sweet

coconut and spicy tang. Perennial favourite, Pad Thai Chicken will satisfy fans with its evenly cooked noodles and lots of vegies and chicken pieces. The laab gai is a moreish bowl of minced chicken, fragrant Thai herbs, lime sauce and chilli pieces. Be warned, hot is hot, so if you prefer it not just let your server know and they’ll go easy on the chilli.

Wok Station Thai Restaurant, Shop 1-2, 135 Harris Street, Pyrmont; 11:30am - 3pm and 5:30pm - 10pm 7 days; BYO and licensed; gluten and vegan options; take-away and home delivery (Uber, Menulog); Ph: 9518 8188; order online at www.wokstationpyrmont.com.au.

Public Notice Relocating libraries and customer service in South Sydney The City of Sydney is relocating two of its libraries and customer service centres to a new centre in the Green Square Plaza at 355 Botany Road, Zetland. The new Green Square Library opens in August and will include the new Green Square Customer Service Centre. The current Green Square Library and Customer Service Centre, Waterloo Library and Redfern Customer Service Centre will move to the new location.

Getting there We recommend you use public transport or walk to the new centre. There is no onsite parking. • Train: The new centre is next to Green Square train station, which is on the T8 Airport and South train line. From Redfern station you will need to travel to Central station and change for Green Square trains. • Bus: Catch the 309 from Gibbons Street, Redfern, or the 343 from Elizabeth Street, Waterloo. Other bus services to Green Square include the 370, 310 and X93.

Arrangements during the move Current Green Square services will close on Friday, 1 June 2018 and reopen in the new centre in August. Weekly rhymetime and storytime will continue to run in the Tote Building in Green Square until the new library opens. The meeting and function rooms in the Tote Building can continue to be booked. Waterloo Library and the Redfern Customer Service Centre will close just before the new centre opens. The City’s other library branches and online library services will be available while we relocate. For all library locations, visit cityofsydney.nsw.gov.au/library or email library@cityofsydney.nsw.gov.au Town Hall Customer Service Centre (behind Sydney Town Hall) on Level 2, 456 Kent Street, is open Monday to Friday, 8am to 6pm. Many City services are also available at online.cityofsydney.nsw.gov.au The Green Square Tote and Waterloo Library buildings will be made available for community use. We will consult the community on the future use of these buildings. Thank you for your patience while we move to the new location.

cityofsydney.nsw.gov.au Sydney2030/Green/Global/Connected

Our services The new Green Square Library will provide access to an even bigger collection of books, CDs, DVDs, magazines and newspapers. Our Russian and Koori collections will move to the new library. The new library features a striking six-storey glass tower and will house community and reading rooms and a technology suite. A music room with a baby grand piano will be available for practice and rehearsals. You will be able ask our friendly staff at the new Green Square Customer Service Centre about rate payments, permits and notifications, Council papers and other City services.

• Village to village service: This is a free bus service for City of Sydney residents who need help with transport. The orange shuttle stops at locations in Redfern, Waterloo and Green Square on Thursdays and Fridays. See villagetovillagesydney.wordpress.com or call 02 8241 8000 for details. • Walk: The new centre is a 10-minute walk from our current Green Square Library and Customer Service Centre and Waterloo Library and 25 minutes from Redfern Customer Service Centre.

$ 99

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721 darling st, rozelle Ph: 9555 9021

For more information, contact us on 02 9265 9333 or email council@cityofsydney.nsw.gov.au

For more information call 02 9265 9333 or email council@cityofsydney.nsw.gov.au city hub 7 JUNE 2018

