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funding set to be slashed for dozens of australian arts and theatre companies

Performers from Legs On The Wall and Stalker

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city hub 26 MAy 20162

3city hub 26 MAy 2016

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Albo says no more dollars for WestConnexBY JORDAN FERMANISHundreds of people packed into the Balmain Town Hall last

Thursday. On May 19 a public meeting was held by the No WestConnex community action group. The meeting was addressed by members of the No WestConnex Action Annandale branch, journalist Wendy Bacon, Greens candidate for Grayndler, Jim Casey and Labor MP for Grayndler, Anthony Albanese.

The day of the meeting coincided with the announcement of the approval of the Australian National Audit Office parliamentary audit into the WestConnex project. According to a letter from the Acting Auditor-General Rona Mellor, the audit is designed to:

“Assess whether appropriate steps were taken to protect the Commonwealth’s interests and obtain value for money in respect to the $3.5 billion in Commonwealth funding committed to the NSW Government for the WestConnex project.”

The timing of this announcement could not have been better for Anthony Albanese. In his address, Mr Albanese drew on his request for the audit on 4 February 2016 as a sign of his staunch opposition to the motorway project.

Mr Albanese set aside $25 million for the planning of WestConnex as the Minister for Infrastructure and transport in the previous federal Labor government.

Mr Albanese’s position on the project has come under scrutiny following resdistribution which has meant his seat now includes Balmain.

In a room in which Mr Albanese had little support, he passionately delivered a promise that under a federal Labor government no further funding would be contributed to WestConnex.

“The fact is this, as the minister there is not one dollar contributed by the former federal Labor government for construction of WestConnex and if we are elected on July 2, I’ll be the Infrastructure and Transport Minister; if I’m in the parliament and if I’m the Minister, there will be not one dollar from the federal Labor government for the WestConnex project,” Mr Albanese promised.

With a close battle for the seat of Grayndler expected between the Greens and Labor, a strong position on the WestConnex project is critical in determining who will win the seat. In the meeting Greens candidate Jim Casey emphasised the need for community unity in stopping the WestConnex project from going ahead.

“We can stop WestConnex and I think that’s the way we have to approach this. The information is important, understanding all the problems with it, that’s important. But I think we have to keep returning to how can we organise to stop this road,” Mr Casey said.

Mr Casey also used the meeting to promote the Greens position, which is to stop WestConnex and redirect funding into public transport.

“WestConnex is 1950s style thinking. It revolves around L.A. style ‘spaghetti junctions’, one in Rozelle, the other in St. Peters, the green lungs of the inner city. It’s talking about more cars, more roads, no public transport,” Mr Casey said.

The need for community consensus to stop Westconnex was echoed by journalist and No WestConnex advocate Wendy Bacon. Ms Bacon has launched an ongoing investigation into the flow of funds into the WestConnex project and has been a campaigning with the community against the motorway.

“Whatever you’re told, this is a federal, state and local issue. If you doubt that, or if you doubt that it is a federal issue, look at any WestConnex brochure, where it carries the logo of the Australian and New South Wales governments,” Ms Bacon said.

Ms Bacon also added that private interests had hijacked the project with the help of state and federal government funding.

“The deeper problem is about the way power is exercised and the way decisions about transport policy are made in Australia. Instead of being guiding by evidence and the public interest, private interests have literally taken over the planning process,” Ms. Bacon said.

As both candidates for Grayndler expressed their disapproval of the project, Mr Albanese used the meeting to try and assert political

leverage by attacking the Greens as being counterproductive in their attempt to derail the project.

“The Parliamentary audit needs someone who understands the way the Parliament works, who understands the way that the system works and can properly represent the interests of the community in getting outcomes. In making a difference, not just having a protest, but making a difference,” Mr Albanese said.

“The way that movements are successful is they build alliances, they don’t try to divide people that essentially agree on the same objectives,” Albanese added.

Mr Albanese is sure to win some votes by announcing that he will not support the WestConnex project.

However voters will be dismayed that Albanese was quick to shift blame onto the NSW state government and seemed only to replicate the longtime Greens stance of supporting more investment in public transport as an alternative.

Wendy Bacon summed up the concerns of the meeting as it transpired into what resembled more of Parliamentary q00uestion time than a public debate on the issue.

“This is not about roads or no roads and as we said we don’t need a debate between the ALP and Liberal,” Ms Bacon said.

mr albanese speaking at Balmain Town Hall. Photo: Jordan Fermanis

BY CHRISTOPHER HARRIS Inner west residents shouted down the

administrator of a newly elected council at its first meeting on Tuesday night.

Chanting “stop WestConnex”, the crowd forced newly appointed administrator Richard Pearson to collect his things and leave the meeting.

Residents and protesters, furious with the government’s decision last fortnight to sack the council, did not relent until Pearson left.

Outside, councillors and a local MP Jenny Leong had addressed the crowd, angry that local democracy will not be an option for the next 18 months as the construction of the $16.8 Billion WestConnex roadway continues in the inner west.

Ms Leong said that the sacking of the council coinciding with the WestConnex project was dangerous.

“We know this administrator has no legitimacy, and we will not give him any respect, not for him as a person, but because he was not elected to represent us, he is not representing our interests, and we are not interested in him deliberating and deciding what is in the best interest of our community.”

Ms Leong also said the administrator would be a single person raising minutes, deliberating on decisions and discussing with himself and then determining, was met with laughter from the crowd.

In a media release last week, Mr Pearson

said he would work with councillors to ensure the voice of inner west residents was heard by the state government

“I believe that my experience with the State Government will in fact help me to make our voice even stronger,” he said in a media release last week.

The crowd laughed after Ms Leong

repeated this claim by Mr Pearson.“The fact that our community will be

destroyed over the next period of time while this administrator sits in here and tries to make allegedly objective and reasoned decisions with himself about what’s in the interest of our community is just completely unacceptable,” Ms Leong said.

Speaking at the meeting former Ashfield Mayor , Lucille McKenna said the government’s choice of sacking the councils was “just disgusting”.

“The actions of this government are nothing short of an absolute disgrace, they are attacking our communities on every level. We are now 18 months without democracy and God knows what can happen.”

WestCONnex Action Group spokesperson Pauline Lockie said it was no coincidence that the councils that opposed the WestConnex had been sacked.

“This is just the latest in a very long line of assaults Mike Baird has placed upon our democratic rights in order to bulldoze WestConnex through.

“We have seen him give this project special designation that means it is immune from legal challenges that would be expected with a development like this. People’s homes, including my own, and businesses have been taken away. Construction works has started and construction contracts were signed, before any planning approvals were granted.”

Inner west unites against government administrator

Protestors at st Peters. source: supplied.

4 city hub 26 MAy 2016

BY GEORGIA FULLERTONWaverley Mayor Sally Betts used her casting vote to reverse a

previously successful motion to hold a plebiscite on merging with neighbouring councils.

With one Liberal Councillor absent at the previous meeting, Waverley Council voted to have a plebiscite on the question of merging with bordering municipalities of Woollahra and Randwick.

Waverley Council hoped that the poll would coincide with the upcoming federal election.

In a chaotic meeting on May 23, several councillors were warned they could face penalties after threatening to stage a boycott following the decision by Mayor Betts.

Mayor Betts, who also works for Malcolm Turnbull as an electorate officer, said that a survey of 600 residents conducted on the mergers a year ago had already established support from residents.

Councillor Dominic Wy Kanak told City Hub the decision was an attack on fundamental democracy.

“Residents have told me that even though they have been Liberal voters, they won’t be voting Liberal at the next election.

“They see Prime Minister Turnbull as turning a blind eye to the People’s pleas for him to stand up for Local Democracy and intervene to protect the People’s rights to vote and maintain their Local Elected Representatives.

Mr Wy Kanak said: “Some are even saying ‘Why vote for a Prime Minister who does not stand up for Democracy.

If a Local Mayor and the Prime Minister can’t stand up for Democracy then our fundamental social and financial stability is under threat.”

Lenore Kulakauskas, from Friends of Bondi Pavillion, said that Mayor Betts was being tactical.

“She delayed this Extraordinary council meeting until her liberal colleague had returned from holidays, feeling confident no doubt that it would be an even split with all the liberals and block voting as they usually do for motions not raised by themselves.”

Ms Kulakauskas said she believed Waverley Council was dysfunctional.

“The council meeting last night was very rowdy and very disappointing. I had sent emails to all the councillors prior to

the meeting, as had other members of the community, imploring them to support democracy and vote to hold a proper poll for the residents of Waverley to see if they supported being merged with Randwick and Woollahra. However, we lost.”

