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THE WRITE STUFFtim Pye, one of the many members of the

Australian Writer’s Guild fighting for their royalties

city hub 24 MARch 20162

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By CHRISTOPHER HARRISA clinic that helps 1,200 homeless people

every year in Darlinghurst has said it will be forced to close in April if it can’t find funding.

The Haymarket Clinic in Darlinghurst lost $900,000 in annual funding in the Federal Government’s 2014-15 Mid year Economic and Fiscal Outlook.

The clinic received $990,000 to help it find replacement funding. But with no donors in sight, the clinic will have to close its doors.

The clinic’s CEO, Mat Flynn, told City Hub that it was a shame because it was a good community facility that gave the lives of homeless people who are in and out of short term accomodation some stability.

He said the clinic’s key point of difference from other providers was that it provided long term care, and meant individuals did not have to explain complex medical histories over and over again to new doctors.

“Most people, once they become homeless, they’ll cycle into short term and medium term accommodation, and then become homeless again, and we’ll give them care throughout that cycle, irrespective of whether or not they’re homeless,” Mr Flynn told City Hub.

“A lot of mental health issues, diabetes and hypertension are caused and exacerbated by homelessness. The homeless population also suffer from health problems other people have but because they don’t have access to simple things as refrigeration to store medicines, those health issues can be exacerbated.”

He said because the clinic used all of its money to help the local homeless population,

it had not spent money on fund raising networks, which made raising funds a difficult task.

Federal Member for Sydney, Tanya Plibersek, said that the cuts were part of cuts to healthcare to the tune of $60 billion

“The Haymarket Clinic provides vital health services to some of inner-Sydney’s most disadvantaged residents - most of whom are homeless,” Ms Plibersek sai “If Malcolm Turnbull can’t stand up for important health services in his own backyard, he can’t be trusted with Medicare.”

Ms Plibersek has been working with the clinic for a number of years. After redistribution of federal seats this year, it became part of her electorate. The clinic was previously in Malcolm Turnbull’s seat.

“The choice at this year’s election is clear. “A vote for the Abbott-Turnbull Government means more cuts to health. A vote for Labor means Medicare will be protected and strengthened.”

Independent MP for Sydney, Alex Greenwich, said that he supported the vital role the clinic played in the local community. He wrote to the premier on February 24 this year, asking Premier Mike Baird to support the clinic.

“I understand that Commonwealth budget cuts will force the closure of this vital service, despite the Haymarket Foundation’s best efforts to find other sources of income and reduce costs. Funding this service is a cost effective strategy – reducing other costs to the community,” Mr Greenwich wrote in the letter.

In August last year, Mr Greenwich asked Health Minister Pru Goward about securing funding for the clinic.At the time she said in parliament that it was a matter for the Commonwealth.

Mr Baird has not yet formerly replied to Mr Greenwich’s letter.

A spokesperson for NSW Health said the local health district provided $637,000 in funding to the organisation under the NSW Health NGO Grant Program.

“This funding is ongoing and has not changed,” the spokesperson said.

But the clinic’s CEO said that this money was spent on other programs, including one for people living with HIV as well as a drug rehabilitation program.

“The organisation also receives funding from Family and Community Services, the Commonwealth Government and private donations.”

BY ANDREW BARCLAY The NSW government continues to push

ahead with a drug policing strategy that has been an “abject failure” in the face of mounting evidence and criticism, according to experts and opponents.

Public health campaigns in NSW have made injecting rooms easily accessible and medicinal marijuana is on the verge of being available for the terminally and chronically ill. But there is little sign that a bill to stop ineffective drug sniffer dogs will get support in parliament next week, despite being dismissed by experts as ineffective.

Member for Newtown Jenny Leong last week brought to the NSW lower house a bill aimed at ending the use of drug detection dogs, known as sniffer dogs in public places without a warrant.

She said the policy was costly and “akin to sanctioned harassment and intimidation”.

“The NSW drug dog program has been shown over and over again to be ineffective and a waste of public money. It’s also highly discriminatory – targeting already marginalised groups in our community - and a blatant breach of our civil rights,” she told City Hub.

“Time after time the stats show that the program just doesn’t work. But the government is stubbornly refusing to see the evidence.”

Debate around the use of drug sniffer dogs flared up again last November when Sylvia Choi, 25, died after taking ecstasy at Stereosonic music festival at Sydney Olympic Park.

Campaigners say the current policy is costing lives and point to at least 12 drug related deaths at music festivals over the last two summers.

Dr Alex Wodak President, Australian Drug Law Reform Foundation, told City Hub the NSW government already has the data showing the policy is a failure.

He said a NSW Ombudsman inquiry from 2006 showed sniffer dogs were significantly inaccurate and recommended an immediate end to the policy.

Dr Wodak, who is also Director of the Alcohol and Drug Service at St Vincent’s Hospital, said the policy had a variety of unintended negative consequences – including hospitalisation and death.

“We love our sniffer dogs. It is a uniquely Australian phenomenon and it has mostly been an abject failure,” he said.

“In political terms it works well but it is bad public policy.”

yet, the government remains resolute in the face of criticism.

Deputy Premier and Minister for Justice and Police Troy Grant said the government fully supports the continued use of drug detection dogs as an effective tool to tackle drug crime.

“The use of drug detection dogs is an important tool in our efforts to combat dangerous, illicit drugs,” a spokesperson for Mr Grant said.

“They are deployed not only to detect these drugs and prevent their use and distribution, but as a form of high visibility policing to deter drug activity which is illegal.”

The spokesperson said that since 2014 460 kilos of illicit drugs have been seized due to sniffer dogs, which demonstrates the success of the policy.

Mr Grant’s comments come just a month after Premier Mike Baird said “there is a very safe way to go about pills and that is don’t take them” – which led to claims of the government burying their head when it comes to drug policy.

Dr Alex Wodak said such an approach was very unfortunate.

“Responsible politicians can’t ignore the reality… they are are responsible for the impact of their policies.”

Jenny Leong said she was also dismayed at the government’s approach.

“A ‘just say no’ approach to drugs is never going to work,” she said.

“Politicians need to get their head out of the sand and stop pretending that the problems will magically go away if they talk tough.”

Dr Wodak said drug policy was always a difficult issue for politicians and applauded the NSW Government for the steps they have recently taken towards allowing the use of medical cannabis for terminal illness.

yet he said an ongoing commitment to evidence based policy was needed.

“There is already traction when it comes to drug policy, including a citation system for weed, legal injecting rooms and the use of methadone.”

“This needs to be redefined as a health and social issue, not one of policing,” he said.

According the Greens’ ‘Sniff Off’ campaign, 80% of searches on the public transport system have led to a false positive result where no drugs are found.

When it comes to drug use, Australians are some of the highest consumers in the world with more than 40 per cent of Australians having used drugs illicitly alongside one of the highest rates of illegal use per capita, according to data from the 2013 National Drug Strategy Household Survey.

a sniffer dog demonstration. source: Jetstar airways

Sniffer dogs have had their day according to Greens

Homeless clinic forced to close

The Haymarket Clinic. source: supplied

4 city hub 24 MARch 2016

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City report shows it’s not easy being Green

BY CHRISTOPHER HARRISAt the council meeting of March

21. Labor Councillor Linda Scott called on the City of Sydney to develop a fully costed plan to meet sustainability targets

Her motion, which was voted down, aimed to address the current projection that the City will fall about 600,000 tonnes of carbon short of its 2030 emissions reduction targets.