FEATURE

Creative Funding Backlog

By Rita Bratovich Create NSW, an amalgamation of Arts NSW and Screen NSW, formed in April 2017 to act as the state government’s primary arts policy and funding bonding. The organisation is the primary source of funding for arts organisations of all sizes. Artistic organisations often formulate their programs, scheduling and budgets around the government’s grant application timeline, so when there is a lengthy delay in decision making and payment without any explanation from the Liberal Minister for the Arts, Hon. Don Harwin, it causes palpable anxiety throughout the arts community. “The fact that the Arts Minister has been silent as to why there has been such a delay is completely unacceptable and raises serious concerns about the commitment that the Arts Minister has to supporting arts and artists in NSW,” said Greens Member for Newtown and Arts Spokesperson Jenny Leong. Leong represents arguably one of the most densely artistic populated electorates in the state and thus has significant empathy for creative practitioners. She believes the unexplained funding delay by the Liberal Government shows a lack of respect for artists, “We would not see this if it was happening to another industry.” Applications for 2018 grants closed in December 2017 with the expectation that announcements and payments would be made by March/April 2018. At the beginning of June, there had still been no word from the Minister’s office. Many projects have passed their scheduled commencement date and have had to be postponed, forfeited or compromised. “Artists are incredibly resilient when it comes to dealing with often limited funding,” says Leong.

Jenny Leong with Cloé Fournier & Dean Walsh. Photo: Supplied

However, limited money also limits growth, innovation and true fulfilment of concepts. On June 5, City Hub received the following response from a spokesperson at the Arts Minister’s Office after requesting a comment: I’m pleased to say all successful and unsuccessful applicants for Arts and Cultural Development Projects Round 2 funding have been notified and guidelines for funding in the new financial year will be released shortly. Throughout the application process Create NSW has responded to queries seeking updates on the status of funding decisions and the guidelines. As with any funding process it is important that proper consideration is given to all applications. And on the question of whether artists can be assured of continued support: Yes they can.The NSW Government is committed to

an Arts and Cultural Development program, and guidelines will be available shortly for the new round of funding. It should be an encouraging statement, however, P (he prefers to remain anonymous) who worked at Create NSW for six months, shares some insights that raise doubts. “It was nice not to be a decision maker because it was highly frustrating watching how it all worked… The main thing was, these briefs were going to the minister’s office for approval and [we were] not getting them back.” P describes Create NSW as having a “lack of direction from above” and minimal organisational strategy. Key figures within the department appear to have little personal interest in the arts and there is a demonstrable bias towards certain programs such as CIPMO (Cultural Infrastructure Program Management Office), of which the minister once said directly to P: “We’ve got so much money there we don’t know what to do with it.” P cites Made In Australia as another example of misplaced focus. The two year, $20 million program is aimed at attracting film and television production to NSW; $13 million will go towards incentives while only $7 million has been allocated to actual project costs. As the Artistic Director of the largest arts and cultural festivals in NSW, Sydney Fringe, Kerri Glasscock understands all too well the plight of independent artists and small creative companies. “When a government agency can’t even meet their own internal deadlines and give you the notification and the respect to inform you of what is going on, that just adds to the crushing weight of disappointment,” says Glasscock. The delay in funding and lack of communication from the government creates a major dilemma.

Lunch Station $9.90

city hub 7 JUNE 2018

It’s not always easy to postpone a project logistics and venue bookings can’t always be changed. If there are other partners involved then a project may need to go ahead as scheduled with the artists underwriting the missing funding, which can expose them to larger financial risks. Glasscock explained how delays in funding hinders innovation in the arts,“There are more ambitious and exciting projects that can’t happen, and that’s the problem. Often the small and medium companies will apply for funding when they’ve reached a certain level and they want to take their work to the next level.” Katrina Douglas is the Artistic Director at PACT, a centre for experimental and emerging art.While their multi-year funding from Create NSW has been secured, she can understand the sombreness of uncertainty in the creative community as a result of the project funding delays. “I think it creates a lot of stress and anxiety, particularly independent artists and companies that have no other funding source. When they are held in a state of limbo for longer than they were expecting - they don’t know if they’re going to have an income, they don’t know if they can pay the rent, feed themselves,” says Douglas. There are alternative funding sources such as the Arts Council, City of Sydney and philanthropic bodies, but Create NSW is the largest and most accessible for most small arts entities. Without the resources and development managers of large arts organisations, independent artists can’t compete for philanthropic, private and corporate sponsorship. www.create.nsw.gov.au www.jennyleong.org www.sydneyfringe.com www.pact.net.au

ARTS & ENTERTAINMENT The Hypochondriac

Inspired by Benny Hill and the old Carry On movies from 60s and 70s, The Hypochondriac is a mix of music hall, burlesque and vaudeville. It’s very high camp and full of smutty humour that’s completely politically incorrect. This world premiere Australian adaptation of Moliere’s 18th century French classic is more than just a translation; it uses the original as a springboard for something completely new. Award winning playwright Hilary Bell has given the play a completely contemporary slant, replacing old fashioned European sensibility with slang and modern-day references thus making it more lively, more a farce than a satire. “It’s very lewd and silly with lots of scatological humour; poo, fart, bum, vomit, enemas, the humour is quite juvenile,” explained Bell.

