SYDNEY theatre SEATING

LIVE PERFORMANCE Theatre Venues and Companies in CBD SYDNEY AUSTRALIA

SYDNEY ARTS GUIDE presents the complete list of all available LIVE PERFORMANCE Theatre Venues and theatre companies in the CBD SYDNEY AUSTRALIA,  within THE CITY OF SYDNEY area as well as in the SUBURBS OF SYDNEY:-      

Here in New South Wales we have much to be proud of, particularly when it comes to the performing arts sector which includes 11 of Australia’s major performing arts organisations working in the fields of dance, theatre, opera, orchestra and chamber music. These organisations are internationally renowned and regularly perform outside Australia as well as in a number of regional venues. Each year more than 1.3 million people in New South Wales attend performances by major companies, with close to 450,000 students and children being engaged in educational activities in NSW.

http://www.parliament.nsw.gov.au/       http://www.arts.nsw.gov.au/

 Within Australia, there are 28 major performing arts companies, of which ten companies are located within New South Wales. These ten companies work across a range of art and cultural spectrums from opera, theatre and drama, music and dance and include:-

Australian Brandenburg Orchestra

Australian Chamber Orchestra

Bangarra Dance Theatre

Bell Shakespeare Company

Belvoir

 Musica Viva Australia

Opera Australia

Sydney Dance Company

Sydney Symphony Orchestra

Sydney Theatre Company

It is estimated these ten companies alone, represent circa 40% of the private sector arts funding received through sponsorship and giving in New South Wales.

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Sydney Cinema Locations – The List

Sydney Cinema Locations

SYDNEY ARTS GUIDE presents the complete list of all available Cinema Venues  within THE CITY OF SYDNEY area, and in the many SUBURBS OF SYDNEY where Australian and Hollywood Movie Films are screened and many exhibitors also screen World Movies:-  

Darling Harbour Imax Cinema    at 31 Wheat Road, Darling Harbour, Sydney, NSW Tel: (02) 9281-3300   with one screen, located on the waterfront in the heart of Sydney’s Darling Harbour.   The minimum size of an IMAX screen is 22 m × 16.1 m (72 ft × 53 ft), Sydney has the world’s largest IMAX screen which is eight  storeys high and measures 35.7 m x 29.7 m (117.1 ft x 97.4 ft) and offers a vertigo inspiring experience.        https://www.imax.com.au/

Sydney Event Cinemas Sydney CBD, street level at 505-525 George Street, Sydney, NSW Tel: (02) 9273-7300  with seventeen screens including Vmax and Gold Class      http://www.eventcinemas.com.au/

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FCCA 2014 Film Critics Circle of Australia Awards

2014 FCCA AWARDS FOR AUSTRALIAN FILM
2014 FCCA AWARDS FOR AUSTRALIAN FILM

 

2014 FCCA AWARDS FOR AUSTRALIAN FILM

WERE PRESENTED ON TUESDAY EVENING 10 MARCH 2015

AT THE PADDINGTON WOOLLAHRA RSL, PADDINGTON, NSW.

 It was a star-studded event night hosted by ABC Radio’s Rod Quinn and attended by luminaries from the Australian film industry, including Russell Crowe, Jacqueline McKenzie, David Field, Susie Porter, David Stratton, Margaret Pomeranz, Rolf de Heer, Yilmaz Erdogan and many more.

2014 Film Critics Circle of Australia Awards, all winners are marked in bold: –   

 

 

THE FOXTEL AWARD FOR BEST FILM
THE BABADOOK PRODUCERS: KRISTINA CEYTON, KRISTIAN MOLIERE
CHARLIE’S COUNTRY PRODUCERS: ROLF DE HEER, PETER DJIGIRR, NILS ERIK NIELSEN
PREDESTINATION PRODUCERS: PADDY McDONALD, TIM McGAHAN, MICHAEL SPIERIG,
PETER SPIERIG
TRACKS PRODUCERS: IAIN CANNING, EMILE SHERMAN
THE WATER DIVINER PRODUCERS: ANDREW MASON, KEITH RODGER, TROY LUM
THE UNIVERSAL PICTURES AWARD FOR BEST DIRECTOR
RUSSELL CROWE THE WATER DIVINER
JOHN CURRAN TRACKS
ROLF DE HEER CHARLIE’S COUNTRY
JENNIFER KENT THE BABADOOK
MICHAEL SPIERIG, PETER SPIERIG PREDESTINATION

 