Clr Scott told City Hub that it was critical that Lord Mayor Clover Moore came on board with her calls for renewable energy.

“They have again voted to prevent the City of Sydney taking action to ensure we meet our carbon emission reduction targets,” she said.

She said by voting against the move, the council had either said we are not meeting our targets, or, it is somebody else’s responsibility.

Clr Scott said that the trigeneration scheme which had been adopted by the council was “problematic” . She said that to meet targets, the City’s trigeneration scheme would need to save three times as much carbon as it currently offsets.

Released in February, the City’s latest Green report card reveals that the city is falling behind and must reduce its carbon emissions by 70 per cent by 2030 if it is to meet its aims.

Currently, the City’s policy has the aim of getting one hundred per cent of its energy from locally generated sources, 70 per cent

of which would be from trigeneration plants, and 30 per cent from renewable energy such as solar.

Trigeneration plants are typically installed in a buidling, and uses gas to produce low carbon electricity, which creates heat which is then used for heating.

Clr Scott said the City was acquiring more new buildings and assets which made reducing carbon more challenging.

“To reach the 70 per cent reduction target, the City needs to find a way to account for 689,000 tonnes of carbon emissions, but currently we have no plan on how to do this,” said Linda Scott.

“The City needs to drastically re-think its strategies to reduce greenhouse gas emissions,” Clr Scott said.

She said there was a need to investigate installing more solar panels on the City’s buildings – including the Ian Thorpe Aquatic Centre, an idea which got voted down by the Mayor last year.

A spokesperson for the City said the reason for that was designer Harry Seidler and Associates Architecture objected to the installation of the panels on the building because of their appearance. The spokesperson said the architect’s moral rights’ protect the design.

Under Australian law, any alteration to a structure without the architect’s consent could

amount to what is known as derogatory conduct. If such conduct is established, an architect can disassociate themselves from the project, which, could in turn reduce the value of it.

Greens Clr Irene Doutney told City Hub that the City should learn lessons from other cities abroad.

“The CEO is going to do a review of the gap and we will need to wait for that, so we can reassess how to meet our targets,”

But the City spokesperson said the City was making “strong progress toward our targets”.

“We are installing one of the largest rooftop solar programs in Australia on our majoring buildings. Panels have been installed on 26 of 30 city buildings so far. It will supply 12.5 per cent of power to our buildings.”

Central Park in Sydney. Source: Bobarc


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BY LUCAS BAIRDA radical restructure of Sydney’s nightlife is

required to solve the issue of lockout laws, according to a Keep Sydney Open organiser.

Tyson Koh of the Keep Sydney Open movement has slammed the government’s current plans around Sydney’s nightlife as preparation for the lockout laws roundtable has begun.

The roundtable, which is scheduled to be held on the 31st of this month, is part of a larger inquiry into the laws and the government has invited community groups and business associations to the event.

Mr Koh claimed that Keep Sydney Open had a plan to restructure Sydney’s nightlife to benefit all but it hinged on finding common ground with the government.

“If we can agree that music, dancing, theatre, food, all that kind of stuff are part of our city’s identity, then we can take the next step which is trying to to ascertain how to facilitate that. And then we can work out how to facilitate that in a safe way,” Mr Koh told City Hub.

But Mr Koh urged that the current lockout laws could not stay in place to make this possible.

“A 1:30 lockout is an insult to those in the city who have earned the right to enjoy their time of on the weekend. It is very limiting for small business, because it means that in this city of over four million

people, you have small business owners essentially competing for people’s business in a very limited space of time.”

“It is just unworkable in a city this size,” Mr Koh said.Keep Sydney Open’s views are supported by a

survey hosted on thesocialites.net.The survey which had over 23,000 responses

found that 84 per cent of the respondees found the lockout laws unjustified. A majority of repondents to the survey were overwhelmingly in the 24-35 Sydneysider demographic

On a scale of five, the average score given to the government’s handling of lockout laws was 1.43.

The Star Entertainment Group will also have a representative at the discussion to put forward their views.

Mr Koh explained that they would welcome the casino’s views at the discussion despite the #CasinoMike campaign that Keep Sydney Open and similar movements have adopted.

“It would be really interesting to hear what the casino has to say about their experience over the last couple of years,” he said.“They are a business like any other so we welcome their views at this discussion.”

The Star Entertainment group did not reply to City Hub in time for publication. Police NSW, Health NSW and the Live Music Office did not respond to City Hub.Buskers at the Keep Sydney Open rally. Photo: Alex Blair

Trees to finally be trimmed in Balmain

BY LUCAS BAIRDLeichhardt Council have taken more than a decade to

finally listen to their community after regards to “overgrown,” trees around Mort Bay Park.

Leichhardt Council at the last council policy meeting resolved to trim trees throughout Mort Bay Park to restore previous view lines in their revised management plan of the park.

Independent Councillor, John Stamolis, said he applauded the council for ultimately listening to the community.

Clr Stamolis told City Hub that the obstruction of these “exceptional,” view lines had been an issue for around 15 years

“There is an expectation on harbourside parks that exceptional view lines are very important to the wider community and to anyone who visited and used our parks.”

“One resident presented a photo where there is a seat on Bay Street, so you can sit there in the afternoon and enjoy beautiful harbourside views of the city and the harbour bridge, but now our tree has wiped out that view,” he said.

Clr Stamolis said that he had first proposed a plan to trim these trees to council in 2010, but failed to garner votes in the chamber.

Leichhardt Council held a community consultation surrounding the park in December last year that led to this new decision. The Council Report indicated that the previous management plan that was adopted in 2004 was unclear in its direction to council.

The report also said that the previous plan was not in keeping with council’s landscaping scheme that led to views being marginalised and some lost completely.

Council have recommended to remove trees along the edges of the park, but have committed to not remove trees from the central parkland.

Council has more plans for the park including more shelters, toilets and removal of thick vegetation also planned.

Council has estimated that all of its revisions to the park will cost around $117,000.

Mayor Darcy Byrne dud not return a call to the City Hub.

BY CHRISTOPHER HARRISIt has taken years, but the City of Sydney

has leaped into the 21st Century, according to one Councillor.

The City voted on Monday night to a twelve month trial of webcasting the monthly council meeting, a practice which has been adopted around the world, but not at the City of Sydney, whose mantra is “Global and Connected”

Independent Councillor Angela Vithoulkas said it was monumental that this policy had been adopted, after years of it being continually voted down.

“I think it is momentous that an item that has been voted down in chambers finally got the ability to be heard and supported,” she told City Hub

“Accountability and transparency is the most vital part of any government process. It was a good day yesterday to know that people can see council is moving forward into the 21st Century,” she said.

The trial will proceed on the basis that it is practical and the infrastructure needed to set up the webcasting does not prove disproportionately expensive.

The change in policy for the council followed Greens Councillor Irene Doutney being promoted to Deputy Mayor, following the death of Robyn Kemmis of the Clover Moore Independents Party late last year.

She said she supported transparency in government and that’s why she voted in favour of the motion.

Long time campaigner for webcasting, Edward Mandla said that webcasting would bring democracy to the council.

“There is no minute taking in Council meetings and it allows the highly secretive

City of Sydney to shields itself at every turn effectively delivering “Democracy in the Dark”,” Clr Mandla said.