Photo: Gemma Coward

Originally a cast of 15 that has been streamlined to seven, The Hypochondriac is set in the Eastern suburbs of Sydney in a nouveau riche family home. The main character Argan, played by Darren

Gilshenan, is a middle-aged hypochondriac who thinks he is sick all the time and the action all takes place in his bedroom. “There are moments of song and dance where his gigantic bed is

turned into a stage with footlights and curtains. There is also a wannabe rock god who plays the guitar on stage, imagine the love child of Nick Cave and the Carry On matron,” Bell said. The Hypochondriac deals with the unhealthy relationship between the pharmaceutical industry and society where they sell the story that everything can be cured with a pill. American pharmaceutical commercials are turned into Benny Hill style vaudeville numbers, with sexy nurses running around and patients chasing them with their bums showing. “It’s good clean fun with a lot of innuendo and double entendre humour.You will be touched emotionally and enjoy an evening of riotous good fun,” Bell concluded. (MS) Jun 14-Jul 1. Eternity Playhouse, 39 Burton Street, Darlinghurst. $38-$54+b.f.Tickets & Info: www. darlinghursttheatre.com

Todrick Hall American: The Forbidden Coming to Sydney is American Broadway actor Todrick Hall performing his tour of, Todrick Hall American: The Forbidden Tour at the Enmore Theatre. Last visiting Australia in 2017, Hall sold out his previous tour, Straight Outta Oz. This year he is bringing a whole new production featuring brand new songs, costumes and of course a new storyline. Among his many talents, Todrick

is a dancer, actor, singer/songwriter, director, costume designer, playwright and more. Creating his own YouTube content after reaching fame as a semi-finalist on American Idol, Todrick has nearly three million YouTube subscribers and an even bigger 513 million views. As well as starring on television and writing the Virgins Airlines safety video, he has choreographed for Beyoncé and took out the 2016 Streamy Award

for Breakthrough Artist of the Year. Apart from performing in his own tour, Hall has starred in Broadway musicals Kinky Boots, Memphis, The Colour Purple and Chicago. For what is sure to be an amazing show get in quick, Todrick

Hall American: The Forbidden Tour will be in Sydney for one night only. (RH) Jun 14. Enmore Theatre, 118-132 Enmore Rd, Newtown. $65.90+b.f.Tickets & Info: www.enmoretheatre.com.au

A Town Named War Boy A Town Named War Boy is a research driven play based on the diaries of young Anzac soldiers who fought in the first World War. The idea of creating a piece around the harrowing tales of doomed young men came from a conversation between the play’s director, Fraser Corfield, and the general manager of the State Library which had first exhibited the diaries. Corfield, who is also manager of The Australian Theatre For Young People, was struck by the irony of the fact that the

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young men sent to die in the trenches of WWI were of the same age as the young people involved in his youth theatre programs. With this in mind he approached writer, Ross Mueller, and together they came up with a theatre piece which offered a fresh new take on the impact of the war on individuals and, in turn, the impact on generations to follow. “Ross is very good at writing male characters with grit and at combining Aussie masculinity with

13 STAGE 14 Sounds 15 SCENE 15 SCREEN

poetic voice,” said Corfield. Much of the play is set in a psychiatrist’s office with the main character, Snow, a one handed former army signaller refusing to answer questions on what happened to him on the battlefields. Evocative lighting and resourceful staging combine to create a diorama of war. (RD) Jun 12-13. Riverside Theatres, Cnr Church & Market Streets, Parramatta. $26-$31+b.f. Tickets & Info: www.riversideparramatta.com.au