On May 19, local Wentworth voters approached Mr Turnbull’s office in Edgecliff, to ask that he sign a Candidate Commitment on Local Democracy, on behalf of himself and the Liberal Party. The commitment would require the Prime Minister to oppose forced council amalgamations and support properly conducted referendums.

A Waverley Council spokesperson told City Hub that “Waverley Council has already sought the views of its community.”

“In 2015 Council engaged IRIS Research to undertake community consultation on the issue of amalgamation. Council wanted to ensure that its due diligence and community consultation was open and transparent so it commissioned three surveys: 1) a comprehensive telephone-based deliberative poll among the area’s residents; 2) a telephone-based deliberative poll amongst businesses in the area; and 3) a resident’s online and paper survey.”

Waverley Council chambers. Photo: Hermione

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Tripping or just tapping out?BY CHRISTOPHER HARRISThe government’s decision last week to put a halt to free Opal trips

after eight journeys but to keep price hikes on hold has been criticised as a blow to public transport use.

Critics said the state government cherrypicked from IPART recommendations because of this year’s Federal election.

Greens Transport Spokesperson Mehreen Faruqi said that the loss of the weekly travel reward of free trips after eight journeys would drive down public transport use.

Rather than receiving free journeys after eight trips, commuters will now be priced at half of the usual price.

The removal of one of the cornerstones of the Opal card so soon after it was introduced makes its removal seem premature.

“The decision to remove the Weekly Travel Reward will only serve as a disincentive to use public transport, especially on weekends at a time when road congestion is increasing and public transport is underutilised. This is an incredibly short-sighted move from the government.”

“The government had the opportunity to take measures to really drive up public transport use and make the Opal card more effective for commuters. As usual, they have taken the easy road and ended up with these half-baked measures.”

She said that people who use public transport had relied on the rule of the free trips for the affordability of public transport use.

IPART have had two roles in relation to fair changes. They set the maximum fares for public transport, the maximum percentage increase the government can charge for fares. Then they have are also charged with deciding the rules around the fare structure for the Opal Card.

Mr Miles also made the point that the government would most likely eventually have to adopt a price increase closer to the 2019 election, a politically risky thing to do.

According to transport experts City Hub spoke to, there are bigger changes needed to be made to Sydney’s Public Transport fare pricing.

Allan Miles from Action for Public Transport NSW said that Sydney’s fare price structure needed to change to mirror that of Brisbane.

“The current basis [on which fares are charged] is a mess, it will never work until they get standard fare for standard distances. No matter how you travel it has to be the same fare,” he told City Hub

“In other jurisdictions it is very simple, when you travel from A to B whether by bus or by ferry, it is the same fare.

He said that in terms of public transport use, it would have been better to increase the overall fare rather than remove the free trips after eight journeys Opal Feature.

“The idea of removing the free fares and reducing the 50 per cent is an anathema to the idea of promoting public transport, on trains, buses,

and the ferries. Of course more people were catching the Ferry because instead of paying $14 for a ticket you’re paying nothing.”

“It would have been better to approve the fare rise of 4.2 per cent but keep the same structure, and then the daily cap and free trips”

Mr Miles said that the need for a fare structure that was constant across all modes of transport would benefit people who lived further afield because they were often restricted to travelling on one of the most expensive options of a train.

University of Sydney’s Professor of Public Transport Professor Corinne Mulley said the removal of the free trips feature from Opal cards could mean lower rates of public transport use.

“Clearly removing the free trips is the equivalent of making transport more expensive, and as such, the number of trips may fall as a result.”

She said that Sydney’s fare structure as it stands currently is quite flat, meaning that beyond a certain distance travellers don’t pay proportionately to the distance they travel. The longer the distance one travels, the lower the price per kilometer.

“My view about the original plan about the fare system is that it is relatively flat, for both bus and rail, and the fare becomes constant quite quickly.” [I don’t think you need this quote]

According to Professor Mulley, “flatness” in the pricing system

encourages a person to live further afield, which in the long term promotes urban sprawl.

“On equity grounds, citizens like to see people paying in proportion to their consumption and so flat-ish fare systems are not seen as fair.”

“Price acts as a signal to people and changes their behaviour, it encourages people to live further away from the city centre if the fares are cheap or if it doesn’t cost more to live further away than near, and you can’t change that very quickly because location is long term decision.”

“One of the reasons Government subsidises public transport fares is that it reduces congestion. People are trading space for travel time. It is true people have more space when they live further away, it is a question of preference of whether you want to live in a postage stamp closer to the city versus a bigger plot further away and this is encouraged by fares which are not distance related.”

“Changes they are suggesting are moving in the right direction -- it is not enough to have an integrated ticket, you need an integrated fare system, multimodal fares, and aligning fares to the extent the IPART recommendations do, is a good idea.”

“I also don’t think that people gaming the system is overserious, you hear a lot about it , but I am sure it only affects a small proportion of the population.”

Transfering between modes will now refund commuters $2, but some day that is not enough.

New NBN may as well be dial upBY JORDAN FERMANISLast week the Australian Federal Police

carried out a raid in Melbourne on shadow a Cabinet Minister and Labor staffers to obtain documents pertaining to the NBN mess. The raid targeted: The Treasury Place office of former Communications Minister Stephen Conroy, then went to home of Andy Burn who works for Shadow Communications Minister Jason Clare and then moved to a house in Brunswick believed to be the home of a Labor staffer.

In the wake of the revelations Bill Shorten described them as “unprecedented” and “extraordinary.”

The NBN disaster has been coming for a long time. Initial planning and construction of the NBN commenced under the first Rudd Labor government with the promise to rollout fibre-to-the-premises (FTTP) connection nationally to reach 93% of residents by June 2021.

As costs increased and the heavy burden of reconstructing new cabling nationally took longer than expected, the project was amended in 2013 by the Liberal party. The then Communications Minister Malcolm Turnbull announced in 2013 that the NBN would be delivered using a ‘Multi-technology mix’. This new strategy focused on using existing copper cabling to deliver the NBN whilst also including FTTP and fibre-to-the-node (FTTN) in an effort to curb spending.

Newcastle was one of the first regions in NSW to be given the green light to transfer to NBN. Mayfield resident Claire Charles describes her experience with the new NBN connection.

“We were under the old Labor scheme, we have

the node just out the front,” Ms Charles said.“I’ve found it to be super fast.”“When I go into Facebook the videos just run

straight away. There’s no loading. I was streaming on the computer yesterday afternoon and there was no buffering,” She said.

However even with a fast FTTN connection,

the internet speed is determined by the plans that are offered by internet providers and are not determined solely by the NBN connection.

There is a lack of accountability as to who is at fault for slow internet speeds as the NBN is its own entity who then provides contracts to Optus, Telstra and other internet providers.

Claire Charles says that even her fast FTTN connection slows down because she is not on a fast enough plan.

“When internet traffic starts building we were running at 13.5 mega bits on a 25 mega bit plan,” She said.

That is half the speed the provider promised.Ms Charles says she is aware that people

outside of Mayfield are apprehensive about switching over after hearing about how slow copper speeds are.

“I know people that are very wary of going over to NBN after what they’ve heard about the new copper speeds,” Ms Charles said.

The reason the government’s new ‘multi-technology mix’ using copper cabling is not working is that the current state of copper cabling is in disrepair. The government is having to repair existing copper cabling first before installing NBN cabling.

Islington resident Michael Gormly is worried about receiving a copper connection after his suburb was earmarked as next in line to switch over to the NBN.

“The promise of the NBN from what I can see has not been fulfilled from Malcolm’s network. I’m, concerned about it because I’m next door to Mayfield, 200m away and I’ve got copper. And I’m going to have to change over to NBN through copper,” He said.

With the election not far away, the government will be hoping that the specifics of the new NBN copper roll out will be left unknown as the mismanagement of the project would serve as a pre-election curse.

“Shoddy copper cabling.” Photo courtesy Michael Gormly


The Open Space, Sports and Recreation Needs Study 2016 outlines how the City of Sydney will provide new open space and sports and recreation facilities. It includes how the City will manage and upgrade existing assets in the context of an increasing population and demands for open space and sports facilities.

Under the plan, the City will allocate more than $400 million over the next 10 years to improve existing facilities and provide new parks, sports and recreation facilities across the local area.

You can read the study and give feedback at sydneyyoursay.com.au or view printed copies at:

– One Stop Shop (CBD); – Redfern Neighbourhood Service Centre; – Green Square Neighbourhood Service Centre; – Glebe Neighbourhood Service Centre; and – Kings Cross Neighbourhood Service Centre.