Cr Mandla told City Hub that he did not accept arguments that webcasting was difficult and problematic.

“The Lord Mayor calls us “Global and Connected” but we can’t do what a teenager can do in their bedroom, that is organise a webcast.”

“Soon constituents will no longer have to leave work and their families to sit in endless Council meetings.

Finally, they can see their elected representatives in action during Council proceedings at any time from the comfort of their own laptop or mobile device.“

“What better way to help achieve these values than to make council proceedings widely available through a technology it seems everyone else can offer but us,” Clr Mandla said.

Webcasting comes to City of Sydney

Photo: Greg O’Beirne

Mort Bay in Balmain. Source: Hpeterswald

Lockout round table must find common ground


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Do you have a great business idea but aren’t sure where to start, or do you already run a business but need advice on how to grow?

Come along to our free Business 101 seminars at Customs House, Circular Quay, for industry insights and practical advice. Business owners will discuss what they wish they’d known at the start of their journey, and business experts will offer user-friendly, real-world advice.

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Reservations to this event are free but bookings are essential.

To reserve your free spot, head to cityofsydney.nsw.gov.au/business101 or call (02) 9265 9333

For more information on our small business program and to sign up to our e-newsletter, visit cityofsydney.nsw.gov.au/business


Moore mobilises locals to save green space

BY LUCAS BAIRDThe City of Sydney will organise a public

meeting as well as provide financial support to campaigning against a new Stadium at Moore Park following an ABC Radio National Program that aired last Sunday.

In the program, a promotional video produced by the Sydney Cricket Ground Trust champions a precinct of sporting venues, including a new stadium as well as a tennis centre and a new car park.

In an interview with ABC Radio 792 Premier Mike Baird stated that a new 55,000 seat arena would be constructed on the site of the existing facility as well as parking “if it came to that,” He stated details were still being negotiated.

The Lord Mayor said that the park was under threat and that the interests of the people lie with the protection of Moore Park.

“The NSW Government has a clear choice: act in the interests of powerful vested interests or act in the interests of the people of Sydney – both east and west – by protecting Moore Park and directing sports investment to western Sydney,” The Lord Mayor said.

“I propose the City hold a public meeting and help mobilise parklands supporters to send a clear message to the State Government that the community highly values the parklands and will resist proposals that threaten them,” she said

Greens Councillor and Deputy Mayor, Irene Doutney supported the Lord Mayor.

“I think it is important because it is public land and it should be left as open public space. There is only a quarter left from the original gift from Governor Lachlan Macquarie,” Clr Doutney said.

“It is for some sporting facility, where sporting facilities already exist. It should be

constructed in the Western Suburbs where the majority of sporting fans live.”

“There is all this speculation, and there is no transparency, it is really a big problem,” she said.

State MP for Sydney, Alex Greenwich, was also sceptical of the government, citing continued “contempt,” from the government.

“The explosive Radio National Background

Briefing exposé which links the Tibby Cotter Bridge that we fiercely opposed for its damage to the parklands and failure to meet pedestrian and cyclist needs, to a long term plan to build stadia and car parks on Moore Park,” Mr Greenwich said.

“The parklands continue to be treated with contempt,” he said.

Independent Councillor, Angela Vithoulkas, said that the City of Sydney Council was not wholly supportive of the Lord Mayor’s proposal by voting against the motion.

Clr Vithoulkas voiced her concern in the meeting that the Lord Mayor will run a scare campaign on the issue.

“It is the role of the City and local government to provide fair and balanced information not a one sided opinion campaign before it has even happened,” Clr Vithoulkas told City Hub.

“It is not even about whether people do or do not want a stadium, it is about the process the people deserve.”

Clr Vithoulkas made clear that she believes it doesn’t help anyone to create an “Us versus Them,” situation.

“We are there to provide information and get information. We are there to fight on their behalf.”

“We are not supposed to be there to misinform or mislead or rile up the crowd on one side,” she said.

Clr Vithoulkas was also critical of the State Government’s actions.

“The State Government hasn’t fully revealed their plan, that their lack of communication with the community is providing misinformation, stress and anger amongst the community on plans that haven’t actually been revealed yet.”

“That is not fair from the State Government,” she said.

Kippax Lake in Moore Park. Source: J Bar.

It is the best of barramundi, beautiful spices and flat head– and it’s a hot dog.Six months in the making, the Crown Street Fish Shop in Surrey Hills is prepared to unveil its own Chilli Fish Dog this Good Friday.It was a lot of trial and error to find the perfect fish, ingredients as well as sausage skin to get the dogs absolutely right.The Chilli Fish Dog has 16 different herbs and spices, a long milk bun, and is served

with rocket lettuce, confit onion, parmesan cheese and is topped with Crown Street Fish Shops house made Chilli Relish.While that may be hard to top, the best part is that this beauty is only $8.Owner of the Crown Street Fish Shop, Amanda Yazbek said that last year’s famous Hot Cross Barra Burgers would be hard to beat but really thinks that the Chilli Fish Dog will be a new crowd favourite.“After last year’s efforts, we thought, what else could we put on?” She realised the demand for sausages without red meat, and thought, what better than fish?

“We finally perfected it, and we thought it would be perfect to release it on Good Friday.”There are plenty of options for those to enjoy the long weekend, with James Squire Beer on tap as well as peach, passionfruit and lime flavoured frozen margaritas spilling out of the much loved neighbourhood restaurant.

The Crown Street Fish Shop are located on 500 Crown Street, Surry Hills.

MEET ThE locals

For a child of the world, it all starts at BroadwayWith qualified and experienced staff, Caring 4 Kids Broadway will ensure your child and family receive attention second to none.The center has the philosophy that each child is individual, whose strengths and interests can be developed through a range of tailored learning experiences.There are a range of top notch programs for the young inquisitive mind.Language classes are included in enrollment. You can choose from French, Italian, or Spanish lessons.There are also a wide variety of sports to play at the centre, as well as Zumba ClassesCaring 4 Kids actively encourages social responsible behavior towards others, as well as positive feeling of self-worth.The centre has a welcoming atmosphere, with lots of smiles and encouraging children and families to become involved in the learning and daily works on offer at the centre.The centre exceeded its NSW Department of Health quality standards for fostering collaborative partnerships with families and communities.

The ongoing quality of the centre can be traced to its dedication to ongoing training and professional development for staff, to further their skills and development.The centre is a safe, home like environment, where children can feel comfortable and be safe, and all in the convenient location of Broadway.

Caring 4 Kids Broadway are located on the 2nd level of the Broadway Shopping Centre on Bay St.

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Be at crown street Fish shop this Good Friday


InvitationWulaba Park launch

Help us celebrate the opening of Wulaba Park. Together with Meriton, we’ve created a landscaped area for families to enjoy, and a games area to play table tennis and handball. There’s also a new playground with a large slide, climbing tower, decks, climbing nets and swings. With multi-coloured play equipment and coloured pathways, visiting Wulaba Park will be a memorable experience for the whole community.

Saturday 2 April 2016 11am–1pmAmelia Street, near the corner of O’Dea Avenue, Waterloo. Adjacent to Vista Grande development.