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 @CityHubSyd

Estelle Astaire’s Woes And Wares

The one-woman show, Estelle Astaire’s Woes And Wares will be showing at the Blood Moon Theatre this Winter. Written, directed, produced and performed by Bianca Seminara, the dark comedy will reveal the consequences of a co-dependent and emotionally challenging mother-daughter relationship under the appearance of a fun, old-fashioned Tupperware party. Creator, Bianca Seminara said, “Estelle Astaire is a person some might dismiss as being, ‘a bit much’! But underneath her talkative, effervescent personality is the trauma of a young woman who has been raised to doubt herself and essentially growing to believe that she needs to trick people into loving her – that she needs to ‘put on a show’ in order to be worthy of people’s time and attention.” Audiences will be taken on the emotional yet quirky journey as Estelle overcomes these beliefs and uncovers her true self. “In her role as host of a Tupperware party, Estelle finally has a captive audience. She allows herself the time and space, and humour, to explore and unravel who she really is,” says creator, Bianca Seminara. Estelle Astaire’s Woes And Wares was originally a part of the Sydney Fringe Festival 2014, followed by the Bondi Feast 2015 and due to popular demand has come back better than before. “This is sure to be the most poignant experience you will ever have with plastic boxes.” (JM) Jun 8-16. Blood Moon Theatre (The World Bar), 24 Bayswater Rd, Kings Cross. Tickets: $29.57. Tickets & Info: www.facebook.com/EstelleAstaire

Contributors: Craig Coventry, Emily Shen, Irina Dunn, Jade Morellini, Leann Richards, Lisa Seltzer, Mark Morellini, Mel Somerville, Olga Azar, Rita Bratovich, Rocio Belinda Mendez, Sarah Pritchard, Shon Ho, Riley Hooper, Georgia Fullerton, Gary Nunn, Renee Dallow, Andriana Vlahos.

city hub 7 JUNE 2017

Live Music Guide LIVE WIRE Sydney By Jamie Apps

Young Hearts Run Free: This trashy, masquerade-party-rock-show will feature a stellar line-up of guests to bring the soundtrack to Baz Luhrmann’s Romeo + Juliet to life, with a killer light show to bring punters right into the heart of the Capulet mansion. Thu, Jun 7, Enmore Theatre The Angels: It’s hard to believe, but it has been four decades since the release of The Angels sophomore album Face To Face. Four decades on and the music is still speaking to people - young and old - so it makes perfect sense for the group to take the stage once again to celebrate. Fri, Jun 8, The Juniors West Thebarton: Straight outta the mean streets of Adelaide, West Thebarton have been teetering on the precipice of greatness for some time. Their debut self-titled EP may just be the catalyst to push them over the edge, so head on down to witness the greatness live tomorrow night. Fri, Jun 8, Oxford Art Factory Waax: Are a female fronted, electrifying punk band from Brisbane who have been kicking some huge goals in the last 12 months, such as supporting Fall Out Boy and Biffy Clyro. Now to celebrate the release of their latest single, Labrador, the ladies will be hitting the road to headline their own performances. Sat, Jun 9,The Lair Lloyd Spiegel: This Australian acoustic blues mastermind has just released his eighth album, Backroads,

and is set to showcase it in Sydney this weekend. For this record Spiegel has reinvented his sound and delivers a much more powerful punch now, which is sure to carryover into the live show this weekend. Sat, Jun 9, Camelot Lounge Skeggs: Consists of Ben Reed (vocals, guitar), Toby Cregan (bass, vocals) and Jonny Lani (drums), three prolific performers who have charmed listeners with their warm garage-punk sound, selling out shows all across the country. Sun, Jun 10, The Factory Elli Schoen & Asha Jefferies: With both artists having recently released singles and receiving a healthy groundswell of support in their respective hometowns, the pair will continue to pique interest and win hearts with their introspective and honest lyricism this weekend when their co-headline tour arrives in Sydney. Sun, Jun 10, Brighton Up Bar DMA’s: The critical acclaim for DMA’S on For Now has been widespread, now riding this wave the group will arrive in Sydney for a Monday evening performance to kick-off your week the right way. Mon, Jun 11, Enmore Theatre Cloves: The London via-Melbourne singer/songwriter returns home to Australia for her first headline shows this week with her moody and haunting new song, Wasted Time. Tue, Jun 12, The Lansdowne Hotel

