Surry Hills Festival – Suburb Wide Double Take creative arts program

This year’s Surry Hills Festival program introduces the Double Take arts program, where over 60 works will be spread across multiple streets in Surry Hills. The various artworks will take form as projections, installations, performances and immersive experiences…..all geared to make people look twice at buildings that they have walked past numerous times, or to show visitors to the area a side that they wouldn’t normally see.

The initiative is from the Surry Hills Neighbourhood Centre and local creatives Esem Projects, who collaborated with each business and residential location to develop site specific artwork which will transform the heart of Surry Hills into a curated trail of projections and arts.   Continue reading Surry Hills Festival – Suburb Wide Double Take creative arts program


This has to be one of the films of the year. Certainly one of the most striking.

Francis Lee’s new film is set in the deep country in the IJK. Elderly couple Martin and Deidre Saxby own a large, sprawling country property which, as they become increasingly frail, are finding it harder and harder to maintain.

Their twenties something son Johnny, who  they are hoping will take on more responsibility, is a big problem. He is uncommunicative, withdrawn, and  has taken to the bottle in a big way. When he has tasks to do around the farm he labours over them grudgingly.

He spends most nights going to the local getting smashed, and when he comes home he literally falls out of his trailer. As well as resenting the responsibilities of being the future heir to the property, he is also battling dealing with being gay. Continue reading GOD’S OWN COUNTRY : ONE OF THE MOVIES OF THE YEAR

Sharpen your knives for ‘Dinner’ @ Sydney Theatre Company

Production images by Brett Boardman

What setting is best to poke fun at other’s misfortunes? Why, a three course dinner party, of course!

Moira Buffini’s contemporary play, Dinner, is wickedly comedic as it is tragic. Centring around host Paige Janssen, the night is to celebrate her husband’s successful new pop-philosophy book being published, entitled Beyond Belief. Guests include an artist, a scientist, a journalist, a politician who cannot attend, and one uninvited stranger. The party is lead by Paige through a series of strange meals, with conversations turning uncomfortably personal. There seems to be no pleasant way this night can end.

The eccentric hostess Paige is played wonderfully by Caroline Brazier. Drawing in the audience for the evening and leading us through all corners of her house and mind, the unravelling cannot be rewound. Husband and author Lars, Sean O’Shea, exudes opulence and status but is not the star of his own party, outshone by his brash wife. Guests Wynne, Hal, and Siân (artist, scientist, and journalist) compliment their hosts, each personality a mirror to society and a comment on the modern western world. Rebecca Massey is the flighty yet morally firm Wynne. Brandon Burke is the cool rockstar scientist Hal, flippant on most matters. Attending the party with his journalist wife Siân, Claire Lovering, their cold affection towards one another echoes the tone of the night. Aleks Mikić bursts in as the uninvited stranger Mike. Symbolising the class division within the English setting, his mere presence is enough to disturb the perfectly planned party. Silent but deadly, Bruce Spence attends to the guests every need imaginable as the waiter.

Resident Director of Sydney Theatre Company, Imara Savage has cleverly added her own touches to Buffini’s smart script via sound bites, subtle fourth-wall breaks, and surprise on-stage cameos. Each addition is flooded with commentary on the fictional and current world. This is extended with the help of the set, created by designer Elizabeth Gadsby. Pristine ivory covers every surface of the dining room. This stark white opulence is contained within the glass box of the stage. The characters are stifled despite their wealth.

The German word schadenfreude (laughing at other people’s misfortunes) has been aptly used by the Sydney Theatre Company to describe this play. Not only is the audience laughing at the characters, but perhaps the state of the world and it’s absurd nuances.

Satirical comedy Dinner will linger long after blood has been spilled and cleaned up.

The play runs for 1 hour and 40 minutes, no interval.

Dinner is on from the 16th September – 28th October. Wed – Sat 8pm; Mon & Tue 6.30pm; Wed 1pm; Sat 2pm


Above: TMO Composer Development Programme finalist, Nigel Ubrihien. His work Mestizo Suite was premiered at this concert. Featured image-Artistic Director Sarah-Grace Williams conducts TMO.

TMO’s most recent Met Concert was a consistently stunning event. Mahler’s massive Symphony Number 1 in D major and the world premiere of a new Australian work, Nigel Ubrihien’s Mestizo Suite, fleshed out this programme.