BEST ACTOR
RUSSELL CROWE THE WATER DIVINER
JOEL EDGERTON FELONY
DAVID GULPILIL CHARLIE’S COUNTRY
DON HANY HEALING
GUY PEARCE THE ROVER
BEST ACTRESS
ESSIE DAVIS THE BABADOOK
SARAH SNOOK PREDESTINATION
MIA WASIKOWSKA TRACKS
BEST PERFORMANCE BY A YOUNG ACTOR
TILDA COBHAM-HERVEY 52 TUESDAYS
ASHLEIGH CUMMINGS GALORE
ANGOURIE RICE THESE FINAL HOURS
NOAH WISEMAN THE BABADOOK
BEST SCREENPLAY
MATTHEW CORMACK 52 TUESDAYS
ROLF DE HEER, DAVID GULPILIL CHARLIE’S COUNTRY
JOEL EDGERTON FELONY
JENNIFER KENT THE BABADOOK
MICHAEL SPIERIG, PETER SPIERIG PREDESTINATION
THE ACS AWARD FOR BEST CINEMATOGRAPHY
IAN JONES ACS CHARLIE’S COUNTRY
RADEK LADEZUK THE BABADOOK
ANDREW LESNIE ACS ASC THE WATER DIVINER
BEN NOTT ACS PREDESTINATION
MANDY WALKER ACS ASC TRACKS
THE AGSC AWARD FOR BEST MUSIC SCORE
DAVID HIRSCHFELDER HEALING
DAVID HIRSCHFELDER THE WATER DIVINER
ANTONY PARTOS THE ROVER
PETER SPIERIG PREDESTINATION
BEST EDITING – Shared Award
BRYAN MASON 52 TUESDAYS
SIMON NJOO THE BABADOOK
MATT VILLA PREDESTINATION
MATT VILLA THE WATER DIVINER
BEST PRODUCTION DESIGN
JO FORD THE ROVER
ALEX HOLMES THE BABADOOK
CHRIS KENNEDY THE WATER DIVINER
MATTHEW PUTLAND PREDESTINATION
BEST ACTOR – SUPPORTING ROLE
JAI COURTNEY FELONY
ADAM DRIVER TRACKS
YILMAZ ERDOGAN THE WATER DIVINER
ROBERT PATTINSON THE ROVER
TOM WILKINSON FELONY
BEST ACTRESS – SUPPORTING ROLE
JUSTINE CLARKE HEALING
MELISSA GEORGE FELONY
ERIN JAMES THE LITTLE DEATH
JACQUELINE McKENZIE THE WATER DIVINER
SUSAN PRIOR THE ROVER
THE SOLRUN HOAAS AWARD FOR BEST DOCUMENTARY
THE ANIMAL CONDITION DIRECTOR: MICHAEL DAHLSTROM
PRODUCERS: MICHAEL DAHLSTROM, ANDE CUNNINGHAM,
AUGUSTA MILLER, SARAH-JANE McALLAN
CHINA’S 3DREAMS DIRECTOR: NICK TORRENS
  PRODUCER: NICK TORRENS
DON’T THROW STONES DIRECTOR: MIKE BROOK
PRODUCERS: PATTI BROOK, MIKE BROOK
LOVE MARRIAGE IN KABUL DIRECTOR: AMIN PALANGI
PRODUCER: PAT FISKE
STILL OUR COUNTRY DIRECTOR: MOLLY REYNOLDS
PRODUCERS: ROLF DE HEER, MOLLY REYNOLDS, PETER DJIGIRR

 

 

 

Annual Awards for Australian Film  

The FCCA is the national professional body of film critics and film journalists in Australia.

A major public activity of the FCCA is the presentation of the annual FCCA Awards for Australian Film, covering feature films and documentaries. These prestigious awards are unique in that they have always had strong support from across the film industry and, for over twenty-five years, have reflected its achievements by recognising and celebrating the creative input of members of the Australian production sector.

The FCCA awards are voted on by all FCCA members and constitute a significant indicator of a film’s success. These are truly independent film awards, voted on solely by film critics, not by the industry or by the film-going public, and have become highly respected for recognising and rewarding originality and excellence in all categories.

 

 

 

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The Marais Project CD -Smörgåsbord!

Tommie Andersson- Arranger, theorbist, period guitarist

For the past fifteen years the Marais Project has augmented their continuing exploration of the 600 works composed by Marin Marais with concerts and recordings of considerable diversity and innovation.