City Calm Down By Jamie Apps Throughout the duration of a bands career the relationship between the band and their producer is key. For Melbourne four piece City Calm Down this person is Malcolm Besley, and according to Jack Bourke his influence has been crucial. “We keep working with Malcom because he has such a great rapport with the band. He is able to cut through the mess to keep things rolling and bring out the best in what we’re doing.” With City Calm Down’s latest record, Echoes In Blue, only being their second the group wanted to work with Besely again.This was done because they felt he had an understanding of the direction the band wanted to go but because he was also able to

“keep his distance and remain objective.” Although Echoes In Blue is only the groups second album they have been together for a decade. Much of the groups formative years were spent familiarising themselves with the feel of being on stage and honing their craft. “The first five years we were together we were all at university which made things quite difficult and we were also very green in terms of understanding the process of writing songs,” said Jack. Moving forward though the band is now focussing on releasing music at more frequent intervals. One other factor that delayed the groups second release was their desire to increase production standards. “This record was a much more prolonged effort because we

Photo: Ian Laidlaw

wanted to have time to review and make changes if needed, which was something we didn’t allow ourselves to do last time.” This concept of increasing production values has also bled over into the band’s live performance. In their present incarnation the show features seven musicians on stage playing a variety of different instruments. “With the seven live members now it allows us to perform the music as we had envisioned it without needing to take shortcuts,” said Jack. For the upcoming Sydney

performance the band will continue to employ this ‘no shortcuts’ ethos. “We’ll be playing longer sets because we want to play our older material as well as the new material,” said Jack before also explaining how the group has made the show more dynamic visually.“We have a new lighting design that we’ve been putting together for the tour which is going to be really interesting.” Jun 22.The Metro Theatre, 624 George St, Sydney. $43.15+b.f.Tickets & Info: www.metrotheatre.com.au

Hidden Currents - After Image Hidden Currents’ album After Image is a forceful melancholy offering. It is a complicated mix almost like a mesmerising lasagne, sounds piling on top of each other and melding together so that they become joined to the point of being inseparable. It is overwhelmingly mournful, persisting in that direction despite becoming heavier and heavier

emotionally as the album progresses. Its negative vibes press down on the listener heaping problem on problem and wrapping it all inside a constant dirge. The listener may experience some discomfort along with a feeling of emotional dousing somewhere in the neurons surrounding their heart. This is potent stuff and should have

a warning label for non-physical harm. Pushing and tearing, it makes space where there wasn’t any before. This is as powerful and as layered as a depressed onion, it bypasses the tear ducts and pulls persistently at the listeners own insides. Use with caution. (SP) WWW

Julia Morris - Lift And Seperate Golden Jubilee Tour

$ 99

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city hub 7 JUNE 2018

721 darling st, rozelle Ph: 9555 9021

“It’s an odyssey of hilarity that even husbands are enjoying.” And with that off-handed quip, Julia Morris succinctly describes her new show, Lift And Separate Golden Jubilee Tour. The tour, which takes in major cities and regional towns along the eastern seaboard, will debut a new chapter in Morris’s life - one in which she has found calmness, wisdom, and self acceptance while still retaining her unabashed candour. That’s what the tour title is about. “Well, in the past I’ve been very bothered about lifting and separating everything on me that’s heading south, and then, turning 50, I’ve decided to lift and separate myself away from the self bashing and […] away from worrying about the little things in life.” Morris has been in the entertainment business since her teens as a singer, actor, TV host, commentator and comedian, but live stand-up is still her first love. She creates a new touring show every two years, using them to curate and analyse her