For more information visit cityofsydney.nsw.gov.au or call 02 9265 9333

Clover Moore Lord Mayor of Sydney

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FEATURE

by AthiNA MALLiSin 1990 the federal government authorised an organisation named Screenrights to collect and distribute royalties for film and television to the rightful copyright owners. According to their figures Screenrights have accumulated over $50 million in script royalties over the past 20 years.they may have collected a mass amount of money, but members of the Australian Writer’s Guild have only received as little as $350,000 for their work. After years of failed negotiations and cancelled meetings, the AWG had no choice but to file a case against the federal government.On March 3 of this year the AWG filed a case in the Federal court of Australia against Screenrights over its failure to protect and represent Australian and international screenwriters and their rights.Spokesperson for the AWG tim Pye explained that they’re trying to get two results from this court case. Firstly, they would like a percentage of the money they’re owed. Secondly, and most importantly, they would like amendments to be made to the system so future writers won’t have to face this problem.“We want [Screenrights] to tell us where they are sending this proportion of the allocation and we want them to change the system in the future so writers are given that proportion,” said Pye.“but the most important thing is to change the future. [We want] secondary use [of the proposed amendments] with all the emerging platforms in the world – the digital platforms are going to become more and more how creatives get return on their work from the copywrite they create.”Pye stated the AWG didn’t want to take Screenrights to federal court, but due to their obstinacy they had no other choice.“i want to emphasise how much we want Screenrights to help us fix the system,” he explained.

“We really would rather not go to court and we want them to help us fix this in an amicable way rather than just saying ‘no’ and rather than refusing to engage with us. that is what we want more than anything else.”Pye has been a professional writer since 1986 and hasn’t received a cent from Screenrights. When asked if he knew anyone who received money he could only quote one person, award-winning screenwriter Jan Sardi.“He received $400 [for 1996 film Shine] in the late 90s and that was it,” he said. “the curious thing is they chased him to give him that money to make him think ‘oh well they’re doing their job’, but then it just stopped. it all grounded to a halt, nobody got anything.”to counteract this current underfunding, one of Australia’s most successful international screenwriters, Shane brennan, has recently announced he will donate

one million dollars of his own money into a joint venture with the AWG called Scripted inc.brennan explained this is about recognising the writer’s contribution and hard work, not just the producers’.“this initiative is aimed at catching up with the rest of the world, which understands that critical and financial success springs from the writer’s vision, not the producer’s ability to fill out a funding submission,” said brennan.Australian screenwriters themselves have caught wind of the situation and are less than impressed. Screenwriter Nick Parsons thinks it is unfair for one person from the creative process to get all of the rewards.“My understanding is the distribution… writers get overseas should be to the writer, but for some reason [in Australia] it’s just going to producers,” he said.

“Sometimes they’ve given [payment] to one of us and sometimes they haven’t. that seems inherently unfair.”Parsons is the creator of Slingshot, a seminar exclusively for writers in Western Sydney. this goes beyond writing tuition, he wants to teach ambitious writers how to pitch their stories to a producer or network.Parsons believes the best Australian stories are buried within Western Sydney communities.“it’s a really interesting mix, Western Sydney. i think a lot of the important stories to be told in this country are going to emerge from Western Sydney because it’s a really vibrant mix of cultures and attitudes,” he said.“there is an ambition for the place. What struck me there was this frustration amongst young writers in Western Sydney, because they have their stories they want to tell but didn’t know how to go about telling them,” explained Parsons. “they didn’t know who were the production companies to talk to...”Another member of the writing community, Screen cultures producer barry Gamba believes writers are always the forgotten workers when it comes to any stage or television work, so he is pleased to see this case finally turn the spotlight on them.“Writers are often the unrecognized creators of screen works,” said Gamba. “So the case is useful in terms of getting the debate out into the open and [to] discuss its merits.”

Tim Pye with his early pilot script for A Country Practice.

Photo: Chris Peken

DEmAnDing FAiR PAy FoR WRiTERsAUsTRAliAn WRiTER’s gUilD TAkEs scREEnRighTs To FEDERAl coURT

March 24, 31 & April 7 (5.30pm-7.30pm). Information and Cultural Exchange, 8 Victoria Road,

Parramatta.. Free entry. Info: ice.org.au/project/slingshot2016

SCREENRIGHTS First court date April 5. Latest news: awg.com.au

SCRIPTED INC. Officially launches July this year. Info: awg.com.au

SLINGSHOT


have you ever felt like your work isn’t authentic? that what you’re doing is to please others and not your true self? thomas De Angelis explores these themes in his new drama Unfinished Works.

this stage play is about a famous and successful artist, Frank Ralcoh, who is always painting and creating new works. One day she finds herself unable to paint, which leads her into a state of panic, believing her work has been meaningless.

De Angelis professes he has no history with visual art nor is he an authority when it comes to the subject, yet he chose to write about it because he thought it would be the easiest to relate to.

“i’ve confessed to the cast, i don’t love visual art,” said De Angelis.

“What I can relate to [is] that idea [of how]

you throw your entire self [into a project], and you’re not sure if the message you want to get across is getting across. What we do as artists isn’t paying as much [as other professions]. The idea [that] it might all be for nothing is terrifying.”

None of his plays have anything in common except for one factor – there is always one character who has the desire to do something with their lives. Although the topic may be a bit deep, De Angelis ensures the play still has its humorous bits to keep the audience happy.

The play is 90 minutes with no interval. (AMal)Mar 23–Apr 2, 7.30pm. Reginald Theatre,

Seymour Centre, cnr City Road and Cleveland Street, Chippendale. $25-$35. Tickets & info: seymourcentre.com or 02 9351 7940 (box office)

ARTS & ENTERTAINMENT

Contributors: Brendan Modini, Carmen Cita, Craig Coventry, Greg Webster, Hannah Chapman, Alicia Sim, Nyssa Booth, Lauren Edwards, Peter Urquhart, James Harkness, Leann Richards, Lisa Seltzer, Mark Morellini, Matthew Bernard, Mel Somerville, Jemma Clarke, 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.

10 STAGE12 SCENE 13 SoUNDS 14 SCREEN

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

Multi-award winning comedy writer Simon Dodd has created a one-act play which will be performed at Marrickville’s Depot Theatre.

Plaything is about two theatregoers who accidentally walk on stage and find themselves in a play. They can’t leave the play but they don’t know their characters, the script or even who they are themselves.

the idea for the script all started when Dodd tried to find the bathrooms while seeing a play but nearly ended up on stage instead.

“i saw a big wooden door and thought that was it. But when I opened it, it was very dark and i soon realised that i was backstage,” Dodd said.

“From there i started to wonder what would have happened if i’d absentmindedly walked out on stage and found myself in a play.”

One of the perks of watching this play is the length of it – it’s one act with no interval. Dodd has experienced plays that he thought would never end, so he decided to write one that ends all too soon.

“Nobody wants to have to sit through three and a half hours of turgid drama. They want to have a laugh and then go home,” he explained.

“i can’t tell you the number of times i’ve walked out of a play at interval thinking, ‘i don’t know about the ending, but at least it was short’ – only to discover we all had to go back in and sit through another excruciating act or two’.” (AMal)

Mar 30–Apr 13 (8pm Wed, Sat, 5pm Sun). The Depot Theatre, 142 Addison Road, Marrickville. $22-$32. Tickets & info: thedepottheatre.com

UNfINIShEd WoRkS

One of Sydney’s fastest selling musicals last year came from somewhere the major theatre houses may not have expected... And now, the Hayes Theatre Company brings back Rent by Highway Run Productions.