The Project’s fifth CD, SMÖRGÅSBORD! is no exception. Recently released on the Move Records label, it shares aspects of the Swedish musical tradition from pastoral hymn tune through folksong and Baroque instrumental music to 21st century composition.

A stellar cast of a male vocalist and period instrumentalists bring to life a work from Marin Marais’ oeuvre as well as the variety of Swedish music. Fine arrangements by Tommie Andersson in the Baroque guise make up an impressive thirteen of the twenty-four tracks. Continue reading

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EXTRA ORDINARY EVERY DAY

Still life paintings by Mishka Borowski & Belinda Johnstone will be on show at the Sheffer Gallery in Darlington from next Wednesday.

The preview has been timed to coincide with Art Month’s, Art at Night Redfern /Chippendale, so it’s the perfect opportunity to take a tour of all the local galleries.

Preview: Thursday 19th March, 6-8pm
Opening:
Saturday 21st March, 3-5pm

18 March – 28 March, 2015
at Sheffer Gallery
38 Lander Street, Darlington
Gallery Hours: Wed – Sat, 11 – 6 pm

www.sheffergallery.com

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Mishka Borowski, untitled, oil on canvas
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Belinda Johnstone, Taps, oil on canvas

 

Funk Engine Coming To The Foundry 616

Siebe-Pogson
Siebe Pogson

After a successful CD launch last year, Siebe Pogson and his band Funk Engine are back at Foundry 616 on the 11th of March, 2015. Pogson recently returned from a five week trip to the USA, a month of which was spent in New Orleans Louisiana, a place which many consider to be the home of jazz and funk. “Hearing the roots of the music you love is really inspiring for a composer,” Siebe commented. “Before all the music starts – and it doesn’t start till late in New Orleans – I’d often reflect on what I heard the night before and write something similar: anything from a bass line to a melody. As well as jazz, New Orleans has everything. Cajun music (Zydeco), rock, funk, blues, and soul it’s all there.  I learned SO much!” Continue reading

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The Australian Ballet – Behind The Scenes Of Swan Lake

Under the intent eye of Steven Heathcote the Australian Ballet took us behind the scenes of this famous production.

The curtain rose and Heathcote loomed out of the darkness and introduced himself. For many years a much loved principal dancer with the Company, he is now a ballet master.

Casually dressed in tshirt and trousers, Heathcote explained the daily hard grind of class, rehearsal and performance that make up  a dancer’s life.

The fluorescent worklights were on and the barres had already been shifted but it must have been a bit awkward for the dancers as the large circular ‘pond’ from the production was left in place and took up quite a bit of space. Continue reading

THE MATILDA WALTZ

MATILDA WALTZ @ STAR OF THE SEA THEATRE

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THE MATILDA WALTZ_7721The Factory Space Theatre Company is currently presenting THE MATILDA WALTZ, written and directed by Deborah Mulhall. The play premiered in a very abbreviated form at the Sydney Fringe Festival in September 2014.

The play spans 100 years of Australian history through the eyes of five generations of Australian women, each woman being the daughter of the woman before.

THE MATILDA WALTZ begins in Sydney in 1894, where we meet siblings Vera and Ida Templeton, their lawyer Mr. Andrew (Banjo) Paterson and the charming rogue, Horrie. We follow the Templeton family tree, through the First World War and the Second World Wars and onto the Vietnam War. We visit France, New York, Sydney, Queensland and outback NSW with clever locations changes, made with the change of a street sign. Continue reading

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Richard O’Brien’s Rocky Horror Show @ The Lyric

Photo: Brian Geach
Featured pic- Craig McLachlan as Frank N Furter with Amy Lehpamer and Stephen Mahy as Brad and Janet. Production pics by Brian Geach

My favourite saying to calm things down at work is ‘It will be OK. It’s an Art not a Science’. But deep down I don’t really believe that. As theatre makers we might not be ‘makin a man with blonde hair and a tan’ but we do scientifically research, develop, test, monitor, feedback then hypothesise. And what grander scale could you have than the 40 year social experiment of the ROCKY HORROR SHOW?

So to further the experiment, I took a much younger friend with me to see the show. She had heard of it, knew The Time Warp of course, knew it was a phenomenon and knew that I was really excited to see it again. Anyone who has completed science class past primary school knows that experiments seldom completely succeed or fail, that there is a spectrum of achievement and this ROCKY HORROR SHOW tilts the balance almost completely towards success. The beast is loose in the grounds of the Lyric Theatre. Continue reading

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The Gunman

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Woeful limpid, cliché laden lard, THE GUNMAN is like a celluloid midlife crisis writ large across the big screen.