Submissions can be emailed to [email protected]

Submissions close at 5pm on Friday 1 July 2016.

HAVE YOUR SAY ON OPEN SPACE AND SPORTS AND RECREATION FACILITIES

Sea of Hands at Barangaroo MAY 27 - JUNE 5 2016May 27 - JUNE 5

Join thousands of Sydneysiders

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FRiday May 27Special guest performances by Christine anu and Casey donovanVenue: Walumil Lawns Barangaroo Reserve Time: 5.00pm - 8.30pmFood stalls open for duration of concert.antar.org.au/seaofhands

Barangaroo was a powerful Cammeraygal woman, a key figure in local Aboriginal culture and community in the late 1700s and the wife

of Wangal man, Woollarawarre Bennelong.

Inspired by historical portraits depicting Eora men, including Bennelong, adorned in customary markings, the designs for the Sea of Hands

installation will include 16,000 hands in the colours of the Aboriginal and Torres Strait Islander Flags. Come and see this extraordinary installation designed by Gurindji/Malngin/Mudpurra artist and researcher Brenda L Croft

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Participate in hand planting daily: 10.00am - 4.00pm, May 27 - June 4 2016

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Opinion

Knowledge is power, but not in NSW

BY KYLIE WINKWORTH This is the story of how Infrastructure NSW helped

to stitch up the case to sell off the Powerhouse Museum (PHM) in Ultimo. In just two years the Powerhouse Museum moved from being an integral part of the arts ribbon around the harbour, and a priority for government investment, to being relatively remote, on a constrained and very valuable site, and urgently up for relocation.

In June 2012 Infrastructure NSW released the Recreation and Arts Baseline Report, prepared by Price Waterhouse Coopers (PwC). It is fascinating reading for all kinds of reasons. It pings NSW for its underinvestment in cultural facilities, and lower per capita spend on culture than all other jurisdictions except Victoria; about $40 less per person. And it notes that cultural spending decreased by a shocking 23% in NSW between 2007-10. No surprise then that other states outperformed NSW in attendance at blockbusters, with only two NSW exhibitions in the top ten, one of them the Powerhouse Museum’s Harry Potter exhibition.

The report advised focusing investment on cluster cultural institutions in an ‘arts ribbon’ around Sydney Harbour. A helpful diagram shows a blue arc of arts and cultural facilities around the harbour, from the Powerhouse Museum, to the Sydney Exhibition and Convention Centre, Walsh Bay, the Opera House and up Macquarie St. The report notes: this configuration of NSW’s world class cultural facilities presents an opportunity to continue to target investment in these iconic venues, build on their strengths and promote access to them as part of the visitor economy. That makes sense. Further into the report PwC looks at the MAAS museum venues, noting they’re in good condition with no backlog of maintenance. So the Powerhouse Museum was sitting pretty as part of Sydney’s cultural ribbon.

Two years later in June 2014 something had changed. The Rebuilding NSW State Infrastructure Strategy redefined Sydney’s arts precinct to the cluster

of arts facilities in the CBD. It mysteriously stretches the territory to include Walsh Bay, a wasteland for tourists not going to a performance, and the unrealised Indigenous Cultural Centre at Barangaroo. But overlooked and on the outer are Darling Harbour and the poor Powerhouse, remote on the other side of Cockle Bay. Instead the report suggests the government investigate moving the Powerhouse collections to Parramatta, and sharing CBD collections with Parramatta.

Five months later in November 2014 the strategy shifts gears. The State Infrastructure Strategy Update now says the government should urgently consider relocation of the Powerhouse Museum to Parramatta. Why urgently? It declares the PHM is relatively remote and not on any cultural ribbon. The CBD cultural precinct will be a priority for investment, including Walsh Bay. Proposed cultural facilities at Barangaroo would also be accessible to this cluster, although the Powerhouse Museum is not. Rather, the museum occupies a constrained (but very valuable) site adjacent to Darling Harbour and will require significant reconfiguration to remain at its current location and comply with exhibition and security standards… This is an astonishing statement given the museum had recently had $25m refurbishment.

For INSW a cultural precinct is defined by location,

distance of no more than 1.5ks between venues, and a mix of institutional offerings. How then does it overlook the PHM, the Australian National Maritime Museum and Darling Harbour as a cultural precinct, along with a popular mix of commercial cultural attractions? On visitor numbers alone this area is Sydney’s major tourism precinct, attracting 26m visitors a year. These visitor numbers are set to rise to 40m a year. Darling Harbour will soon host Australia’s largest convention and exhibition facilities, along with the largest ‘red carpet’ entertainment facility. But this isn’t a cultural precinct? And the Powerhouse is relatively remote so its spacious two hectare site needs to be sold? No mention of the popular Goods Line walkway, which is bringing visitors direct from Central, and which will connect with the new Darling Harbour Boulevard. And no mention of the thriving independent galleries in neighbouring Chippendale, or the evolution of Ultimo as a walkable and fascinating architectural casebook.

INSW acknowledges the growing deficit of cultural infrastructure in western Sydney, although not the greater cultural infrastructure deficit in regional NSW, home to 30% of the population of this state. Its strategy says there is a strong case for relocating the (PHM) to a new cultural precinct serving the west. The Museum’s educational orientation makes it a good fit, (aren’t all museums oriented to education?) and its relocation

could be partly funded by realising the commercial value of its existing site.

The key word here is ‘partly’. In looking for options to enrich the cultural offerings in western Sydney, INSW could not have a selected a more expensive or challenging museum to move from the city. FOI documents reveal that the museum’s valuable site may be worth as little as $140m. The cost of moving the museum and its collections from Ultimo and building a new museum in Parramatta will be close to $1b. That’s $1b for no net increase in cultural facilities. Indeed, it would be cheaper to keep the PHM at Ultimo and build a new museum in Parramatta; although it’s unlikely the ‘business case’ for the new museum will evaluate these costs and options.

With days of the release of the INSW Strategy Update in November 2014, the Premier announced the sale and relocation of the PHM to Parramatta. No need for feasibility study, he had the advice of the property masters in INSW. But the government’s case to sell off the Powerhouse Museum site has never made any sense, especially not the contrived suggestion that the PHM is remote and outside a cultural precinct. The case for moving the museum has shifted as each argument is challenged and pricked. Most recently the Premier declared the new Parramatta museum will be a Smithsonian, despite rejecting the idea of a MAAS branch at Parramatta. The Smithsonian is the umbrella organisation for a cluster of distinctive museums and galleries on the east coast of the US. It has never closed or moved a major museum out of the city; nor has any government anywhere in the world. The Smithsonian has carefully expanded its portfolio of thematic museums, beginning not with the real estate, but with important stories, dialogue and consultations. The premier should take another look at this proven process.

There was a time in NSW when impartial public servants knowledgeable in the arts and museums advised government on cultural infrastructure. Today power, planning and decisions are made by the infrastructure and property departments. And they’re busy urgently planning the unprecedented demolition and move of a major state museum, writing off cultural assets built to last a century. For them museum building is not an exercise in community engagement but a real estate deal. How very Sydney.

Powerhouse Rally at the forecourt of the museum, 500 Harris St Ultimo. Saturday 11am

The forecourt of the Powerhouse Museum

Q: When is a museum in or out of a cultural precinct?A: When the government wants to sell its site to developers

BY CHRISTOPHER HARRRISPyrmont residents are exasperated

with the state government and developers who are redeveloping Darling Harbour’s Habrourside shopping centre.

Residents feel that the construction of the 36 storey office tower in its location is going to further block Pyrmont off from the City as well as remove sunlight from the existing residential buildings.

In a letter to the developer Mirvac, following a public consulation meeting, Pyrmont Action Group Convenor Elizabeth Elanius said that some residents had been brought to tears.

“It appears that all previous height, building footprint and FSR requirements have been thrown out the window, as they were with the ICC and Darling Walk developments. It is yet another example of planning by politician.”

Pyrmont Action Group stated their objections to the project on the grounds that it would block sunlight as well as blocking views.

It said that residents in the apartment building 1 Darling Drive would have compromised sunlight in winter as

well as losing privacy. It said that the planned construction of an over water boardwalk at Darling Harbour would alienate the Habour.

Elizabeth Elanius said that the position of the tower had been dictated by the Sydney Harbour Foreshore Authority -- but that its position was the worst possible because of its proximity to residential apartments.

The pedestrian walkways over Darling Drive will be removed.