Jonathan Larson’s Rent became a global phenomenon soon after its Off-Broadway debut in 1996. A rock-opera following a group of struggling artists living in New york’s East Village in the early 90s, struggling to build their dreams in the wake of the AIDS crisis.

Rent shot to international recognition, even winning a Pulitzer Prize. But Larson never saw his work’s impact, suddenly dying of an aortic dissection the night before the premiere.

“I think that it just makes sense to bring [Rent] back to…where it was when Jonathan Larson first saw it, and that was in a 100-ish seat theatre in a workshop setting,” said Toby.

the hayes theatre has become an ideal home for a musical that resonates with many people on a personal level. Toby elaborated: “We did not want let our audience feel like we hadn’t taken enough care, and that we weren’t trying to do well with ‘their’ musical…”

In their second run, Toby said he’d “be lying if I said [the creative team] weren’t tweaking or building up ideas that

maybe we didn’t have the time or the resources to implement last time”.

Francis and fiancé Lauren Peters are first time producers on this scale, and along with first time director Shaun Rennie, they’ve successfully authenticated the ‘underdog’ mantra of Rent and prepared a cast that is both unique and fitting.

“Lauren and I were there on the first day The hayes even started renovating, and were there to help sand back the bar and paint walls,” said toby, icing the cake of this bohemian dream of a production narrative.

“i remember at that time there was the feeling that no one knew what The Hayes was going to be… there was no idea that it would become this place for young producers to try out things, for established producers [as well]…I don’t think there is anything like it at the moment where every production that goes up has such an interest from the public and from the industry…” (AM)

Mar 29–Apr 17 (Tue-Sat 7.30pm, Sat 2pm, Sun 5pm). Hayes Theatre Co, 19 Greenknowe Ave, Potts Point. $59-$74. Tickets & info: hayestheatre.com.au or 02 8065 7337

RENT

Cast of Rent. Photo by Kurt Sneddon

Cherrie Whalen-David & David Jeffrey Photo: Clare Hawley

11city hub 24 march 2016

in the late 1960s australia was divided by its ever increasing diversity and ensuing racism, but at the height of the Vietnam War some people in the community were able to cast those prejudices aside and be drawn together by an enduring conflict against a common threat.

michael Gow’s iconic play, away, uses this backdrop to tell a nostalgic and inspiring tale of three families as they all face their own individual challenges and come together to support each other despite their differences.

Director Peter Farmer describes the play as “a delicious mixture of comedy, drama and social commentary on class, Vietnam and family”. Away conveys a story of redemption as the human

spirit overcomes tragedy and despair.this production is being performed by one of

Sydney’s premier community theatre companies in Lane Cove Theatre Company. As Away is also a hSc syllabus text, this provides a fantastic opportunity for high school aged teens to see it performed live and in person, and so well. As an added bonus, following every Friday evening performance a Q&a session will be held, which could be an invaluable resource for students studying the play. (JA)

Until Apr 9. The Performance Space at St Aidan’s, 1 Christina St, Longueville. $15-$25 ($70 for a family pass). Tickets & info: lanecovetheatrecompany.com

BULLY BOY Patrons of quality theatre will be immersed by this gripping and powerful production concerning gross military misconduct, which will leave audiences pondering over the morality – or more aptly, the futility of war. This play explores two casualties of war whose lives have been shattered. This small production is simplistic, but it intimately draws in the audience, who are seemingly on stage as the drama unfolds. (MMo)Until Mar 26. Blood Moon Theatre (in The World Bar), 24 Bayswater Rd, Kings Cross. $20 - $25. Tickets & info: anightofplay.com

THE BALD SOPRANO this is avant-garde theatre that sets out to break and ignore the conventions of a traditional play. At the time The Bald Soprano was written, in 1952, it was

about social status, dinner parties with people you don’t like and trying to make entertainment out of it. We are seeing an interpretation in a modern day setting. People will connect to the absurdity of the characters and the comedy of it all. It very humorously shows the uselessness of life. (MS)Until Mar 26, 7.30pm Wed-Sat. King Street Theatre, 644 King Street (cnr Bray Street, Newtown). $28-$35. Tickets & info: kingstreettheatre.com.au or 0423 082 015

PICCOLO TALES this site-specific play at Kings cross institution the Piccolo bar pays homage to the venue and its 81-year-old proprietor, Vittorio, the several dramatic changes they have witnessed in the cross, and the many colourful customers

attracted over the years. The intimate setting inserts the audience members into the action, creating somewhat of a journey through time, similar to opening a time capsule and exploring what’s inside. (NB)Until Mar 31. Piccolo Bar, 6 Roselyn Street, Potts Point. $20-$40. Tickets & info: piccolotales.eventbrite.com.au

80 MINUTES NO INTERVAL travis cotton’s black comedy is bold and slightly absurd, it allows us to laugh at the unfortunate failures of other people. The play is about Louis, an unsuccessful novelist turned theatre critic. The production traces his trials, tribulations and obstacles over a 30-year time frame as he fumbles through life, governed by repeated mistakes and bad luck. In Australia,

where modern comedic theatre is scarce, the play brings a breath of fresh air. (SH)Until Apr 9. Old Fitzroy Theatre, 129 Dowling Street, Woolloomooloo. $28-$38. Tickets & info: oldfitztheatre.com or 0409 020 119

THAT EYE, THE SKY a quintessentially australian play based on the novel by tim Winton, this is the beautiful coming of age story of Ort, a young boy whose father is seriously injured in a car crash. The common theme is the idea of survival, that we need something to hang on to that helps us survive when everything goes to hell. That Eye, The Sky is an exploration in how we cope, and how we reach out to something to help us cope. Everything is seen through the eyes of a child, he sees the world in his own fantastic way. (MS)

Until Apr 16 (Thurs-Sat 7.30pm, Sun 5pm). New Theatre, 542 King Street, Newtown. $17-$32. Tickets & info: newtheatre.org.au

MACHU PICCU Wildly human, rich in drama and humorously blunt. Machu Picchu follows the story of two civil engineers who must learn to re-live and re-evaluate their choices after suffering from a tragic event. It not only explores the extra-ordinary love story of Paul (Darren Gilshenan) and Gabby (Lisa McCune), it is also provocative in nature, asking the audience to re-evaluate their own life choices and priorities. (NB)Until Apr 9. Wharf 1 Theatre, The Wharf, Pier 4/5 Hickson Road, Walsh Bay. $64-$87. Tickets & info: sydneytheatre.com.au

BRUCE GLEN’S MAGICAL SOIREES Gentleman magician bruce Glen hosts Sydney’s most magical attraction, a soirée at one of Sydney’s most luxurious venues. Bruce Glen is one of the select few granted membership of the magic circle – the most exclusive magic club on earth. this intimate evening of magic and stories is to become a regular Friday night event starting this week. Reminiscent of the elegant, captivating events of the famous ‘salons’ of 19th century Europe, strict dress codes apply. (AM)Every Friday from Mar 18. The Royal Automobile Club of Australia, 89 Macquarie Street, Sydney (cnr Albert Street). $75 (inc. drink & canapés on arrival). Tickets & info: gentlemanmagician.com.au

“The Queen has no hour for love. Time passes, and events crowd upon her. Into her shell, an empty, glistening husk, she must give up all that a woman holds dear.”

around about a year after its debut run for the 2015 mardi Gras season, this intimate one-woman show makes an unexpected but delightful return.