Sean Penn has buffed up to play Jim Terrier, who at the beginning of the picture is a mercenary who is having a torrid affair with a doctor in the Congo. Trouble is he is the designated trigger on an assassination of a government minister and on completion of the kill, he must vanish from the continent without saying his goodbyes to the medico.

Several years later, in a platitude of penance for this vile act, we find him digging wells in another African state, but this time he is the target of a hit. Using his skills, he escapes, ending up in London, where he makes contact with Stanley, an old colleague. Stanley reveals that a price has indeed put on his head. Continue reading

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Simpson, J. 202 at The Genesian Theatre

Ryan Bown as Simpson, Rob White as Sgt Hookway. Photos: Grant Fraser
Ryan Bown as Simpson, Rob White as Sgt Hookway. Photos: Grant Fraser

Sydney has seen many artistic salutes to war heroes recently as the 100th anniversary of the Gallipoli landing draws near. In a well-timed season, the Genesian Theatre presents Richard Beynon’s moving play SIMPSON, J. 202, celebrating Gallipoli legend John Simpson, whose use of a donkey to rescue many of the wounded is well known to many Australians.

Theatrical devices such as split stage for simultaneous action and letter reading or writing give the piece great variety and pace. This Genesian Theatre version of this well-structured play is clearly directed by Mark Gerard Nagle. Charm, sincerity and energy abound as this tale of family, adventure and mateship unfolds before us. Continue reading

Lucy Maunder: Irving Berlin

Lucy Maunder in Irving Berlin: Songs in the Key of Black @ The Hayes

Lucy Maunder in Irving Berlin: Songs in the Key of Black
Lucy Maunder in Irving Berlin: Songs in the Key of Black

It is getting wintry in Sydney. On a Sunday afternoon in the ‘long, dark teatime of the soul’, the autumn leaves are floating down from a grey threatening sky. A perfect time to curl up with a familiar DVD or a well-thumbed novel. Or…..

Settle in with a hundred other music lovers to be transported to a Prohibition honky- tonk in the infamous Bowery section of early 1900s New York. There to raise a teacup of gin to the loved songs of Irving Berlin interpreted by the elusive Lucy Maunder. LUCY MAUNDER IN IRVING BERLIN: SONGS IN THE KEY OF BLACK was a delicious and warm afternoon’s entertainment.

Irving Berlin was a self-taught pianist who remained unable to read music despite rising from the Jewish ghetto of the New York’s Lower East side to be one of the great American songwriters. Responsible for so many well-known tunes, often written for the black keys because of his poor musicianship, his “God Bless America” is an unofficial national anthem. Continue reading

TFO Technology for Oldies

TFO Technology for Oldies

TFO Technology for Oldies

TECHNOLOGY FOR OLDIES eh? I’m an oldie and my oldest friend is an oldie so off we toddled to see what the whippersnappers could teach us. The Corrugated Iron show is on tour from Darwin and playing in association with the Australian Theatre for Young People in the ATYP space at Walsh Bay.

The performance was introduced by TFO Director Adam Blake, who gave us some idea of what the young cast had been up to during their visit to Sydney. Tours of STC and movement class at NIDA and planned events at the Opera House. Sounded tiring to me but as these exuberant young artists hit the stage , there was no sign of fatigue. They were confident and inspiring and what really surprised me … funny.

This show is really well crafted as is all the work of the ensemble. Bookending the busy 60 minutes is a series of scenes comparing the old and new ways of doing things. Events like meeting up with friends, bullying, getting a virus and dating. In the middle of the show there was a snappy stop- start section about dinner times… then and now. There was a clever movement sequence based around the ring of a mobile phone and a great ‘booty call’ dance.

Behind the development there must be a sure hand at work gently guiding the politics of this show. The bullying is about a sneaky nose pick not something really nasty. The males play females and visa versa and the gender issues are sweetly addressed. The use of Shakespearean pass- it- on swearing with effectively beeped modern swearing really got the point home too.

The style is ensemble in nature, though the text wisely gives us a sparky female guide through the various themes. This young woman is confident and engaging and speaks directly to the audience to let us know what is next.

Everyone in the company has high order performance expertise. They can look the audience in the eye then change scenes by turning to focus on each other. They can move with fluidity then freeze with considerable skill. All their movement is excellent group work yet each artist fits their character neatly into each narrative section.