“Not only is Mirvac proposing to blight their views, privacy, light and sun, but now it is removing residents’ direct access to the shortest route into the centre of the CBD.”

“None of our input has been incorporated in the concept plans now unveiled. Noting that “community consultation” was required by the Department of Planning, we assume that having launched this concept, and received the feedback, Mirvac and the Department will tick the box marked consultation conducted, and ignore all the comments received, and the distress that this latest walling-off of Pyrmont will cause, as has occurred previously in the case of the ICC developments.

Pyrmont residents slam Darling Harbour development

BY CHRISTOPHER HARRISA medical centre for homeless people in Darlinghurst will be

forced to close if its federal funding is not reinstated before July.Deputy Labor Leader Tanya Plibersek said if the Labor

Party won office at the July Federal Election it would reinstate its funding.

Speaking from the homeless centre, Ms Plibersek said that the centre provided a valuable service for the local homeless population.

“To close the doors here would leave many hundreds of people much worse off.”

We know that the people who turn up here day after day are some of the most vulnerable people who live in our community. They are people who suffer homeless, and drug and alcohol problems, mental health problems. They are also at risk of exclusion, of social isolation, and lonlines.

Ms Plibersek said that she had become involved with the clinic after being a resident of Wooloomooloo and had seen first hand the difference it had made to the local homeless population.

“They would end up in hospital emergency in some cases, I don’t frankly know where they would go. They might end up in the corrective system, they might end up in mental health services, or they might just get lost on the streets and they might actually lose their lives.”

“This is a lfieline for so many people, and the fact that a service that has been running for 40 years might close its doors because of the Liberal’s health cuts, breaks my heart.”

While there are many services in the inner city for homeless people, the Haymarket Clinic is unqiue as it provides long term medical care.

For many homeless people, simply turning up at a medical centre is not an option for homeless people. Over the past 40 years, the benefits of having specialised medical treatment for people who also have high rates of drug and alcohol abuse

problems, as well as mental health problems has taken pressure of the public health system.

Chairman of the board, Kevin, said that it did not make sensible economic sense to close the centre.

“For every dollar that is spent on our service, we save the government a further at least two dollars.”

It is all very well to say Accident and Emergency will pick up the slack because they won’t. Our population is really not acceptable to the average Accident and Emergency service: they’re a nuisance, they’re put down at the bottom of the queue , in fact some of them they are just told, they will call security, and they do and they’re thrown out.

Homeless clinic made homeless

Ms Plibersek with clinic staff.


AustrAliAn Arts sector tAkes Another hit

by cAitLiN buRNSthe Australia council has announced that 65 small to medium arts organisations will have their government funding slashed under its Four-year Funding program, delivering a devastating blow to a significant portion of the visual arts sector. As part of their plan, the council said they would provide $112 million of funding for 128 small and medium companies and continue to maintain indigenous organisations around the country. the fate of those companies that have been cut off, however, is yet to be determined. Australia boasts a large pool of burgeoning artistic talent and no shortage of audiences willing to put bums on seats. between 2012 and 2014, contemporary Art Organisations Australia (cAOs) presented pieces by more than 6,500 artists; supported 230 indigenous artists in their programming; exhibited 900 new artworks and welcomed more than 3.9 million visitors. the live performance industry alone employs 34,000 people and generates a gross output of $2.5 billion. in terms of audiences, more Australians will see a live show than the AFL, NRL, A-League, Super Rugby, test cricket and the big bash combined. One of the companies left out in the financial cold is the iconic Australian physical theatre company Legs On the Wall. For 31 years it has staged innovative pieces designed to challenge audiences. With performances at home and overseas, including the 2008 beijing Olympics, Legs On the Wall has had a great impact on the theatre scene both culturally and artistically. the company now faces an uncertain future as it copes with the loss of its government funding. For Legs On the Wall, the funding they received from both the State and Federal governments provided stability, which Executive Producer Kath Melbourne said “allows us to enter into staff contracts with our core staff, it allows us to undertake long-term projects with artists and it allowed us to leverage those funds to gather further funding for artistic projects.”the impact of these announced cuts will not only be felt by companies such as Legs On the Wall, but will also have a trickle down affect on the contractors they employ, according to Melbourne: “it’s such a blow for the sector that’s going to impact the entire ecosystem. it’s the artists we employ, the designers, the riggers, the production staff and all of the other companies that we work with such as PAct and Stalker. All of these people are now going to find themselves potentially not having a full time role in the arts.”bearing this in mind city hub also reached out to PAct centre for Emerging Artists for comment. based in Sydney, the performing arts company is dedicated to developing artists in the first five years of their career. Since its beginning, PAct has given a start to 448 professional and emerging artists, premiered 58 new works and commissioned 44 new pieces.

Government funding represents 40% of their operating budget. they are set to lose all of it. PAct’s artistic director, Katrina Douglas, said that it won’t however be going down without a fight: “PACT has always operated on the smell of an oily rag and yet produced amazing results for artists and the arts community. PACT is now in the fight of its life.” Douglas is determined to preserve PAct as a mainstay for early career artists seeking vital support and opportunities. “Funding the arts is not a government handout, it is an investment in the future and in Australia’s cultural heritage,” she said. Douglas warns that without companies like PAct, not only will the next generation of artists have fewer opportunities to present their work, but Australia will also see a “brain drain” as artists are forced to look for work overseas. “the government’s reluctance to support and build the arts unfortunately means that Australia is falling way behind the rest of the world,” she said. Sydney-based dancer and choreographer Amrita hepi is someone who has seen their career grow from strength to strength thanks to companies like PAct.

hepi is premiering her piece with Jahra Wasasala, Passing, in June at the centre’s Afterglow Festival. “the small to medium companies gave me a way in, they showed work that made me feel like what i wanted to make was worthwhile; they championed performers and programmers that i look to as pioneers and mentors,” she said of her experience. As many of the industry’s game-changers deal with the short and long-term implications of these funding cuts, there are things the public can do to help. Show your support by buying tickets, writing letters to

state and federal ministers and contributing to fundraising campaigns (these donations are also tax deductible). Kath Melbourne also stressed the importance of keeping the arts at the forefront of your mind as we rapidly approach the federal election, “educate yourself and have a think about the policies on offer from the different parties and what sort of arts community and the style of shows you’d like to see coming from the Sydney arts community.” Without the arts, the fabric of Australia will not shine so bright.

Legs On The Wall: legsonthewall.com.auPACT Centre for Emerging Artists: pact.net.auPASSING (Dance performance by Amrita Hepi & Jahra Wasasala) June 22–25, various show times. PACT Centre for Emerging Artists, 107 Railway Parade, Erskineville. $20-$25. Tickets: pact.net.au/2016/05/passing/Contemporary Arts Organisations Australia: caos.org.au

Listen! I’m Telling You Stories 2015, By PACT Collective. Photo: Katy Green Loughrey

FeAture

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Legs On The Wall and Stalker.

Photo: Chris Peken

Passing by Amrita Hepi and Jahra Wasasala

The Man With The Iron Neck. Photo courtesy of Legs On The Wall


ARTS & ENTERTAINMENT

Contributors: Carmen Cita, Craig Coventry, Greg Webster, Alicia Sim, Peter Urquhart, James Harkness, Leann Richards, Lisa Seltzer, Mark Morellini, Mel Somerville, Rocio Belinda Mendez, Sarah Pritchard, Athina Mallis, Leigh Livingstone, Joseph Rana, Shon Ho, Jacqui Rothwell, Emily Shen, Andrew Hodgson, Irina Dunn, Cindy Aravena, Jacob Aguilar, Caitlin Burns, Zeiya Speede, Rita Bratovich, Chantal Walsh.

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

Senior Moments is a comedy revue filled with numerous sketches depicting the lives of the elderly. Actor Russell Newman, who has been in the industry for 50 years, says growing older is all about realising society is moving along but somehow you’re not moving along with it.

“It’s a series of sketches linked together, I think everybody can enjoy it but I think it will be a great reflection of the older people who come and see it,” he said.

“There is a lot of music, we sing songs relating to a lot of different situations and we play different characters from the piece, but all coming from the same thing. [Senior Moments is a] very, very warm reflection of the things that happen to us in everyday life, particularly as you’re getting older.”

Newman says this production is very important because we need to address the older generation in our society, as they too are humans.

“I think it’s important to let this group in society know that they’re not neglected and they’re not alone,” he said.