progressive life experiences. Like many comedians, she garners material from observing friends and family and doesn’t shy away from the serious stuff. “I do try and keep the whole thing quite light, but there are two stories that are quite severe that have audiences sit up and take note,” she explains. “Because that’s like life. All comedy, I think, is based in truth.” Those serious moments, however, are sprinkled with humour; it’s the way Morris and her family have always dealt with dramas. Growing up in a small community instilled Morris with a downto-earth, plain-talking, dinkum sensibility, and is one of the reasons she loves playing in regional towns. They prefer to hear stories about family, not politics. “The regional audiences are just there to laugh,” says Morris. The roughly 80 minute long show features Morris in front of a large screen on which visuals are projected

to go along with her stories. There’s a bit of ad-libbing and often she’ll include anecdotes gathered during the tour. She doesn’t believe in picking on audience members, but there is a danger you may come away with a “hurty tummy” from laughing too hard. (RB) Jun 7. Riverside Theatre,

Cnr Market & Church Streets, Parramatta. $49.90-$54.90+b.f. Jun 9. Chatswood Concourse, 409 Victoria Avenue, Chatswood. $59.90+b.f. Tickets & Info: www.juliamorris.com

THE NAKED CITY

REMEMBERING RHUBARBS

With Coffin Ed As the recently formed Nightlife and Creative Sector Advisory Panel (an initiative of the City of Sydney Council), meets to resurrect Sydney nightlife, it’s perhaps a good time to look back to a previous era – where some valuable lessons may well be learned. I’m talking about Sydney in the late 1960s where police and political corruption was rife but the door was wide open for any budding night club entrepreneur – free of many of today’s stifling regulations. Whilst Kings Cross was booming, full of randy American soldiers here on their R’N’R from the Vietnam War, the CBD and Oxford Street were relatively quiet.The more mature crowd and the Yanks were well served in Abe Saffron’s KC night spots but clubs catering for young folk were thin on the ground. Music was entering a new era with British beat and American soul and Sydney’s first import record shops, such as Edels, were offering much sought after vinyl from the UK and USA.Yet the opportunities to hear local bands, playing blues, soul and r’n’b were few and far between.The pub rock sound that defined Australian popular music in the 70s and 80s was still years away. During that late 60s period a number of mainly short lived venues began to appear including Beatle Village in Oxford Street and the Bowl and the Beach House in Sydney’s CBD.A Darlinghurst club called Union Jack’s catered almost exclusively for UK immigrants although Australian born girls were also admitted. In a darkened lane off Liverpool Street, across the road from the

Sussex Hotel, a touch of Carnaby Street came to Sydney with the opening of Rhubarbs, a large basement venue festooned with old vintage lounges and assorted bric a brac. The brainchild of Jim Carter, who had started the Troubadour folk club in Edgecliff, Rhubarbs featured both live bands and a DJ spinning soul and blues sides. Groups included The Starving Wild Dogs,The Sect and Phil Jones & The Unknown Blues but the best known combo to play there was Python Lee Jackson, fronted by the late Mal McGee.Their sound was sixties beat combined with American soul, driven by a squeaky Farfisa organ and the cutting guitar of Mick Liber. Like the Union Jack club, Rhubarbs was also a magnet for young UK immigrants, the first wave of local Mods, although there was no exclusivity and the venue attracted as diverse a crowd as Sydney at the time could offer. I can’t remember what the admission price was back then but it can’t have been more than one or two dollars.An entire band would often earn less than $50 a night for playing three or four sets.

Hereditary

Hereditary is a deep psychological, supernatural horror story which immediately unsettles the audience and never allows them to fully regain their footing. The film follows the family of matriarch Ellen Taper Leigh following her death and their subsequent unraveling as a series of tragic and unsettling events begin occurring with increasing prevalence. Elen’s daughter Annie Graham (Toni Collette) channels her grief into her work creating miniature, unnervingly accurate, dioramas of her life. These models immediately serve to unsettle the viewer as one slowly transforms and comes to life before their

eyes, which will then have the audience constantly questioning what is real. Collette’s performance is outstanding as she runs the gamut of emotions from pain and grief to fear, despair and self-loathing. Hereditary has allusions to intergenerational mental health issues permeated throughout which adds a much deeper meaning to each of the unsettling and scary motifs used. This is certainly one film you will want to see with somebody else, not just because of its fear inducing nature but simply because you will no doubt have many questions and theories to discuss once credits roll. (JA)