There are scenes designed so that the audience has to concentrate on text, the dating scene for example. These are balanced with visually entertaining sequences such as the ensemble in full virus mode spookily encircling the computer only to fall to the floor with the closing of the laptop.

There is plenty of accessible comedy and it’s both subtle and broad. After a lovely group mime of a horse and cart, the throwaway line ‘bet that jogged a few memories’ just cracked me up. And I fell about when an actor with old man glasses staggered onto the stage calling “My pacemaker, my pacemaker… no wait it’s my mobile phone!”

Both of us really enjoyed the show and congratulations to both Corrugated Iron and ATYP for bring the show to our attention. I am now following them on Twitter. Take that!!

TECHNOLOGY FOR OLDIES played at the ATYP space from 8-11 April.

For more about TFO Technology for Oldies, visit http://www.atyp.com.au/tfo-technology-oldies

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Seeing Unseen @ The Old 505

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SEEING UNSEEN is a fascinating exploration of three days and nights in the lives of a trio of misfits who live primarily in their own world, and yet are also partly watching the outside world and also partly being watched  by it.

The unnamed woman, played by Kerri Glasscock, cannot face going into the world so she spends her days looking out the window and obsessively counting particular types of people and then panicking over their apparently growing numbers.

Her partner, an unnamed man, played by Michael Pigott, has his set routine as he leaves for work each morning to an unspecified job which then sees him returns in the evening.

Their unnamed protector, played by Michael Cullen, stays in the apartment observing them, taking notes and providing them with information and guidance on how to survive.

Created by Gareth Boylan, Michael Cullen, Kerri Glasscock and Michael Pigott this is the completed piece shown first as a work in progress last year.

The actors meld together wonderfully with some beautifully lyrical movement scenes between Glascock and Pigott.

The protector, awkward in his appearance, apparently has the answers for everything based on data, graphs and surveys. He seems to provide some sort of security in a chaotic world. Yet the half-forgotten past of the couple comes back as happy memories try to resurface.

Most effective use is made of the small space to provide areas both within the apartment and also scenes of memories from the past. Props are cleverly used, – a cut-out on an overhead projector creates a separate room. At another time a blue sheet transforms into a river.

This is a highly entertaining and inventive study of some big questions about life, relationships and contemporary society. There is great humour in the writing and clever interactions among the characters as the past and present, the world outside and the world of their thoughts, come together.

SEEING UNSEEN is playing until the 26th April at The Old 505 Theatre, Suite 505, 342 Elizabeth St Surry Hills. For further details contact Kerri Glascock at venue505@mac.co

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Jerry and Tom @ The Exchange Hotel

Insomniac Theatre- inset
Production photos by GiGee Photography

The director, Maggie Scott welcomed me  last Thursday night to a delightful little venue, the Craftsman Bar within Balmain’s Exchange Hotel. I took my seat to settle in for ninety odd minutes of something a little different in the arena of comedy.

Rick Cleveland, the writer of this quirky little one-act play, happened to be working at a “mob run comedy club in Ohio”, (shades of  “The Sopranos”, a confessed favourite of Maggie’s; she even used the TV show’s theme music). Surprise! He later learns that a couple of his friends are hitmen, convicted of murder. This of course prompts a script about the almost causal tendencies of people with a ‘very specific skill set’! Continue reading

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The Anzac Project- Helping Us Remember @ The Ensemble Theatre

Inset- The Anzac Project
Inset pic- Eric Beecroft and David Terry in Dear Mum and Dad. Featured pic- Anita Hegh and David Terry. Production pics by Clare Hawley

As part of this year’s 100th anniversary of the Australian and New Zealand troops landing on the Gallipoli Peninsula in an offensive against the Turkish Army during World War 1, the Ensemble Theatre  has developed and is now presenting its production, THE ANZAC PROJECT- HELPING US REMEMBER.

As we all know only too painfully, the campaign was a disastrous one. The troops were largely cannon fodder but the camaraderie, sardonic humour and bravery of the Australian and New Zealand forces launched a legend, henceforth known as the ANZACS that continues to be recognised every 25th April since 1916.

The two new works, commissioned by the Ensemble Theatre for their 2015 season, and written by experienced playwrights Geoffrey Atherton and Vanessa Bates, have many overlaps and similarities in style and content. With them being presented by the same quartet of actors playing quite similar characters, and both directed by Mark Kilmurry, using the same set, there tends to be a blurring of stories and images into one whole. Continue reading

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X + Y

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Fans of the fabulous Australian feature film Paper Planes should find a simpatico fascination with X + Y, British filmmaker Morgan Matthews’ movie about a math whiz attending an international calculus contest.