 This intense concert experience without interval celebrated the ingenuity of both composers, not scared to push the boundaries of the traditional symphonic genre with their high level of imagination and communicative skill.
The inclusion of Nigel Ubrihien’s work was due to him being a finalist in TMO’s Composer Development Programme. This significant project with contemporary Australian composers benefits the musical community at large and brings new music to audiences, satisfyingly premiered by TMO.
Ubrihien’s compact yet expressive  work was not dwarfed by the Mahler symphony. They rather bounced off each other because of the similar way, years apart,  the two composers approached the unearthing of narrative content or emotion as well as creating a keen sense of place.
The musing of Mahler as we follow his ‘wayfarer’ character are mirrored to an extent in Ubrihien’s thought-provoking study of variety, colour and the possibilities of multiculturalism in Mexico and Australia by extension.
TMO’s precise realisation of gesture in Ubrihien’s new work ensured characters and feelings were both clearly conveyed  and cleanly delivered. Penetrating outbursts of drama were always on standby. Such an approach made for a very effective premiere of this suite, and a smooth segue to the sensory smash hit  of the much anticipated Mahler First followed with  its epic tale to be told.
With regards to the impressive or ‘Extraordinary First ‘ of TMO performing the Mahler 1 with an extended band of over ninety players, it would be incorrect to just describe the efforts displayed as a rite of passage or ‘coming of age’ moment. The standard of orchestral playing witnessed and conductor Sarah-Grace William’s interpretation of the work’s complex flux was simply too mature and assured for the weakness of such labels.
The continued confidence on show and elevated nature of the performance rather showed TMO to have matured some time ago. The navigation through the score and extra musical concerns to paint this sprawling story in exquisite colours put TMO’s established talents up in lights.  The orchestra delivered Mahler which was full of substance and successful subtleties, nicely carved lines and portions of pure quirkiness.
This was a generous interpretation of the score but resisted all temptations to overplay. When exposed solo lines and fragments flicked across the orchestral backdrops they were exquisitely vulnerable but eloquent and firm from all soloists involved.
The symphony’s opening movement contained an exquisite restraint and control. There were many pleasing moments of seamless and hushed exposition. From this finely sculptured platform,  glorious climaxes then unfolded organically whether all of a sudden or following an admirably gauged and prolonged build up. Percussionists, timpanists, horns  and harpist in particular crowned many tutti moments with scintillating filigree and sheer power.
Mahler’s fine sense of experimentation with melodic development, form and tone colour was handled here with caricature and with his trademark dark humour intact.  This composer’s sense of surprise was present, making the listening experience literally an edge-of-the-seat one.
The approach to the borrowing of the tune to ‘Frère Jacques’, hauntingly suggested in this venue by solo double bass, was developed through interesting guises across the huge orchestra. Such entries  were never restless, perfunctory or off-hand.
In this way there was no aimless wandering on behalf of TMO throughout  either work in this concert. The degree to which they worked as a team to present this work in a direct and straightfoward manner also allowed for a  magical array of colours and the tracing of large trajectories with interesting sonic effects. This was quite a masterful and  accomplished orchestral execution.
The next Met Concert on 25 November promises to entertain also. There is more New Music, the Rodrigo Guitar Concerto and Beethoven’s Symphony No 3.


This show is described as being,  “a non stop hour of riot sketch comedy, outrageous dance moves, featuring all the best noughties pop culture references bought to you in 3 matching pink velour track suits.”

Theatregoers can expect bootyliscious dance routines, a visit from Kath and Kim, and fearless campaigning to bring back all your favourite things from the 2000s (gluten anyone?).

Part of this year’s Sydney Fringe Festival, be prepared for a Noughty trip down memory lane..

19-23 September at 7pm at the Blood Moon Theatre, inside the World Bar, Bayswater Road, Kings Cross.

For more about Noughty Girls, visit
Find us on: YouTube | Facebook



Under the inspired direction of Kenney Ogilvie, the current production by Mosman Musical Society  is the darkly satirical URINETOWN.

The Zenith Theatre has been transformed into a darkly menacing city, where a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets in a world wracked by ecological disaster. The citizens are required to use public amenities, all managed by a single malevolent company, the Urine Good Company (UGC) that avariciously profits, led by Caldwell Cladwell, by charging admission for one of humanity’s most basic needs. It is supported by a corrupt government and police force.

Amongst the struggling people, who have run out of patience, money and hope, our hero Bobby Strong, one of our valiant star crossed lovers, decides that he’s had enough, and plans a revolution to lead them all to freedom! Does he survive?  Can he make the town great again?