“The funny side of life also belongs to them and to us. In entertainment [we] generally focus on the demographic, this particular production addresses that and goes ‘this is for you and for anyone that wants to take part’. We are not dividing society, we are acknowledging a certain part of the community.”

The performance is also starring Penny Cook, Lex Marinos, Benita Collings, John Derum, Russell Newman, Christian Barratt-Hill and Nicola Parry with Geoff Harvey on piano. Written and directed by Angus FitzSimons. Limited tickets available! (AMal)

May 26–29 (Thu 11am + 8pm, Fri 1pm + 8pm, Sat 2pm + 8pm, Sun 5pm). Glen Street Theatre, Cnr Glen Street and Blackbutts Road, Belrose. $59-$47. Tickets & info: glenstreet.com.au

Fans of the Olivia Newton-John movie Xanadu should be in for a treat as the stage spoof of the 80’s roller-disco film comes to Sydney.

First performed in 2007, the latest production of the smash-hit Broadway musical comedy is directed and choreographed by Nathan M Wright who was associate choreographer on Baz Luhrmann’s The Great Gatsby.

The stage version embraces the original music and lyrics by Jeff Lyne and John Farrar, and audiences will be toe-tapping to favourites including ‘Magic’, ‘Suddenly’, ‘Suspended in Time’ and ‘Alive’. Additional songs including ‘Strange Magic’, ‘Evil Woman’ and ‘Have You Never Been Mellow’ were not in the film and have also been incorporated.

The story follows Kira (Jaime Hadwen), a Greek muse who comes to Earth to aid a disheartened young artist called Sonny (Ainsley Melham) in realising his dream of opening the first roller-disco.

Actress Francine Cain, who plays one of the

jealous muses named Calliope, says she hasn’t seen the film as she’d like a fresh take on her character.

“My character is jealous that Kira is the leader of the pack and she wants to take leadership. She’s not evil – she’s just along for the ride”.

“We’ve had a short rehearsal period – it’s been hard work, six days a week, a very intensive regime learning the music and the roller-skating, with so many tricky entrances and exits off stage but we’ve had a complete and utter ball,” explained Cain. “We’ve had so much artistic freedom and the whole show is very 80’s – it takes the mickey out of the 80’s and is very tongue-in-cheek”.

“this show is very creative and the stage is breathtaking. It’s a fun night out for everyone with a sense of humour and you don’t have to be from the 80’s to enjoy this show,” she concluded. (MMo)

Until Jun 12. Hayes Theatre, 19 Greenknowe Ave, Potts Point. $54-$60. Tickets & info: hayestheatre.com.au or 8065-7337

XANAdu – ThE MuSICAl SENIoR MoMENTS

Stuck in Sydney but dreaming of the glamour of Paris? Cabaret de Paris will play for three shows only at the Capitol Theatre next weekend, and promises to transport its audience to exciting Paris, with a parade of international entertainers and beautifully adorned exotic dancers.

A Parisian-themed revue, Cabaret de Paris mixes old-school showgirl glamour with aerial artists, pole dancers, circus acts, magicians, and of course the famous cancan dancers, in a lavish French cabaret show like no other. These performers have been sourced from around the globe, having already graced the beloved stages of the Moulin Rouge, The Lido and other French cabaret revues.

Indeed, legendary Australian showgirl and former Moulin Rouge star – the longest serving showgirl in the revue’s 120-year history – Marissa Burgess will perform alongside Michael Boyd, a world-class

illusionist, and Cyriaque and Angela Kinkingnehun, a husband and wife duo of classically trained ballet dancers who perform in haute couture.

If nothing else, Cabaret de Paris will light up the stage with elaborately embellished and exquisitely bejewelled costumes. Made in the traditional Parisian style, the dancers are clad in little but feathers, sequins and rhinestones with viewer discretion advised during the weekend performances as it is a topless burlesque revue. Not to fear though, the matinee performance will not feature topless dancers and are suitable for the entire family. (ES)

May 27–28 (Fri 8pm, Sat 2pm + 8pm). Capitol Theatre, 13 Campbell Street, Haymarket. $60-$129. Tickets & info: ticketmaster.com.au or 13 61 00

CAbARET dE PARIS

Photo: Frank Farrugia


OH MY GOD I’VE BEEN KIDNAPPED AND I HATE WHAT I’M WEARING this musical theatre parody set in 1965 follows Sugar (Kate Smith), a would-be-glamorous-showgirl, who shoots her two-timing boyfriend buster (Drew Fairly) dead in front of a live audience and escapes to Dubbo. Following a car accident she is kidnapped by Dingo boy (also Drew Fairly), an ugly scholar with a heart of gold who lives in a well, whom she falls madly in love with! Nothing is sacred in this production, an absurdly outrageous and fun-packed show pervading in silliness. (MMo)Until May 28. Old 505 Theatre, 5 Eliza Street, Newtown. $25-$35. Tickets & info: old505theatre.com

AVENUE Q the outrageous musical comedy with a face of felt, a heart of gold and an ammunition of curse words is back in Sydney thanks to the canterbury theatre Guild. Somewhat of a spoof on Sesame Street, the puppet-heavy cast is headed by Princeton, a recent graduate anxious to learn all the lessons life has to throw at him – which is exactly what he gets from the colourful characters he meets in his new neighbourhood. this production is

community theatre at its best. (AM)Until May 29; Wed, Fri + Sat 8pm, Sun 2pm. Bexley RSL, 24 Stoney Creek Road, Bexley. $30-$35+b.f. Tickets & info: canterburytheatreguild.com

BAD JEWS the beloved family patriarch has passed away and the grandchildren assemble in a compressed Manhattan apartment. up for grabs is a treasured family heirloom, grandfather’s chai necklace. is it a symbol of a holocaust survivor? Or does it point towards a brighter future? Who will get hold of it? Joshua harmond’s dark comedy comes to Sydney after sell-out seasons in broadway. (GW)Until Jun 4; Tues–Sat 8pm, Sat 3pm, Sun 5pm. Everest Theatre, Seymour Centre, Cnr City Rd and Cleveland St, Chippendale. $49–$71. Tickets & info: seymourcentre.com or 02 9351 7940

HOWIE THE ROOKIE two men, two chairs, two monologues that interweave a dark and complex story. Andrew henry and Sean hawkins bring howie the Rookie to the stage in an exciting minimalist production. the plot centres around two unfortunate young

men living outside Dublin whose messy underworld lives overlap within a tumultuous 48-hour period. A haunting story of vengeance. this production returns after both actors won Sydney theatre awards last year. (Rb)Until Jun 11; Tue-Sat 7.30pm, Sun 5pm. Old Fitz Theatre, 129 Dowling Street (Cnr Cathedral Street), Woolloomooloo. $28-$38. Tickets & info: oldfitztheatre.com/howie

THE EVENTS claire (catherine Mcclements) is a mélange of identities. She is a Reverend, a feminist, a lesbian and the director of a choir. the choir is a microcosm of society, full of people from all walks of life, that is blown apart when a disaffected young man enters the hall and opens fire. The Events is performed with a different community choir from a different part of Sydney at each performance, who are also seeing it for the very first time. In the wake of multiple terrorist attacks in Europe, the themes of The Events have unfortunately never been more relevant. (cb)Until Jun 12, various show times. Upstairs Theatre, Belvoir St Theatre, 25 Belvoir Street, Surry Hills. $37-$72. Tickets & info: belvoir.com.au or 02 9699 3444

HAY FEVER So much of modern comedy owes to the wry slapstick of Noel coward. clever and droll, his characters are always ready for another dry martini or a classy misstep. the Sydney theatre company presents hay Fever, first produced in 1925. For fans of Noel coward, this tale of naughty people is among his earliest and also the best of his comedies. A wry take on the bohemian mayhem of the bliss family, each member invites a suitably unsuitable guest for a weekend away. (OA)Until May 26, various show times. Drama Theatre, Sydney Opera House. $64-$104. Tickets & info: sydneytheatre.com.au

THE CHERRY ORCHARD For her debut main stage production, director clemence Williams has chosen Anton chekov’s much adapted 1904 play. the cherry Orchard deals with an aristocratic family’s dilemma to sell their beloved property. Even though more than a century has passed since it was first written, Williams believes the play’s themes of class systems and real estate remain increasingly relevant. (ASim)Until May 28; Thurs-Sat 7.30pm, Sun 5pm, Sat 28th 5pm.