“We feel very lucky to be able to do it again,” said film and stage actress Jeanette Cronin, the sole performer and co-collaborator on Queen Bette.

cronin was quite arguably born to play the role of bette Davis, bearing a striking resemblance to

the great actress of early hollywood – this resemblance is what initially planted the idea for the show in director Peter Mountford’s mind.

but this intimate portrait goes beyond the surface, revealing a life of hardships behind the veneer of “Hollywood’s biggest bitch”. Cronin explained: “[This play is] Bette on Bette. She was much appropriated by the press… throughout her life and after her life as well. But this is how bette saw herself…”

The play is poignantly bookended by the first and second occasions Davis played her personal icon Queen Elizabeth I. “…The first time was in The Private Lives of Elizabeth and Essex, which was in 1939, and then later on in 1955 she played Elizabeth again in The Virgin Queen.”

there’s a wonderful circular nature to this play, as the audience sees Jeanette Cronin as Bette Davis as Queen Elizabeth I.

“it’s really the portrait of an artist, someone who believed in what she was doing and had a great vision for her art, and really implemented a lot of changes. A lot of screen acting as we know it is because of Bette…” added Cronin.

cronin and mountford are joined by their original crew from G.bod Theatre for this re-staging. (AM)

Until Apr 8 (Tues-Sat, 8pm). Old 505 Theatre, 5 Eliza Street, Newtown. $25-$35. Tickets & info: old505theatre.com or trybooking.com

Queen Bette

AWAY

One of the world’s most loved musicals, Fiddler on the roof has been entertaining audiences for more than 50 years. Sydney welcomes a brand new production fresh from playing at Melbourne’s Princess Theatre.

musical theatre superstar anthony Warlow fronts an exciting cast including Sigrid Thornton, Nicki Wendt, ARIA award-winner Lior, and the iconic Mark Mitchell. Mitchell is better known to many as his alter-ego ‘Con the Fruiterer’ (or to 90s children, as Round The Twist’s Mr Gribble), here he plays wealthy but lonely butcher Lazar Wolf.

“having been a fruiterer, it’s sort of easy to make the leap to becoming a butcherer… i’ve found myself just getting caught up in the mood of the piece,” said Mark.

although he has performed in Oliver!, mitchell has not often had the chance to act in musicals. Speaking to him as the melbourne run of Fiddler on the roof was wrapping up, it was clear that he is relishing the opportunity.

“i’ve been performing with the greatest musical theatre performer of our age, anthony Warlow… it’s not often you can

say that you’ve worked with the best person the industry has to offer, but all of us in this show can say that…legitimately,” he said.

“its an interesting show because the template was devised by Jermone Roberts in 1964…There has never been a lot of deviation…our [production] is different… it’ll be a new production and it’s as different as it can be,” added Mark. “It’s a fresh interpretation.”

in some respects, mitchell’s character is altered the most from the original. He wanted to make Lazar Wolf likeable, a character whose desires can be easily seen as unseemly.

“Lasier Wolfe is always an interesting character because he represents the traditional approach in the face of a very modern response – and that’s what the show is all about…people who are caught up in a tidal wave of great change whilst trying to keep their traditions.” (AM)

Mar 24–May 6, various show times. Capitol Theatre, 13 Campbell Street, Haymarket. $79.90-$139.90+b.f. Tickets & info: ticketmaster.com.au or fiddlerontherooftour.com

Fiddler on the rooF Mark Mitchell & Anthony Warlow. Photo by Jeff Busby


THE NAKED CITY

With coffin Ed, Miss dEAth And JAy KAtzA lot has changed in the music industry since

back in the late 1600s, when musicians entertained and jammed with patron of the arts ferdinando de’ Medici in the hot spots of florence. Whilst historical records differ, it’s generally agreed the players were rewarded immediately after the gig either with cold hard cash or something valuable in kind.

these days musicians who play at the various pubs and clubs around town in sydney can often expect to wait up until six weeks after the actual gig before they are renumerated. it’s a practice that has become entrenched in recent years, but it wasn’t always that way. twenty years ago and the norm was nearly always cash on the night, even if it meant hanging around until the wee small hours until the club or pub owner had tallied up the loot.

in Kings cross one legendary club owner took a fiendish delight in deliberately short-changing bands, albeit by only five or ten dollars. If you were handed a supposed $1000 it was more likely $990, but you never counted the money in his presence or complained, especially if you were looking to be rebooked at the same venue. you did however leave the gig with cold hard cash in your pocket.

Whilst some musicians pull in the big bucks and seldom face the realities of a limited cash flow,

there are hundreds who scuffle from gig to gig, waiting for weeks before they are finally paid. The question is – why?

these days most musicians and bands playing at the medium club and pub level work on a door

deal. the venue collects the money on their behalf, deducts a cost for the use of the PA and sound engineer (usually around $300) and takes around four to five dollars a head as their cut of the door. With no guarantee, essentially the musicians are

hiring the venue and any money left after deductions is legally theirs. if a contract is issued it generally states payment within fourteen days, but the current norm would seem to be more like a month, and in many cases much longer.

it’s clear that many venues are hanging onto the musos money as part of their own cash flow, paying off their more urgent creditors at the expense of the hard working band. the clubs will tell you that it’s all part of an accounting procedure, that they need to wait for returns from ticketing agencies and that musicians are generally paid as soon as is possible. Most ticketing agencies pay up within three or four days, so there’s no excuse there, and the ‘accounting procedure’ clearly indicates that musos are placed right at the end of the pecking order when it comes to sorting out the bills.

the problem for many musicians is that gigs are scarce these days, bookings at clubs are highly competitive and if you do score a date it’s not a good look if you whinge to the venue about their exceedingly late payment – especially if you’re hoping to be rebooked down the line.

it’s just a suggestion, but maybe the sydney city council (who often trumpet the cause of live music) could offer incentives, like an easing of the

current lockout laws, to those venues who do the right thing by musicians when it comes to prompt payment after the gig. cash on the night please – even if it’s a tenner short!

WAITING FOR GODOT - IN THE MODERN MUSIC BIZ

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 period and includes over 30 never seen before images. during the 1930’s sydney underwent a period of rapid modernisation, with suburbs expanding and the construction of the sydney harbour bridge. A classically beautiful exhibition. (nb)Until Apr 10. Museum of Sydney, Cnr Bridge and Phillips St, Sydney. $5-$10. More info: sydneylivingmuseums.com.au

CUSP: DESIGNING INTO THE NEXT DECADE seen by over 50,000 people around the country, this travelling national creative program is sure to be an experience that broadens the mind. the exhibition highlights the works of floyd Mueller, Greg More, Leah heiss, stephen Mushin, and super critical Mass – an ongoing participatory sound project pushing the boundaries of what’s possible in their arena. they will attempt to use design to change the way we listen and will be presenting a one-night-only Sub Mass, questioning our social structure in the process (more details to come). (Ah)Until Apr 28. Tues–Fri, 11am-4pm. Australian Design Centre, 101-115 William Street, Darlinghurst. Free. Info: cusp-design.com or australiandesigncentre.com

WHEN SILENCE FALLS Providing a voice for those who have been silenced, 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