Inspired by the works of Bertolt Brecht and Kurt Weill URINETOWN satirizes politics, capitalism, the legal system, bureaucracy, social irresponsibility, populism, and corporate mismanagement in a production very relevant to our current times  Continue reading MOSMAN MUSICAL SOCIETY PRESENTS ‘URINETOWN’ @  ZENITH THEATRE, CHATSWOOD


Production photos by Grant Leslie Photography

From the moment when Dolly Levi, played with joyous charm and wonderful exuberance by Michele Lansdown, walks onto the stage to the very last note the audience is enthralled by this classic feel good, romantic musical. HELLO, DOLLY! was first performed in 1964 with lyrics and music by Jerry Herman and a book by Michael Stewart, based on Thornton Wilder’s 1938 farce The Merchant of Yonkers.

The musical rides on the shoulders of Dolly, a feisty Jewish widow in 19th-century New York who has an amazing talent for romantic meddling. Dolly is a rare independent woman, and she’s aware of that rarity, with comments such as “Marriage is a bribe to make the housekeeper think she’s a householder”. Though tough is some respects she too is looking for a husband and has her sights set on Horace Vandergelder, a well-known half millionaire of Yonkers. Christopher Hamilton is excellent in the role of Horace with just the right mixture of haughtiness, dignity and finally capitulation to the wiles of Dolly. Continue reading MIRANDA MUSICAL SOCIETY PRESENTS ‘HELLO, DOLLY!’


BITCH BOXER played as part of the Sydney Fringe and was performed in one of the tiniest rooms of the Erskineville Town Hall.

The stage is not much bigger than a boxing ring, the athlete is within touching distance… it’s close enough to see the scars.

Not the broken nose or cut eye of a traditional boxer but the insidious psyche-rending damage of gender, class and loss. Ambition and talent will get Chloe into contention but her primacy will depend entirely on well scabbed emotional hurts.

Chloe is 21. She is a female boxer who is up for the London Olympic Women’s Boxing Team. She lives in Leytonstone, spitting distance from the proposed venue. Her dad, an ex-boxer himself, has channelled her aggression at the departure of her mother into the sport. And there is a love interest who makes her feel soft and safe despite herself. Rounds are won but love, familial and romantic, might be the sucker punch that sends her plans to the mat. Continue reading SYDNEY FRINGE : CHARLOTTE JOSEPHINE’S ‘BITCH BOXER’


Featured image – Camp Dog 2002-03.

Lena Yarinkura was born in 1961 and works in Ankabadbirri, a small coastal town in north-east Arnhem Land.

Lena first learned the technique of string bag weaving and pandanus basketry from her mother. In the early 1990’s Lena moved away from creating purely functional domestic objects out of pandanus fibre and started making sculptural forms that represent both the physical embodiment of ancestral beings and animals observed such as camp dogs, bandicoots, spiders, bush pigs and bush mice.

This exhibition is curated by Clothilde Bullen, Curator of Aboriginal and Torres Strait Islander collections and exhibitions.




Featured : Senne Mestrom ‘Soft Kiss’ 2011.

Drawn entirely from the Museum’s Collection, TODAY, TOMORROW, YESTERDAY considers the impact of the past and the influence of history on artistic practice today. From contemporary interpretations of ancestral stories to the continuing effects of early to mid twentieth century ideas, each room presents a different perspective on the history of the present.

The title and exhibition reference the circular timeless wonderment of TODAY, TOMORROW, YESTERDAY celebrating the different artists deep and ongoing interest in different social, political, cultural and aesthetics histories.

The exhibition is curated by MCA Senior Curator Natasha Bullock. The exhibition runs until 31 December, 2017.




In this latest terrific concert by the Australian Brandenburg Orchestra (ABO), the program for the evening consisted of four works, concentrating on the Classical period.

The concert began with a rarely heard Sinfonia by Mozart’s friend Christian Cannabich, who led  the renowned Mannheim court orchestra  which was to the 18th century what the Berlin Philharmonic is to today. Then there were two works by Mozart, and a Haydn cello concerto, superbly played by ABO principal Jamie Hey.

The Orchestra had as many composers as players in their ensemble and it set the standard for others to follow, increasing the orchestral range and nuance by their introduction of innovative bowing techniques and the use of rhythm and ascending climaxes which became known as the “Mannheim Rocket”.

The entire ABO was in fine, golden form as energetically led by the very enthusiastic Paul Dyer who was close to dancing whilst conducting on fortepiano.