New Theatre, 542 King St, Newtown. $17-$32. Tickets & info: newtheatre.org.au

THE TAMING OF THE SHREW Sport For Jove’s production of the taming Of the Shrew takes place in the early 1920’s. While remaining faithful to the original script, director Damien Ryan has managed to imbue Shakespeare’s play with dry wit and wry humour indicative of the silent screen era. using rolling gags, caricatures and physical comedy, Ryan helps make the bard accessible and entertaining. the story itself is a little prickly when it comes to feminine politics; however, dwelling on controversy would be to rob yourself of the sheer enjoyment of what is an innovative, witty, impeccably executed, roaring 20’s inspired sixteenth century rom-com. Stratford-upon-Avon meets Art Deco. Delightful. (Rb)May 19–28, various show times. York Theatre at the Seymour Centre, cnr City Road and Cleveland Street, Chippendale. $35-$42. Tickets & info: sportforjove.com.au

MY NAME IS ASHER LEV “What do you do as a parent when a child has got an amazing gift in a particular area

and you’re insecure about their future?” Asher Lev is a hasidic Jew living in brooklyn who from childhood has displayed prodigious artistic talent and feels helplessly in thrall to his creative instinct. this meets with caustic disapproval from the conservative Jewish community and in particular from his father. (Rb)Until May 29, various show times. Eternity Playhouse, 39 Burton St, Darlinghurst. $34-$46. Tickets & info: encounters.edu.au

DISGRACED A high-flying lawyer in a prominent Jewish law firm, Amir (Sachin Joab) is happily married to artist Emily (Sophie Ross). to climb this ladder, Amir has renounced his islamic heritage. As the play unfolds, his internal cracks become more and more evident. A brave and troubling play, pushing past the cliché’s of political correctness and probing the flaws in what we would like to call our ‘tolerant, liberal, multi-faith’ western democracy. (GW)Until Jun 4, various show times. Sydney Theatre Company, Wharf 1 Theatre, The Wharf, Pier 4/5 Hickson Rd, Walsh Bay. $69-$116. Tickets & info: sydneytheatre.com.au or 02 9250 1777.

if you’ve ever had trouble finishing your sentences or dealing with longstanding family dramas, Simon Labrosee may be the man for you.

Théâtre Excentrique’s latest production, 7 Days In the Life Of Simon Labrosse, boasts the first Aussie performance of the French success, written by the award-winning carole Fréchette. Set in canada’s 1993 recession, Labrosse (played by Gerry Sont) and his quirky quest for employment manages to deliver laughs through its wacky yet oddly insightful look into what life’s meaning is all about. And in today’s time of the entrepreneur, Labrosse’s offerings of stunt man services, compliment giver-er and sentence finisher finds ironic relevance in 2016 Australia.

it may be the nooky set design and 99-backstage’s intimate feel that initially draws in audiences (the venue’s bathroom doubles as stage right), but it’s the

play’s eccentric characters that delivers its punch. cassady Maddox and Steve McGragh round off the three person cast, their shifting roles enigmatic and polished. the script is enjoyable, laced in clever, easy-to-miss one liners that surprise and help lighten some of the play’s heavier messages.

A special mention must be made to Maddox, whose honeyed vocals lamented one of the play’s more reflective moments in a French melody, the entirety of her varied-character performance perfectly timed and enchantingly funny. Need to find the funny meaning in your life? 7 Days In The Life Of Simon Labrosse will sort you out. (cW)

Until May 29; Tues-Sat 7pm, Sun 5pm. Creative Space 99-Backstage, 99 Crown Street, Darlinghurst (access via Crown Lane). $25-$30. Tickets & info: theatrexcentrique.com or 0432 714 809

there are some experiences in life we all share, like falling in love or locking the keys in our car. Not everyone, however, can say they have experienced an extraordinary love that stands the test of family, and the test of time.

Debuting at King Street theatre this month, is it time is a play that explores the idea of eternal love and “‘til death do us part”, in a very literal sense. it is London-based writer Martin Ashley Jones’ first full-length work, and one that he described as happening organically.

“As an artist sometimes you’ve got a head full of ideas, you’ve got scraps of paper, bits and pieces half-finished. It was nice to complete one and hand it over,” he said.

Jones, alongside the theatre’s resident young director barry Walsh, have set out to mirror situations that, at one point or another “most of us will have to deal with, or do deal with, or have dealt with”.

“i’m hoping that within the writing and the acting, people get to relate to those situations that affect all of us. that’s what it’s about, it’s a love story and it’s relationships – the complexities of them, the good and

the bad,” said Jones. Audiences can expect to see love and life in all their glory. (cb)

Until Jun 5 (Tue-Sat 7.30pm, Sun 5pm). King Street Theatre, 644 King St & Cnr Bray St, Newtown. $27-$35. Tickets & info: kingstreettheatre.com.au

Is It tIme

ReefeR madness the Rockdale Musical Society

brings a laugh-out-loud musical satire to Sydney’s sinful inner West for a strictly limited season.

Remember the NSW Government’s ‘stoner sloth’ campaign from late last year? the one that was met with an onslaught of parody and ridicule, because actors dressed as clumsy sloths actually made marijuana use look adorable and hilarious?

Well governments have long been struggling to hit the right notes when producing anti-weed propaganda – as far back as the 1930’s, it appears.

Reefer Madness is an all-singing, all-dancing musical satire based on a much-mocked 1936 instructional film seen in American classrooms, which was intended to warn teenagers of the dangers of marijuana (and wild parties fuelled by jazz music?).

by the late 90s the joke was still still running on a high, and writers/

composers Kevin Murphy and Dan Studney saw it only fitting to turn it into a hilarious musical parody, which is now set to light up in Sydney.

in his second production with Rockdale Musical Society, Joshua Ridge takes on the role of protagonist in this production as Jimmy harper. turning the ripe young age of 18 just this year, Joshua has already performed in more than 15 shows in addition to completing the hSc ¬– a stark contrast to his character, whose life is turned upside down by the “demon weed”.

Joshua is joined by a spectacular cast, talented ensemble and dedicated creative team for this fun, spoofy musical. (AM)

Jun 1–5, various show times. The Depot Theatre, 142 Addison Road, Marrickville. $29-$32. Tickets & info: rockdalemusicalsociety.com or 0423 566 393

REvIEw: 7 days In the LIfe Of sImOn LabROsse

Joshua Ridge as Jimmy Harper and

Georgia Vella as Sally DeBanis

Is It Time Rehearsals


THE NAKED CITY

With coffin Ed, Miss dEAth And JAy KAtznow that the glitter has settled on this year’s Eurovision song contest,

it’s time to reflect on the second year of Australia’s questionable intrusion and some of the more disturbing issues that it raises. Nothing against the vivacious Dami Im, but we were shamelessly rooting for Ukraine, not only to piss off the bellicose Russians, but to avoid the explosion of Aussie cultural jingoism had we actually won the bloody thing.

Throughout its 60-year history Eurovision has been renowned for its trashy, tacky, sentimental, overstated campiness – often coughing up some of the worst songs ever written, with performances to match. That essentially has been its charm and appeal, coupled with the political intrigue of competing countries within the European arena. Along with World Cup Soccer it’s been a ratings bonanza for SBS TV, and it’s not surprising that it was the broadcaster who pushed the case for Australia’s involvement in the event.

Opinions have been divided has to whether we really belong in an event that has previously been restricted solely to European countries and Israel. It’s a bit like somebody threw a big party that continually attracted our attention and suddenly we decided to crash it. The problem with our two contestants to date, Guy Sebastian and Dami, is that they were probably too legitimate, too talented and just not cheezy enough for the typical Eurovision performance. Beards might have helped!

It also raised that awful long running cultural cringe where Australian

singers, actors and other performers are not considered really successful until they have made it overseas. The counter argument of course is that we live in an increasingly global environment, and why not send a couple of our local warblers to fly our multicultural flag in Europe?

SBS has floated the idea of an Asian Song Contest and we have to admit that seems a far more natural fit for our involvement. For starters we’d be up against the remarkable juggernaut that is K-Pop, something we might have to match with the cultivation of hundreds of dancing, over-

manicured boy and girl groups. The South Koreans would also put us to shame with the staging of such an event, given their love of all things that flash, strobe and occupy a video screen wider than an ocean liner. And if we ever decided to include their northern neighbours in the party, look out for 150,000 card flipping punters in the massive Rungaro Stadium.

The problem may well be that rather than boosting our cultural egos, an Asian Song Contest could easily put us to shame as we fail to compete with not only the high-tech production values but the sheer banality of much of Asian pop music. History tells us that there is no room for genuine talent in the Eurovision Song Contest – and yes that does include the loathsome ABBA. Sludge eventually works its way to the top and the same would no doubt apply to an Asian version. If we were to compete successfully, we would need to aim for the lowest common denominator with our unique brand of bubble-gum (or is that bluegum) pop!