20TH BIENNALE OF SYDNEY in this milestone year, the biennale and all its associated art works follow a topical theme: “the future is already here – it’s just not evenly distributed”. Official Biennale sites – the McA, cockatoo island and carriageworks – have been rebranded as several different ‘Embassies of thought’. the most revolutionary works however exist in public locations, the ‘In-Between’ Spaces. Although these works differ greatly, each casts a new light on its location. city hub recommends heading to Redfern to check out ‘We built this city’ and ‘Making history’ before swinging around to newtown to see ‘fade Away, fade Away, fade Away’ in camperdown cemetery. (AM)Until June 5. Various locations. Free. Full program: 20bos.com

HEAVY ARTILLERY Prominent themes in this group show are identity and tradition and the modernist impact on both. furthermore (with all artists hailing from china and taiwan) the restrictive atmosphere in which chinese artists live results in work which is subtly subversive and intricately planned. for example: he Xiangyu’s contribution, ‘tank Project’ (2011–2013), is a life sized leather replica of a chinese tank – the creator sneaked into an army base to obtain accurate dimensions. heavy Artillery showcases the craft, the cunning and the imagination of artists who need to navigate the perils of political indoctrination and censorship. (LR)Until Aug 7 (10am-5pm, Wed-Sun). White Rabbit Gallery, 30 Balfour Street, Chippendale. Admission Free. Info: whiterabbitcollection.org

Life has a delicate harmony that most people ignore. the story of Penguin the magpie illustrates how this was recognised by a very unique group of humans.

the blooms were devastated by an accident that left wife and mother sam paralysed. they were reeling from shock when relief came to them in the form of a magpie called Penguin, who was abandoned and ejected from its nest.

cameron bloom has documented the relationship of the bird and his family in a series of poignant photographs that show the simple bond between man and beast. the exhibition follows a developing kinship linking the chick and its protectors. the images feature elegant comparisons of the domesticated and the wild, and demonstrate that strong connections can grow despite wildly disparate natures.

there is humour, introspection, happiness and love in these shots. in some, the dishevelled chick stands proudly

staring beak first into the camera, defiantly urging the viewer to challenge its place in the home.

there are funny situations where Penguin rolls in the sheets like a teenager, and warm declarations of camaraderie, particularly in one picture which focuses on a black, gnarled talon next to the soft, chubby fingers of a child. it is a beautiful image with depth, originality and joy contained within its deceptively simple frame.

the story is an exposition, a book (Penguin bloom: the odd little bird who saved a family) and a testament to the way in which the world can surprise, entertain and provide comfort in the midst of tragic circumstances. (LR)

Exhibition Opening + Book Launch: March 30, 6pm. Arthouse Gallery.

Mar 30–Apr 2. Arthouse Gallery, 66 McLachlan Avenue, Rushcutters Bay. Admission Free. Info: arthousegallery.com.au or penguinbloom.com

PENGUIN BlOOM


Gypsy & The Cat: after an overwhelming response to their recent single “inside your mind”, the melbourne duo are prepared to quickly follow it up with yet another single and a rapid fire four-stop tour around the country.Thu, Mar 24, Oxford Arts FactoryHein Cooper: Just before he gets set to jet off to canada to tour his new album, the art Of Escape south coast boy hein cooper has a run of special album launch shows for his fans in melbourne, Sydney and his hometown of milton. tonight Sydney fans get the opportunity to be the second group of people to hear the new album live.Thu, Mar 24, Newtown Social ClubThe Great Awake: these South Sydney pop-punks are no strangers to live shows and late nights having already spent many nights performing alongside the likes of Kisschasy, hawthorne heights and Luca brasi. this group’s name has been on the lips of anyone who keeps their ear to the ground for the newest and most exciting bands on the scene, so don’t miss this chance to get in on the ground floor.Sat, Mar 26, Valve BarStrange Clouds: this weekend the crew behind Strange clouds

once again take over the beautiful courtyard of the crane bar. this time welcoming two celebrated musicians, Nicc Johnson and mo’funk the DJ, who have both honed their crafts with residencies at the famed Pacha ibiza. With many locals such as adamwah, Kris ramea, Kamorta and the Strange clouds DJ’s – this will be an afternoon/evening to remember.Sat, Mar 26, Crane BarBrian Wilson: as a co-founder of the beach boys, brian Wilson helped to shape the soundtrack of the 60s. On tuesday Sydneysiders have the rare opportunity to relive those years with a live performance of Pet Sounds in its entirety.Tue, Mar 29, Sydney Opera HouseVishten: throughout the past decade, canadian trio Vishten have dazzled audiences around the globe as they act as Francophone musical ambassadors. their unique sound is a fiery modern blend of traditional French songs mixed with original instrumentals reminiscent of celtic and arcadian genres. With a new album now completed, the group bring it down under for their fans to experience in all of its glory live and in person.Wed, Mar 30, Django Bar

LIVE WIRE

by JamiE aPPS“Do the things that scare you because that’s the good stuff” – a philosophy that rising melbourne alternative country duo the Weeping Willows have lived by since hearing one of their favourite artists utter those words during an acceptance speech in Nashville.Since that pivotal moment in their lives, andy Wrigglesworth and Laura coates have gone on to record their second album in Los angeles with Grammy award-winning audio engineer ryan Freeland. recording in the united States was a “lifelong dream” for the duo, so receiving an email from ryan inviting them over was “mind-blowing”, according to Laura.Laura explained how the process of working with Freeland helped to shape before Darkness comes a-callin’: “[to say] ryan had the nicest bedside manner is the best way to describe it. he’s really

patient, gentle and incredibly professional, he really knows his stuff. all of his gear was also amazing, he had high quality microphones and headphones so we had a lot of control over what we were hearing back, which made it feel really comfortable and gave us the confidence to take a few more risks to give the best performance we could.”combined with Freeland’s audio expertise, the performing experience they had gained since the first album prepared the Weeping Willows to record their best album to date. “We’ve probably got 300 shows under our belt now, so I was confident to take more risks with my vocals for this album,” said Laura. touring

throughout the united States has also prepared them to put on their best performances for the current tour around australia.“Performing so many shows makes you think on your feet and make sure you don’t just get up there and do the same old, same old – you really need to be entertaining,” Laura explained. “this tour is certainly daunting because we’ve never done anything this intense before. We’ve done weekends here and there but now we’re on the road for three or four months, plus we have day jobs

so i’m hoping people on the road will be ready with coffee,” Laura said with a wry laugh. (Ja)Apr 2. Django Bar, 19 Marrickville Road, Marrickville. $14.70+b.f. Tickets & info: stickytickets.com.au/35081

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MaT Zo – SELf aSSEMbLEIn my opinion an album should fulfil two main criteria – firstly, it should take the listener on a journey throughout its entirety, and secondly, each individual track should feel as if it is a small piece that fits into the larger puzzle picture created in the listener’s mind.unfortunately mat Zo’s latest offering, Self assemble, fails to meet that second criteria. instead it feels more like a 45-minute DJ set through a range of different styles rather than a meticulously curated single body of work by a musician.the album opens up with funky electro-indie-pop with initial tracks ‘the Enemy’ and ‘Sinful’, before moving into house tunes that one would expect to hear in a club, then the listener gets driving heavy bass tracks, such as ‘ruffneck bad boy’ (which I’m sure will be on heavy rotation in nightclubs upon its release) and then finally closing out with electronic dance music that you can expect to hear on the music festival circuit over the next twelve months.the quality of the production on each individual track is great, but overall Self assemble feels disjointed and would perhaps have been better served releasing as a number of shorter EP’s, each catering to a specific style. (JA)WW1/2