The concert began with the rarely heard Sinfonia in E-Flat major by Cannabich that gave the concert a brisk, emphatic, sprightly start.

Then came Haydn’s Cello Concerto in C major, Hob.VIIb:1 with ABO soloist Jamie Hey on period cello playing with great articulateness and polish. Continue reading AUSTRALIAN BRANDENBURG ORCHESTRA : HAYDN MOZART AND FRIENDS @ CITY RECITAL HALL

Diving For Pearls @ Griffin Theatre Company

Production photography by Brett Boardman

“Never in my life has the right thing happened at the right time.”

Katherine Thomson’s iconic Australian play is revived by director Darren Yap at the Griffin Theatre Company for their 2017 season. Set in Wollongong, Diving for Pearls inspects the economic rationalism of the late ‘80s and the effect political decisions of the era had on opportunity and income for the working class, still impacting some today.

Ursula Yovich is brilliant as Barbara, a woman going through a rough patch who despite this, is eager to learn and immerse herself in the new job market while approaching 40. Steve Rodgers is the gentle Den, a steel work labourer adjusting to the new demands of the times. Together they compliment each other’s opposing personalities and form a wonderful (and at times comic) dynamic on stage. The range of passion Barbara and Den exude for one another reaches an ugly dramatic climax in Act 2, contrasting their affection during the first Act. Ebony Vagulans is another stand-out as Barbara’s intellectually disabled daughter Verge, who moves in to live with Barbara and Den, much to their surprise. Michelle Doake is the hilariously uptight Marj, sister of Barbara with an accent attempting to allude to higher status, particularly compared to the working class status of the other characters. Jack Finsterer is the serious Ron, Den’s brother-in-law and industrial consultant.

Griffin is well known for having a small stage, and the use of space was innovative. Set and costume designer James Browne had wonderful attention to detail, leaving no part of the stage unused. From small model houses lining the industrial pipes and dresser, to the grassy knoll that could then be flipped-up into the underground industrial areas of the town was a great transition from the natural to man-made modern world.

While having the ability to find humour in the often dark parts of the story, director Darren Yap reflects, “In the end, the hard thing this play says to me is: if you don’t change you will be changed.” Certainly Diving For Pearls is a comment on the ever-evolving world we live in, from the changing job market to the increasing over-reliance on technology. Our work is to adapt. Yapp believes we should “remember and cherish the past, but don’t live in it. We have to move forward. As I get older, I find that a harsh reality.” And perhaps this is the harsh reality of all the characters within Diving For Pearls. Life goes on for better or worse.

Diving For Pearls is on at Griffin Theatre Company from the 15th September – 28th October at 7pm Monday – Friday with additional 2pm shows on Saturdays and Tuesday 24th October.


BE YOU is a morning designed to empower, inspire, motivate and celebrate YOU, whilst raising money to support the work of The Butterfly Foundation.

The morning will involve the following:

Session 1: A sweat session led by the Monique Craft, founder of BodyCraft Health and Fitness. This session will get your heart pumping and endorphins racing.

Brunch: It will then be time to refuel! You will be treated to a brunch full of delicious food and thirst quenching beverages, take some time to chat to one another, snap some selfies (remember to #beyouevent) and meet our lovely instructors.

Session 2: After brunch make your way to your mat for a calming yoga flow led by yogini Becky Power of Becky Power Yoga.

There are limited tickets available and the first 75 registered will receive a gift bag.

Tickets are $39.93 (which includes a $2.93 booking fee)

Any enquiries – .

Sunday 1st October 2017 9:30am-1:30pm at the High Tide Room, Bondi Pavilion, Queen Elizabeth Drive.

For more about Be You, visit
Find us on: YouTube | Facebook


In their upcoming concert THOROUGHBASS, comprising Shaun Ng on viola da gamba), Shaun Warden on violin and  Diana Weston on harpsichord, will perform music from or influenced by the Spanish baroque. Vigorous rhythms, outlandish dissonance and heart-felt melodies are the soul of Spain.

The past lives in the present in this concert with present-day music based on that of centuries ago.

In his suite Fantasia para un Gentilhombre Rodrigo really lets his imagination fly. Basing this set of 4 movements on the baroque and folk music of Spain, we hear marches, dances, songs and the raw street sounds of foot-stamping, hand-clapping and guitar-strums.

Stephen Yates’ modern-day take on an anonymous Spanish 18th century fandango resulted in his own melodramatic fantasy Fandangle.