THE HIT LIST: The Sounds Of Seduction is nearly as old as Stonehenge – well not quite, but the legendary discotheque has been running for around 20 years. To celebrate its longevity the resurrected Dive Bar in the Kings Cross Hotel is hosting four Saturday nights in a row beginning on Saturday 28 May, as part of the Vivid Festival. Jay Katz and Miss Death plus a host of guest DJ’s will be spinning the platters along with some very funky Go Go girls and assorted taxidermy. $10 on the door.

Tickets & info: kingscrosshotel.com.au/s/whats-on

LET’S HEAR IT FOR UKRAINE!

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

HOBIE PORTER – UNNATURAL HISTORY: THE TOWER HILL PROJECT This evocative new series of paintings explores the fraught and fractured relationship between modern civilisation and the natural environment. Porter employs his characteristic photorealist aesthetics to a project which commemorates 160 years since since Australian artist Eugene von Guérard painted Tower Hill (1855). Porter alludes to the complexities of the impact of colonization and the varying success of the restoration program which attempted to rejuvenate the area that have been cleared since Guérard painted his series. (AM)Until Jun 11; Tues–Fri 9.30am-6pm, Sat 10am-5pm. Arthouse Gallery, 66 McLachlan Avenue, Darlinghurst. Info: arthousegallery.com.au

THE ART OF THE BRICK: DC COMICS An exhibition built from Lego and based around comic book characters may seem juvenile in nature, but ‘Lego artist’ Nathan Sawaya’s sculptures are nothing short of mesmerizing. Comprised of many thousands of individual Lego bricks, these pieces are technical marvels. The exhibition pays tribute to the biggest heroes and villains of the DC (Superman, Batman, The Joker, etc.) but Sawaya also pays equal care and attention to more marginalised characters. You don’t necessarily need to be a DC fanatic to get a kick out of this exhibition; it will still ‘inspire the hero within’. (AM)Until Jun 13, 10am–5pm (last entry 3.30pm). Powerhouse Museum, 500 Harris Street, Ultimo. $16.60-$26 (family passes available).

Tickets & info: maas.museum or ticketek.com.au (or on the door)

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

THE MNEMONIC MIRROR Generated as a response to the comprehensive downfall of linear memory among the minds of tomorrow, The Mnemonic Mirror is an artist led project. The exhibition looks hypothetically at how certain types of thinking have been replaced by other methods and technologies. Very simply, this exhibition is about the way we use our minds and how that has changed over generations, for better or worse. (AH)Until Jul 1; Mon–Fri 12-6pm, Sat 12-4pm. UTS Gallery, 702 Harris Street, Ultimo. Info: art.uts.edu.au

Storytelling is a powerful medium, let’s face it. Everything you’ve been taught from the ground up has been through it. The Sydney International Storytelling Conference brings together creative, expressive people with a common passion for sharing stories.

themed “through the rhythm of story” this year’s event takes a look at how influential storytelling can be in all facets of everyday life.

“We live in a world of stories,” said conference co-convenor and Storytellers NSW president Christine Carlton.

Imagination and fantasy has played a huge part in Carlton’s life and part of the reason for the biennial event, something that she credits to the world’s best storyteller, her mum.

“She used to tell five of us stories every night before we went to bed, I used to marvel at her imagination because it was a never ending story… she was capturing our attention, our

need for fantasy and adventure,” said Carlton.

this time around carlton and co are thrilled to introduce international storyteller David Novak.

“he’s very creative and he has a breadth of tales, so he brings a lot of folk tales and classic myths as well as original

personal stories to life. He has a simple way of enthralling,” Carlton enthused. (AH)

May 27–29. St Joseph’s Conference Centre, 64 MacKillop Drive, Baulkham Hills. Tickets & info: conference.storytellersnsw.org.au

Jeff Duff is arguably one of the greatest performers Australia has produced. His musical prowess and flamboyant, androgynous performances have been making waves since performing with his band Kush in the early 1970’s, and nowadays he says he is busier than he’s ever been – whether releasing his 30th album, touring sell-out David Bowie tribute shows, or publishing a book.

In typical ‘Duffo’ fashion he will launch his tell-all biography, This Will Explain Everything, with a night of Mayhem At The Basement.

Duff has rubbed shoulders with the highest of celebrities and “gotten into trouble” for his ludicrous and revealing outfits on many occasions (including the outfit that graces the metallic gold cover of his book). But he’s rather nonplussed about it all; he’ll talk about recently winning the bowling award from Northbridge Cricket Club with just as much enthusiasm as when Andy Warhol wrote the sleeve notes for one of his albums.

“My career is just what I do…there are no high points or low points,” said Duff. “I don’t consider [the way I dress] abnormal or different…if you’ve done something all your life…to you it’s not outrageous, it’s just what you do.”

More than a book launch, Mayhem at the Basement will be a retrospective of Duff’s career to date, with a unique greatest hits performance from Duffo and his ‘Bowie band’, special guests sharing anecdotes of the mischief he’s been involved in, and much more. (AM)

May 31, 8pm. The Basement, 7 Macquarie Place, Sydney. $25-$30 (dinner packages also available). Tickets & info: thebasement.com.au or moshtix.com.au

Four double-passes to Mayhem At The Basement are up for grabs. For your chance to win, email [email protected] with ‘City Hub Giveaway’ in the header. Competition closes midnight on Saturday May 28. Winners notified by email.

MAYHEM AT THE BASEMENTWEAvINg STORIES TOgETHER


Tully On Tully: Following an intense period of song writing and recording, this five piece are ready to take the new refined material from sophomore EP Miles Away to the stage. Deviating stylistically from their initial release, this new EP is a representation of not only their backgrounds but also their experience in the bustling metropolis of New York. Thu, May 26, Oxford Art FactorySea Of Hands Concert: Celebrate the opening of Sea of hands at the Barangaroo Reserve as part of National Reconciliation Week. Performing on the evening will be Christine Anu and Casey Donovan while the instillation is illuminated in an eye catching manner. Sea of Hands is an evolving two-week installation hosted by ANTaR (the national organisation for Aboriginal and Torres Strait Islander reconciliation and rights).Fri, May 27, Barangaroo Reserve’s Walumil LawnsMossy: Although he’s new on the scene with his debut self titled EP, this Sydney artist has been developing the project in his basement studio for well over a year and as such is set to make a big splash tomorrow night.Fri, May 27, The Oxford CircusSydney Chamber Choir: One of the world’s leading conductors, Jonathan Grieves-Smith, joins the esteemed Sydney Chamber Choir for a one night only event featuring a collaboration with the Orchestra of The Antipodes and an Australian

premiere of ‘Prayer’ by Lativian composer Peteris Vasks.Sat, May 28, City Recital HallJapam: Infectious and energetic music which fuses heavy, technical elements with the melodic appeal of 90’s pop has seen Japam secure a loyal following quickly. This weekend they will bring their music to the people to celebrate the release of new EP How’s My EP?Sat, May 28, Oxford Art FactoryPolaris: One of the breakout stars in the heavy music scene already this year, this weekend sees Sydney band Polaris continue this process by headlining a tour with friends I, Valiance and Justice For The Damned.Sun, May 29, Red RattlerJeff Duff: To mark the launch of his incredible pictorial autobiography book Jeff Duff, his band and many other special guests will perform during special night of music, rare videos and a myriad of other surprises (see page 12).Tue, May 31, The BasementGradz: Rapidly rising Illawarra producer Gradz has scaled the ladder of Sydney’s music scene in just a few short years, and will now be making his debut headline performance at a party that has been a strong supporter from the outset. With his own distinct wavy bass, trap and hip-hop style influenced by his early musical loves he is certainly one to keep an eye on as he puts the finishing touches on an upcoming EP.Wed, Jun 1, The Wall at World Barx