Asa Butterfield plays Nathan, a number crunching nerd on, as they say, the spectrum, although his Asperger’s is as benign as an asparagus and it’s noughtism rather that autism that drives his binary braininess.

His social arrhythmia seems to be subtracted when focused on factors, centered on integers, pining for primaries, and longing for logarithms. Continue reading

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Mommy

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What’s typical of great actors: they create characters, not performances. You betcha. And that’s what makes the movie, MOMMY, so damned good, a motherlode of mature, pure, crystalline characterisation from everyone, but especially the three central characters of this compulsively watchable film.

Two and a half hours spent with a 15 year old brat with extreme ADHD is not my idea, nor probably yours, of entertainment, but such is the mastery of his material and the acumen of the actors he has cast, writer/director Xavier Dolan has dealt a trump card in making a sow’s ear story into a silk purse cinematic experience.

Terrifying temper tantrums, candid, raw, visceral, relationships- this is CGI – candid, genuine, intelligent- movie making par excellence. Continue reading

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Fast and Furious 7

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Over the last 14 years, The Fast & Furious franchise has taken us on quite a ride: from illegal street races, to heists, evil drug lords to superheros, saving others in the most over the top, action filled way. FAST AND FURIOUS 7 taken us to new heights, literally.

There was so much laughing, applauding and cheering at the preview screening, it almost felt like I was at a comedy festival show. As with each new film, the stunts become more implausible and entertaining. The heroes driving an expensive sports car through the window of one skyscraper and into another and another. Or when the cars are parachuting off planes and in one of the movie’s most daring and laughable scenes, when Paul Walker’s character defies the laws of physics from falling off a cliff. Continue reading

Resonance : The Love of a Poet @ The Pitt Street Uniting Church

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The latest in the excellent series of Resonance concerts at Pitt St was THE LOVE OF A POET featuring baritone Alexander Knight and Chris Cartner on piano in a thrilling concert, eloquently played. If you like Schumann and the German Romantics this concert was for you. It certainly helped that the acoustics in this inner city Uniting Church were warm and flattering.

There were no programmes or surtitles per se, the audience sat ‘in the round’ in the church’s configuration and a screen was used which featured English translations and beautiful landscapes as illustrations.

Each piece in the concert was introduced by one of the two gentlemen.

Knight was in glorious voice, at times lyrical and moving, at other times powerful and punchy.

First up was Robert Schumann’s Traumerei (from his Kinderszenen) which was both haunting and lyrical and given a fragile, delicate playing  by Cartner.

In der Fremde followed with a forest landscape. Cartner accompanying on piano with passionate rippling overtones.

Widmung was next with its prominent central section in E. A love song , it was given a heart felt, passionate and yearning performance . Romance in F#, op.28 no. 2 then followed, a magical whirling, flowing performance by Cartner. It was exquisite and full of melancholy and featured a repetition of various musical themes.

The second half consisted of Dicherliebe (“The love of a poet”) sixteen songs of various moods and themes. Some pieces were as short as thirty seconds, yet all came together to paint an an extraordinary picture /portrait of ‘the love of a poet’.

The cycle was inspired by dreams, fairy-tales and the natural world Some were extremely Romantic, other pieces were passionate, proud and defiant. Some looked at nature  the Rhine river (you could hear its flowing), some at helpless, passionate love.

For some of the pieces Cartner’s playing was fast and furious, dashing and breathless, for others it was slower and more lyrical.  Knight’s singing was glorious throughout.

The Dicherliebe sequence was a glorious way to conclude this very special concert.

Running time- one hour without interval.

LOVE OF A POET was performed one time only, on the 1st April , at the Pitt Street Uniting Church, previously having played venues at Lavender Bay and Annandale.

For more about Resonance, visit http://www.resonance.net.au/

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April De Angelis’ Jumpy @ The Drama Theatre

Inset pic- Brenna Harding and Jane Turner. Featured pic- Pics by Brett Boardman

Fraught mother and daughter relationships have  been a rich source of material for scriptwriters for a very long time. Many will recall the multi-Academy Award winning Terms of Endearment featuring Shirley MacLaine and Debra Winger.

Prominent British playwright April De Angelis dives into this very deep well with her play JUMPY. A hit when it was first performed on the West End in 2011,  the script is currently in the process of being developed into a mainstream television series.