Wind back the clock a couple of centuries and we find Domenico Scarlatti doing a similar thing. His sonatas for harpsichord reveal strangely modern dissonances, insistent patterns and heart-breaking melodies set to guitar-like accompaniments. Eerily similar in style is  Bach’s Fantasia in C minor.


FANS, FANTASIES AND FANDANGOS : Thoroughbass in Concert @ St Luke’s Anglican Church, Ourimbah Road, Mosman on Sunday 24th September @ 3pm.

For more about Fans, Fantasias and Fandangos, visit
Find us on: YouTube | Facebook


MOUNTAIN is a unique cinematic and musical collaboration between the Australian Chamber Orchestra and BAFTA-nominated director Jennifer Peedom.

The film is a dazzling exploration of our obsession with mountains. Only three centuries ago, climbing a mountain would have been considered close to lunacy. The idea scarcely existed that wild landscapes might hold any sort of attraction. Peaks were places of peril, not beauty. Why, then, are we now drawn to mountains in our millions? Continue reading 5 DOUBLE PASSES TO THE BRILLIANT NEW AUSTRALIAN DOCUMENTARY ‘MOUNTAIN’


Told entirely in the words of James Baldwin, through both personal appearances and the text of his final unfinished book project, I AM NOT YOUR NEGRO touches on the lives and assassinations of Malcolm X, Martin Luther King Jr., and Medgar Evers to bring powerful clarity to how the image and reality of Blacks in America today is fabricated and enforced.

Medgar Evers, died on June 12, 1963. Malcolm X, died on February 21, 1965. Martin Luther King Jr., died on April 4, 1968.
James Baldwin loved these men and was determined to expose the complex links and similarities among these three individuals. He was going to write about them. He was going to write his ultimate book! ‘Remember this House’ was the working title of that book.
But James Baldwin never wrote ‘Remember this House’ and film maker Raoul Peck has stepped in with this ambitious film to partly fill the void. Continue reading I AM NOT YOUR NEGRO – JAMES BALDWIN, IN HIS OWN WORDS


The latest thrilling concert as part of the Live at Lunch series featured the artistic director renowned flautist Jane Rutter and special guests pianists Simon Tedeschi and Kevin Hunt.

Kevin Hunt is a jazz pianist-composer who has performed regularly in the Sydney jazz scene since 1979. Hunt currently performs regularly with vocalist Emma Pask and pianist Simon Tedeschi and is a lecturer at the Conservatorium of Music.

All three were obviously having a hugely enjoyable time as did the packed audience.

The stage was mostly bare apart from a large projection screen and two shiny black pianos facing one another.

Rutter wore a glittering gold and yellow outfit and the two men were dressed in suits.

The concert opened with a medley based on Gershwin’s Fascinating Rhythm, a witty dialogue between the two pianos with its catchy, syncopated beats. The second piece was floating shimmering and delicate, rippling and romantic. Continue reading LIVE AT LUNCH : THE PAINTED PIANO AND THE GOLDEN FLUTE @ THE CONCOURSE



It’s Flora’s 21st birthday, and she and her friends have rented a beach-house for the weekend. SMASH HITS AND STEREOTYPES is the story of this group and this weekend. Drugs, sex, cake… what could go wrong?

Gen is obsessed with Ray, a musician with his head in the clouds. Olivia and Bud just want the good times to keep rolling. Victor thinks he’s Jean-Luc Goddard. Everyone is obsessed with Dawn. The Maid and The Caretaker have seen it all before. And, oh yeah, there’s a pervert on the loose.

SMASH HITS AND STEREOTYPES is about Spring, creation, and the entropic inevitability of cosmological formlessness. An aborted attempt at a slacker-musical, this chaos got away from writers Ludwig van Distortion and Coco Grainger, and became a high-spirited musical and philosophical drama.

Dates: Sept 20th to Oct 7th, 7:30pm start time @ The Actor’s Pulse,103 Redfern Street, Redfern.

For more about Smash Hits & Stereotypes, visit
Find us on: YouTube | Facebook


East meets West head-on in what will be a hilarious  1940’s-style update of this Gilbert and Sullivan favourite.

The show will feature an intoxicating mix of styles and influences including the classic Three Little Maids but transformed into show-stopping blues, swing, hot gospel numbers and scorching torch songs.

See what happens when the clean lines and colour of Japanese design combine with the big band sights and sounds of popular American song and dance!