LIVE WIRE

by JAMiE APPSJust four short years ago the Brisbane boys behind Violent Soho never could have envisioned where they would be today, headlining a national tour of theatres with their mates DZ Deathrays and Dune Rats in tow.Back in 2012 these three bands were all playing around Brisbane at house parties and small school halls to just 30 or 50 people. “It was obviously a lot of fun [playing those shows] and we considered it quite successful, but to end up in this position and to see it happen to our mates at the same time has been really rad,” said guitarist James Tidswell. “It’s crazy that we’re literally taking those house party shows with bands that we’ve been

friends with since before they were even DZ Deathrays or Dune Rats into theatres just four years later.”During this four year period, which included the release of Violent Soho’s breakout record Hungry Ghost, not only have the band members blown up in the musical conscious of the Australian public, but they have all also matured personally and as musicians. “We’ve all gotten married, had kids and had a lot personally happen. Naturally that’s going to change the music, so hopefully it sounds a bit more matured because I think we are, but at the same time we really don’t like to over think things and instead just let it come naturally.”The success of Hungry Ghost allowed the band to solely

dedicate their time to writing and recording their newest album Waco, which James said they were “really grateful” for. Thanks to the extra time that they were afforded with this record, lead songwriter Luke Boerdam attempted to make writing his full time job by writing from 9am to 5pm everyday, but as James explained “[Luke] realised really quickly that regardless of time, he had to let the songs and

inspiration come to him rather than forcing it.”For all their shows, and these shows in particular, James said that the band “approaches everything now thinking ‘what can we get away with?’ and ‘how stupid can we make this?’ So it feels ridiculous, what we’ve been able to do.”May 27. Enmore Theatre, 18-132 Enmore Rd, Newtown. 54.90+b.f. Tickets & Info: enmoretheatre.com.au

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Ganz – GaoEvery single element on Dutch producer Ganz’s third EP has very clearly been carefully considered and curated to create a very special six track offering. The production here is so masterfully crafted that with very simple elements Ganz has managed to weave together something that is rich, punchy and complex.Gao opens with ‘Light Years’ (ft. Maribelle) which is a light, bubbly track thanks to Maribelle’s strong, sweet vocals and intricate piano elements. As the EP progresses it explores a range of sounds moving from this light beginner into more hip-hop inspired tracks, such as ‘Frolyfe’, then into big bass driven tracks like ‘Lone’ (ft JOY.) and produced with What So Not, before finally closing out with the dark and dreamy track ‘Dark Places’ (ft. Muki). This progression through styles gives the short but punchy EP a great overall sense of roundedness to the listening experience. (JA) WWWW

MaR HazE – you WItHInFour-piece indie band Mar Haze have been on a brief hiatus since the departure of their lead singer last year. After a few months of hard work behind the scenes, the band is ready to introduce fans to their new lead singer, Pat Kelly, on their latest release, You Within.The new single sees the band experiment with electronic sampling for the first time, adding a new element to their infectious indie pop rock sound. ‘You Within’ is an easy listen thanks to its simple melody layered with Kelly’s soothing vocals, and is a promising taste of what’s to come from Mar Haze in 2016. Check out their east coast tour to catch them live or download ‘You Within’ on iTunes. (CB) WWW1/2

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HARRY & SNOWMAN An insightful documentary which details the remarkable story of a man’s dream to become a professional horseman, and the reputation and respect which he garnered from a doomed horse. harry deLeyer, an 85-year-old Dutch immigrant to America, recounts the story of Snowman, a horse destined for the glue factory. Snowman became a star in post-war years. Fascinating interviews with family and friends, vintage photos and home-made films assist in following the horse’s rise to fame and the tragedy that ensued. (MMo)WWW1/2

THE ANGRY BIRDS MOVIE Probably the first genuinely great movie of the year in my opinion, the Angry birds Movie is a laugh riot with a conscience. With the singular failing of being predictable (after all it’s meant

for kids and is based on an App), Angry birds tells the story of Red (Jason Sudeikis), a different bird with a mind of his own and some anger issues. it’s full of humour, warmth and subtle messages of friendship, acceptance and colonisation. (JR)WWWW1/2

HANGMEN National theatre Live has captured a performance of this award-winning English stage production in high definition and transformed it into a cinematic event. in this comedy-thriller, primarily set in Oldham England in 1965, the focal character is harry, who was a hangman until the death sentence was abolished. two years on he’s a publican, and his former profession is detailed in the newspaper, which becomes the catalyst to all the drama. if moviegoers feel uncomfortable laughing in all the inappropriate places during this wildly funny and gripping black comedy, then

this theatrical production has been a resounding success. (MMo)WWWWLimited release, for participating cinemas go to: ntlive.nationaltheatre.org.uk

THE FIRST MONDAY IN MAY this documentary follows Vogue Editor Anna Wintour and costume institute curator Andrew bolton as they orchestrate the Met ball and bring to life one of the biggest fashion exhibitions the Met has ever run, ‘china: through the Looking Glass’. From the first discussions, to interviews with designers and fashion creatives, and the night that launches the whole event, it is a glimpse at what it takes to produce something that brings art and fashion together. (LS)WWWW

FLORENCE FOSTER JENKINS Only a versatile actress of Meryl

Streep’s calibre could successfully portray 1940’s New york socialite Florence Foster Jenkins, a unique lady who pondered the pleasure derived from enchanting audiences through singing. Attempting to realize her dream, she hired a singing coach and piano accompanist and performed for the public – but she was justifiably labelled “the worst goddam singer in the world”. based on a true story, this is an extremely funny film and the laughs abound. inspiring and cleverly written, audiences will deliberate whether Jenkins was delusional. (MMo)WWW1/2

BASTILLE DAY An unlikely partnership develops when American pick-pocket Michael Mason (Games of thrones’ Richard Madden) picks the wrong pocket and is coerced into joining forces with disgraced ciA agent Sean briar (idris Elba). they embark on an anti-terrorist mission in

Paris on the eve of basille Day. this crime-thriller is a welcoming 90 minutes of pure octane-charged and action-packed escapism, boasting an unlikely but riveting storyline with many twists which should captivate enthusiasts of this style of film. (MMo)WWW1/2

THE MAN WHO KNEW INFINITY based on true events, this film tells the remarkable story of the mathematical genius Srinivasa Ramanujan. having lived in Madras, india, his whole life, Ramanujan (Dev Patel) has his world upended when he is invited by Professor G.h. hardy (Jeremy irons) to cambridge university to further analyse his bold new theorems. Patel and irons do well to highlight the complex relationship between the two men, combined with excellent cinematography and attention to historical detail, the Man Who

Knew Infinity does justice to the important work they accomplished. (ASim)WWW1/2

PAWNO On an unassuming day in a dusty old pawnbroker’s store, world weary owner Les (John brumpton) and his reserved employee Danny (Damian hill) watch on as the very best and worst of human experiences collide and tangle around them. A love letter to the Melbourne suburb of Footscray, Pawno is a seemingly endless tapestry of scenery and people of all creeds and colours (including blue). While Danny’s bumbling, fledgling romance serves as the through line for this film, the peripheral love stories and heartbreaks provide a great, stewing depth of emotion. this is an unpolished gem of independent Australian cinema. (AM)WWWW

hunt for the Wilderpeople is based on barry crump’s 1986 novel Wild Pork & Watercress. it is a comedy out of New Zealand written and directed by taika Waititi (Flight of the conchords, boy) starring Sam Neill and Julian Dennison.the film’s protagonist is Ricky baker (Julian Dennison), a Maori boy who has been in and out of foster homes his whole life until he finally winds up at the home of bella (Rima te Wiata) and hector (Sam Neill). the film transpires into a police chase to capture Ricky and hector as the fugitives navigate the Kiwi bush to remain at large.Waititi employs tarantino-esque episodes of blood and gore and quirky moments of humour audiences have come to expect from NZ comedies.the film is reminiscent of Waititi’s other work with dry, dark humour pervading most of the film. however the heartwarming friendship between Ricky and hector is hard to ignore and the film crescendos into some more serious emotion at the end. Worth a watch. (JF)WWW

Audiences will be confronted by this dark and controversial Australian film which contains graphic gay sex scenes that leave little to the imagination.centring on competitive-lifesaving culture, this film follows one young man’s tortured path to self-discovery, whose inability to accept his own sexuality leads to tragedy.Semi-clad bronzed bodies adorn the screen and portrayed are not the stereotyped effeminate homosexuals who are typically misrepresented in films.Apparent from the onset was that this brave and gripping film was going to be very strange and unique, containing all the classic features of an experimental film – a film different from mainstream cinema

produced on a low budget containing awkward camera work, rapid editing and extreme close-ups.the ensemble cast are electrifying, notably Matt Levett whose angst-filled performance should garner much accolade.this story of distorted mateship and troubled youth cleverly unfolds through flashbacks and the brutal realism and unashamed journey through gay haunts fuelled by drug and alcohol abuse is disturbing.ultimately audiences will question whether this film is mandatory viewing or an example of undignified and perverse filmmaking. (MMo)WWW

In cinemas this June, find out more at: drownthemovie.com

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