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At the Central end of the city another club titled John Henry’s featured a similar style of music, although there were no live bands playing.This was a hangout for the Sharpies, a tribal group known for their distinctive casual dress and propensity for violence.The Sharpies and the Mods of Rhubarbs were bitter enemies and often clashed in incidents throughout the CBD. On one particular night a large gang of ‘Sharps’ from John Henry’s descended on the lane outside Rhubarbs.They were soon confronted by a group of Rhubarbs regulars, predominantly young and tough English immigrants and a bloody pitch battle took place before the invaders were repulsed. Amongst the Sharpies was a then teenage Graham ‘Abo’ Henry, later to become one of Sydney’s most feared underworld enforcers along with his buddy Neddy Smith. Not long afterwards a young Rhubarbs regular, waiting for a taxi with his girlfriend in nearby George Street was attacked by a group of Sharpies and kicked to death. Whether this kind of violence affected the eventual demise of the club is open to question but the vibe inside the venue was always friendly and upbeat. Compared to today’s live music clubs however, one rather significant thing was missing.There was no alcohol!. Sure punters juiced up at the nearby Sussex and United States hotels beforehand and a few concealed a flask in their back pocket but there was nothing like the binge culture of today.As long as you looked relatively ‘adult’ you could go to Rhubarbs when you were still at school and many of the patrons were no older than fifteen or sixteen. ID’s weren’t required.Would it ever happen today?

The Heiresses

This multi award-winning film from Paraguay is in official competition at this year’s Sydney Film Festival and strongly resonates the quality and significance of world cinema. The film explores the relationship between two wealthy women Chela (Ana Brun) and Chiquita (Margarita Irun), who have been in a lesbian relationship for 30 years, and how their lives are affected when they run into financial difficulty. The story quickly takes a turn when Chiquita is imprisoned on fraud charges forcing Chela to leave her sheltered world. Working as an unlicensed taxi driver she meets a younger woman who opens the door to a whole new world. Can Chela remain faithful and will

her relationship with Chiquita flourish once they are reunited? The uncertainty of financial stability and longevity of long-term relationships are meticulously explored, but ultimately the precarious nature of life in general is accentuated. Sublime filmmaking complemented by memorable performances from a cast who may be vastly unknown to Australian audiences spawns a film which is slow and meditative, but which should be extremely satisfying for lovers of world art house cinema. (MMo)

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Screening at the Sydney Film Festival: Sat Jun 16, 1:30pm. or Sun 17 Jun, 10:00am at The State Theatre, 49 Market St, Sydney.

Archibald, Wynne & Sulman Prizes Wrap-Up The Archibald Prize was first awarded in 1921, 97 years ago by the founder of The Bulletin, for portraits of Australians by an Australian artist. This year’s winner is SelfPortrait After George Lambert by artist Yvette Coppersmith, a five time finalist finally picking up a victory. Other portraits of note are The Packing Room Prize winning work of Jimmy Barnes by Jamie Preisz and Meryl Tankard wearing a pair of nylon knickers by Dee Smart, reminding her of journeys from Darwin to Melbourne in her childhood where she wore the nylon knickers to stop flies attacking their food as they ate. Peter Berner’s self-portrait is also great, as is the portrait of the Chief Justice of the High Court, Susan Kiefel FC by Yvonne East and Gladys Berejiklian by Mathew Lynn, The Wynne Prize began in 1897, 121 years ago following Mr Wynne’s donation to the Art Gallery of NSW. To be eligible for this prize the artwork must be an Australian landscape design by an Australian artist. This year’s winner is Untitled by Yukultiji Napangat.