22 September to 1 October at the Independent Theatre, Miller Street, North Sydney.

For bookings, performance times and more about Hot Mikado, visit
Find us on: YouTube | Facebook


‘This thought provoking book shines a light on a range of reasons why people don’t appreciate the urgency of the changes required.’ – John Connor, CEO, The Climate Institute.

This is a deceptively small and light book that asks huge questions about climate change and helps if necessary in opening considered discussions about this extremely important issue.

The book asks why is it that despite overwhelming evidence and fundamental scientific principles, some people still don’t accept that climate change is real and that human activity is contributing to it?! Continue reading AREK SINANIAN : A CLIMATE FOR DENIAL


Like 8 Mile out of Precious, PATTI CAKE$ is a rock solid cinematic rap to dreams, aspirations and perseverance.

Written, directed, and with original music and songs by Geremy Jasper, the film stars Danielle Macdonald, an Australian actress fallen on her feet in the American film market.

Macdonald plays the titular Patti Cake$, a Jersey girl tending bar, doing casual catering gigs, and dreaming of making it in the music business as a rap artist. Patti’s rich inner life is depicted in hallucinatory sequences that turn classic hip-hop tropes into surreal dreams, giving the film a delightful dose of cinematic splendour. Continue reading PATTI CAKE$ : A UNIQUE AND ORIGINAL CINEMATIC EXPERIENCE


GHOST JAM! at the Giant Dwarf Theatre will pack the world’s best ghost tales into an hour of whirlwind action for adults and kids ages 5 to 12.

Theatregoers are invited to join enigmatic storyteller Lafcadio (comedian Sean Murphy) and the mischievous Kitsune (musician Sophie Unsen of Taikoz) on a silly, spooky journey through traditional Japanese folklore complete with booming live music.

The show’s producers say audiences should be prepared to enjoy gasps, giggles and ghoulish good times!

Performances: Wednesday 27th – Saturday 29th September (10:30am and 12:30pm daily) at the Giant Dwarf Theatre, 199 Cleveland Street, Redfern.

Doors open 30 minutes before each performance.

Duration – 60 minutes.

Prices: Adult $17.50, Child $16.00, Group of 5+ $15.00.


For more about Ghost Jam!, visit
Find us on: YouTube | Facebook


The good  folk at the Ambush Gallery in Waterloo are inviting members of the public along to their Spring Party where you enjoy free food, drink and music and listen to some lightning talks by local identities who started at the very bottom and have become success stories in their own right.

The talks will be given by Camilla Gulli, Content Marketing Lead at Vodaphone AustraliaAdam Jacobs, Co-Founder and Managing Director, The Iconic, Mary HuangFounder of The Indigo Project and Caroline Shields, Co-Founder of Be An Unfucker.

The event will take place at the Ambush Gallery, 4 James Street, Waterloo between 6-9 pm on the 22nd September.

For more about Spring Mixer and to rsvp-
Find us on: YouTube | Facebook


Aboriginal art, crafts, bush foods and entertainment will fill Sydney’s spectacular harbour headland park as the iconic Blak Markets return to Barangaroo Reserve.

The open-air market will feature more than 20 stalls selling unique handmade items, accessories, jewellery, art, photography and bush tucker by Aboriginal makers and food producers from around NSW, plus paintings from South Australia’s highly awarded APY Art Centre Collective.

Soak up family-friendly entertainment with live music by singer-songwriter Rebecca Hatch, dance workshops with the Ngaran Ngaran traditional dancers, hunter-gather performances by Larry Brandy Storytellers and a bush tucker cooking demonstration with celebrity chef, The Black Olive (Mark Olive). Continue reading BLAK MARKETS @ BARANGAROO RESERVE


Theatre foyers these days are too often the province of the middle aged and older.  How refreshing it was then to see such a young crowd mingling pre show.

We had all come to see 13 THE MUSICAL, book by Dan Elish and Robert Horn, music and lyrics by Jason Robert Brown,  which premiered on Broadway back in 2009.

This was the return season of this show which was originally presented  by the Chatswood Musical Society.  This production was brought to us by the newly formed theatre Company, Brand New You, in association with The Annex Dance and Arts Centre.

The show follows Evan Goldman’s journey. Evan is 12 and coming up to that landmark day in his thirteenth year when he has his Bar Mitzvah – when a Jewish boy becomes a man and receives heaps of presents and cash from his family and friends. Continue reading 13 THE MUSICAL : THE BRIGHT AND DARK SIDES OF ADOLESENCE

Reviews of Screen, Stage, Performing Arts, Literary Arts, Visual Arts, Cinema + Theatre