Sydney theatregoers currently have the opportunity to  see this very clever play’s Australian premiere production at the Sydney Opera House. Continue reading

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Le Roi S’Amuse (The King Amuses Himself) @ The Fig Tree

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Audiences will probably be far more familiar with the opera that was inspired by this play, Verdi’s Rigoletto.  Written in 1832, Hugo’s play was criticised as immoral and encouraging vice.

Here in this production by Dram’in French, performed in French with English subtitles, and featuring minimal staging, we are presented with a gripping, powerful version featuring a magnificent Triboulet who rightly dominates the production. The play is very much of the Romantic era and has some possible parallels to Giselle, with a virginal young girl being deceived.The plot also includes politics, deception, disguise and abduction. Continue reading

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The Australian Ballet in Giselle

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Production photos by Jeff Busby

 

   



 

This was a long anticipated opening night– in the presence of the Prime Minister Mr Abbott– that will be long remembered. The Australian Ballet was in peak form and Madeleine Eastoe and Kevin Jackson delivered exceptional performances .

The performance is a revival of the 1986 Maina Gielgud version  of GISELLE that has been in the Australian Ballet’s repertoire ever since. First performed in 1841 GISELLE is now regarded as one of the major Romantic ballets. The ballet tells a story of  disguise, intrigue, young love, broken hearts and deception. Not forgetting the impact of the eerie, sinister Wilis who appear in Act 2-a group of supernatural women whose thing is to dance men to their deaths- determined on revenge. Continue reading

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HOME

 




 

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HOME is a fast-paced delightful 94 minutes, I really enjoyed watching this movie as did my kids. Released on 19 March, HOME is DREAMWORKS lone theatrical release of this year, and it has been well worth the wait, especially in the 3D version as distributed only in overseas markets by Twentieth Century Fox.

DREAMWORKS marketing for this movie was both clever and unique, because they released from 7 March 2014 a fast-paced, wonderful, charming and captivating 3D DreamWorks computer-graphics-animated four minute comedy short called “ALMOST HOME”, that screened before each new DreamWorks children’s movie, including the 3D Mr. Peabody and Sherman, and 3D Penguins of Madagascar, plus the Blue Sky Studios film 3D Rio 2.

Based on the 2007 children’s science fiction book, written by Adam Rex, “The True Meaning of Smekday” and featuring the voices of Steve Martin, Rihanna and Jim Parsons, HOME has Gratutity (“Tip”) Tucci as its female protagonist, this a wonderful story that has both heart and humour.

Continue reading

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The Royal Shakespeare Company In Love’s Labour’s Won

Love's Labour's Won- inset

This glorious comedy presented by the Royal Shakespeare Company is  more commonly known as MUCH ADO ABOUT NOTHING.

The Bard’s narrative has been transposed from sunny Sicily to a bitterly cold December in the UK at the end of 1918 . The action in this version is set in an Elizabethan manor at Charlecote Park, just outside of Stratford-upon-Avon, at Christmas and the house has been turned into a hospital. Beatrice and Hero are among the nurses.  Continue reading

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Sydney Youth Orchestra-Legends of Past @ City Recital Hall

Actor Paul-William Mawhinney performed a moving monologue by Morris Gleitzman
Actor Paul-William Mawhinney performed a moving monologue written by Morris Gleitzman

LEGENDS OF PAST from the Sydney Youth Orchestra (SYO) was a bold start to this year’s season. With later concerts this year including an opera, opera music and other highly dramatic programmes, this concert’s tribute to the ANZACS in a commemorative year was a colourful, collaborative and meaningful start to 2015.

The programme included an exciting world premiere work, ‘Cathedra’, by Andrew Howes, a Sydney-born composer aged in his early twenties. Written for large forces and containing penetrating effects, it made for a stunning opening. Its soundscape, intended to commemorate fallen soldiers at Gallipoli, fitted in well with the concert’s extra-musical agenda.

Following this work came a break from pure orchestral entertainment with a monologue by Morris Gleitzman, the Australian author of ‘Loyal Creatures’. This monologue was given a poignant performance by Australian actor Paul-William Mawhinney. His measured and genuine portrayal as the ghost of young soldier Frank alternated beautifully between rollicking anecdote and moments of choking heartbreak. It was a touching reminder of the sacrifices made during the Gallipoli and Egyptian campaigns by soldiers of the Lighthorse Brigade. Continue reading

samba

SAMBA

samba (2014)

SAMBA is based on the 2011 book “Samba pour la France” by Delphine Coulin.