Last but not least is the Sir John Sulman Prize which began in 1936, 82 years ago following Sir Sulman’s donation to Art Gallery of NSW for Subject, Genre paintings or a Mural Project by an Australian artist. This year’s winner is Whiskey Kaylene’s, Kaylene TV, others of merit include Why Can’t I Be Angry by Abdul Abdullah, Women II by Natalaya Hughes, Under The Sea by Clare Thackerway and Erskinville Train Station by past winner Wendy Sharpe. (AV) Until Sep 9. Art Gallery Of NSW, Art Gallery Rd, The Domain. FREE. Info: www.artgallery.nsw.gov.au

Tea With The Dames

Conversational in execution this delightful documentary assembles four extraordinary actresses in an English cottage where they predominantly sit around a table sipping tea reminiscing about their remarkable lives and careers. Eileen Atkins, Judi Dench, Joan Plowright and Maggie Smith are award winning screen icons who have all received damehoods. Nothing is sacred as these humorously vivacious and charismatic dames discuss all aspects of their lives; aspirations as children, how their careers developed, their experiences on film sets/on stage, ageing and even death. The actresses recollect their association with directors and actors, opening nights

and meeting the royal family. Audiences should be astounded as one of the ladies mocks the questionable behaviour of a fellow stage actor she performed with early in her career. Their sense of humour should allure audiences, exemplified by a laugh out loud moment when asked:‘what was it like working with your husband?’ One of the ladies responds:‘which one?’ Faded memories are complemented by archived photographs and footage as they share many stories probably for the first time on film. Insightful and a joy to watch audiences should have as much fun watching this documentary as these exceptional ladies apparently had making it. (MMo)

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city hub 7 JUNE 2017

6–17 JUNE ON SALE NOW LATE ANNOUNCES

THE SEAGULL

MUG

Can’t afford to fly to Cannes every year? SFF’s late announces direct from the 2018 Festival de Cannes include Palme d’Or winner Shoplifters, the latest from Gaspar Noé and Jean-Luc Godard, Terry Gilliam’s long-awaited The Man Who Killed Don Quixote and more. Selling fast so get in quick.

FRI 8 JUN 8:30PM HAYDEN ORPHEUM CREMORNE SAT 16 JUN 6:00PM EVENT CINEMAS GEORGE ST A moving and sensual period drama starring Elisabeth Moss, Saoirse Ronan and Annette Bening. A clever web of love triangles and drama is set against the backdrop of a stunning country estate.

FRI 8 JUN 6:30PM HAYDEN ORPHEUM CREMORNE MON 11 JUN 3:45PM EVENT CINEMAS GEORGE ST A bitingly funny satire and Berlinale Grand Jury Prize winner; Poland’s first facial transplant patient awakes to find that – new face aside – it’s his community that’s changed, not him.

ANIMATION AFTER DARK

SUPPORT THE GIRLS

THE SEEN AND UNSEEN

WED 6 JUN 6:15PM DENDY NEWTOWN A crusty collection of dangerous animation, trampling PC notions underfoot and overflowing with demented charm; all carefully curated for true connoisseurs of this particularly twisted form.

WED 6 JUN 6:15PM EVENT CINEMAS GEORGE ST SAT 9 JUN 6:30PM RANDWICK RITZ Andrew Bujalski’s (Funny Ha Ha, SFF 2006; Results, SFF 2015) heart-warming feminist comedy is set in a ‘sports bar with curves’, where the manager has a very strange day.

THU 7 JUN 6:30PM STATE THEATRE FRI 8 JUN 4:40PM STATE THEATRE SAT 16 JUN 12:00PM EVENT CINEMAS GEORGE ST A young girl and her gravely ill twin brother enter a magical world of their own in Kamila Andini’s exquisite visual poem, that won the Generation KPlus Grand Prix at Berlin.

ONE DAY

WRATH OF SILENCE

SAVE TODAY WITH A FLEXIPASS

LOVE FILM? MON 11 JUN 3:45PM STATE THEATRE TUE 12 JUN 12:00PM STATE THEATRE This startling debut brilliantly reinvents the domestic drama as a taut thriller, detailing a hectic day in the life of a mother. Premiered at Cannes Critic’s Week.

FRI 8 JUN 8:15PM EVENT CINEMAS GEORGE ST MON 11 JUN 6:30PM DENDY OPERA QUAYS A stylish and provocative Chinese action film with noir and Western elements. When his son disappears, a miner embarks on a desperate and violent search for the truth.

The cheapest way to book lots of tickets is to buy a Flexipass of 10, 20, or 30 tickets. Share with friends, flatmates, colleagues, the one you love, or just keep it for yourself!

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city hub 7 JUNE 2018