TIGa – no fanTaSy REquIREdthroughout the 46-minute duration of tiga’s third album in his trilogy he has created a fleshed out body built upon a dark techno spine.Opening strongly with title track ‘No Fantasy required’ and ‘make me Fall in Love’, you immediately hear and understand tiga’s vision for this record. the tracks here are all clearly aimed for dark, intimate dance floors where techno base is blended with simple yet catchy vocals which instantly embed themselves into your mind.Unfortunately as the album nears the end it slowly fizzles out rather than closing out with a bang. the new version of the previously released ‘Bugatti’ lacks the punch and flair which came from Pusha t’s feature on the initial release. (Ja)WWW


ZOOTOPIA Rural rabbit Judy hopps (Ginnifer Goodwin) wants to join the police force, and despite the judgements of her parents and peers – who are astounded at the very idea of a ‘bunny cop’ – she steels herself through a tough run at police academy and becomes a full-fledged officer. Zootopia sprawling metropolis populated by innumerous animal species – but it isn’t the haven of tolerance and acceptance Judy expected. there’s some ropey plotting going on, but Zootopia is another success for Disney: gorgeously animated and brilliantly imagined with a nuanced consideration of racism to boot. (Dc)WWW1/2

THE DAUGHTER As an adaptation of henrik ibsen’s the Wild Duck, the Daughter is imaginatively set in working-class tasmania, where a timber town is beset by economic woes and secrets. A stellar cast including Geoffrey Rush, Anna torv and Sam Nielsen give weight to the film. Despite the cast, this is a glorified dark soap opera. though director Simon Stone does find beauty in the harrowing and sorrowful situation of bewildering poverty in a tasmanian town. (OA)WW

SPEAR Stephen Page, the artistic director of bangarra Dance theatre, is no stranger to interpreting and developing stories of indigenous Australia on an international scale. With Spear, he transcends the stage

and uses the land as a backdrop to an amazing, heart felt, vital form of storytelling that moves you with its movement. Very little dialogue, great camera work, and composition throughout and an intensity that is inescapable, Djali (hunter Page-Lochard) is perfectly cast in this splice of indigenous culture. (RM)WWWW

THE WILL TO FLY the story of Australia’s gold medal winning aerial freestylist, Lydia Lassila. The film is part biography, part history, and is an interesting tale of determination and triumph. the movie recounts the journeys of the pioneers who came before her and Lydia’s quest to become the first female to perform a quad twisting triple somersault. the Will to Fly occasionally borders on hagiography but is a worthwhile

tribute to a successful woman in a dangerous sport. (LR)WWW

GODS OF EGYPT this mythological swords-and-sandals epic set in Ancient Egypt is a special effects driven film. The story centers on a mortal hero who allies himself with a god in order to save the world and return his true love from the dead. historical accuracy has been discarded in this fanciful story. the spectacular cGi and special-effects overload initially delights, but become tiresome as the film progresses. in all its grandeur, this action-packed adventure is somewhat disappointing and lacks that certain intangible element mandatory for blockbusters to enchant. (MMo)WW1/2

PRIDE AND PREJUDICE AND ZOMBIES in the 19th century, a mysterious plague turns the English countryside into a war zone. No one is safe as the dead come back to life to terrorize the land. the strongest thing about the movie is the time spent on the two lead characters Elizabeth bennet (Lily James) and Mr Darcey (Sam Riley). this is a unique take on the genre that has a promising start, but it gets roped back with the clichés associated with it. (Ah)WWW

TRIPLE 9 Given all of the elements within the story – the Russian mafia, corrupt cops, and dedicated ex-special forces – combined with an all-star cast, this film really should have made away with the loot, but sadly stables at the pivotal moment and is

captured by predictability. Director John hillcoat is a master at epic choreographed action sequences, these visceral scenes are the true standout of this film, but that is not enough to make up for a predictable plot that is fun but far from ground breaking. (JA)WWW

HOW TO BE SINGLE Alice (Dakota Johnson) learns how to be single after a breakup from long-time boyfriend Josh, and to help her is her promiscuous friend Robin (Rebel Wilson) and older, unmarried sister Meg (Leslie Mann). this movie is slightly predictable but to counteract that the dialogue is humorous and light hearted. if you want to watch a fun, simple rom-com, this is it. (AMal)WWW1/2

in A bigger Splash, rock ’n’ roll legend Marianne (tilda Swinton) and her partner Paul (Matthias Schoenaerts) retreat to the Mediterranean island of Pantelleria, seeking shared solitude and a chance to recover from recent life crises.When Marianne’s ex, flamboyant record producer harry (Ralph Fiennes) intrudes upon the couple’s sabbatical with his beguiling daughter Penelope (Dakota Johnson), all four are drawn into a vortex of jealousy and desire with devastating results.Sometimes a truly potent film is one that challenges

rather than entertains viewers – where it doesn’t dawn on us that we’ve seen something vital until the very end, or even until we’ve left the theatre. that’s the case with director Luca Guadagnino’s latest film, a slow-boiler loosely inspired by the 1969 erotic thriller La Piscine.A bigger Splash is a breathtaking tale of nostalgia’s dark side fuelled by an excellent soundtrack and fearless performances, especially Fiennes, who dominates every scene with manic energy and frightening charisma. (Jh)WWWW

the moral fibres of warfare are astutely examined in this high-paced british thriller, which will captivate and ultimately divide audiences as the controversial subject matter transpires.colonel Katherine Powell (helen Mirren) heads a drone mission to capture a most-wanted group of terrorists living in a safe house in Nairobi, Kenya, but when an imminent suicide attack is uncovered, the objective immediately alters to eliminate the terrorists.A young girl enters the kill zone and the strike is suspended as a political battle ensues. Should the mission be

abandoned to save this girl’s life, or proceed as these suicide bombers have the potential to kill crowds of innocent bystanders?Mirren showcases her versatility as an actress in a role which may have been written especially for her, radiating the mandatory assertiveness and military persona, as her character’s emotional involvement is overshadowed by her adherence to the secret mission.As this suspenseful and affecting film unfolds audiences will witness the regrettable decisions which must be made, showcasing that in warfare there are no happy endings. (MMo)WWWW

Absolutely Anything has all the right ingredients – weird romance, comedy, goof ball characters, sci-fi story, a talented cast – and they all just connect.being honest, it’s not the best movie ever made. that said, it’s entertainingly alien (pun intended) in its comedy. Simon Pegg is hilarious and all over the place as usual, and a voice over cameo by Robin Williams is spot on. but it is the Monty Python team that rocks your boat, and if that’s the kind of british comedy you are into, Absolutely Anything is worth its while.

the story is simple: a group of eccentric aliens (Python team) give a school teacher (Pegg) special powers to do absolutely anything. And what does he do? Seeks advice from his dog (Williams), connects the dots in his messed up life and takes the audience with him on his crazy little adventure.it may strictly be for Monty Python devotees or Simon Pegg worshippers, but it entertains. Easy watching, with some delightful moments, it’s a sweet winner. (JR)WWW1/2

Absolutely Anything

A bigger splAsh


Tickets $15 | Concession $13 | Child $10

1 April | 7:30pm

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