SAMBA starring Omar Sy and with the screenplay written by Olivier Nakache and Eric Toledano, is the new offering by the team that came up with INTOUCHABLES, a very successful film which grossed USD $425 million.

Filmed on the suburbs of Paris, SAMBA was first shown on 7th September 2014 at the Toronto International Film Festival. The film went on to receive a release in France on the 15th October last year and is screening in cinemas here from today. Continue reading

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Australian Chamber Orchestra : Reflections on Gallipoli @ the City Recital Hall

Gallipoli-inset

With Neil Armfield’s wonderful direction, a great troupe of actors, a magnificent opera singer, and very effective use of multimedia, this concert was a powerful tribute to the fallen on both sides.

Each work shared in common an artist’s response and outpouring to the horrific trench experiences Passionately spoken, plainly articulated first hand accounts of those who fought, lived and somehow endured the horrors of those Turkish battlefields were recited by Nathaniel Dean, Yalin Ozucelik and Taryn Fiebig,

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Vive la France!- Balmain Sinfonia

Vive la France!- Balmain Sinfonia

Mezzo Soprano soloist Ellen Malone performed art song and opera. Main photo by  Ron Irving.
Mezzo Soprano soloist Ellen Malone performed art song and opera. Main photo by Ron Irving.

The first Balmain Sinfonia concert for 2015 at the Macquarie Theatre presented a charming and varied programme of works by native French composers or works which received their premieres in France by composers established there. The interesting diversity of programmed music avoided cliché and over-performed works.

With a focus on the nineteenth century, we heard a mixture of contrasting works from Bizet, Berlioz and Franck. The chance to discover theatrical and concert music from these three greats was received very well by the orchestra’s loyal followers. Continue reading

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The Bolshoi: Swan Lake

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As to be expected this is generally a very traditional version of SWAN LAKE, danced magnificently, at times bold, vibrant and colourful and with two outstanding leads. The ‘white’ acts ,a pinnacle of Romanticism,were terrific.

Under the dynamic baton of maestro Pavel Sorokin the Bolshoi Theatre Orchestra was in top form and gave a splendid performance.

The ensemble work was tremendous. Sometimes in the ‘white acts’, the camera gave views shooting from above so that the very complicated lines and patterns were visible. Continue reading

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Sydney Chamber Choir: Passion and Resurrection @ The Great Hall

Sydney Chamber Choir-Inset

With Easter approaching, the Sydney Chamber Choir’s performance titled PASSION AND RESURRECTION at the Great Hall, Sydney University, combined a number of classical and modern compositions inspired by this important event in the Christian calendar. It forms part of the 2015 concert cycle to celebrate the Choir’s 40th anniversary titled ‘Life Begins At 40’.

It also served as the last performance of the Choir’s longstanding Musical Director Paul Stanhope, who has been instrumental in shaping the Choir to merge the classical traditions with modern currents and thus ensure that the Choir retains its beautiful choral characteristics but also incorporates a modern edge. Continue reading

MUSE

A Little Night Music @ The Seymour Centre

Louise Flynn as Desiree and Stuart Bryan as Fredrik in the Sydney University Music Ensemble's production of Stephen Sondheim's classic, A LITTLE  NIGHT MUSIC
Inset pic- Louise Flynn as Desiree and Stuart Bryan as Fredrik . Featured pic- The cast of A LITTLE NIGHT MUSIC in the Sydney University Music Ensemble’s production of Stephen Sondheim’s classic, A LITTLE NIGHT MUSIC

The setting for A LITTLE NIGHT MUSIC at the Everest Theatre is simple. Black risers upstage on the right. On the left, a large, bare branch artfully suspended parallel to the floor above a grand piano. But this is not indicative of stripped back production. There are rich and detailed aspects to this The University Of Sydney Musical Theatre Ensemble (MUSE) production of the Sondheim classic.

Rather, the branch is just a branch. Recognizable for what it is despite its lack of leaves. What lies under what the world sees, is the metaphor.

Fredrik Egerman, a middle aged lawyer, in Sweden in the early 1900s appears to have exactly what other men desire. But he has a reluctant 18 year old bride on his hands. Anne remains a virgin eleven months after their marriage and Fredrik is drawn back to a former lover, Desiree Armfield, formerly a noted actress who is reduced to playing small towns in rep. Continue reading

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