The play is a confronting … Read more]]>
The play is a confronting look at the lives of youth in rural areas, giving audiences an insight into what it is to be Australian and furthermore, what it means to be young.
Co-writer Coopes says: “The story is so authentic and rich that we could only really get it from immersing ourselves completely in a remote area.”
Coopes says the experience of writing in the town of Katherine provided extensive inspiration: “It was amazing, when Wayne Blair brought me on board we went up and it was very gentle and slow, we had no real preconceptions about what it was like up there or what story we were going to tell.”
To gather material Coopes and Blair held workshops in schools and residencies throughout Katherine: “We hung out with children at YMCA groups and skate clubs,” she says, “we also did documentaries talking to the kids on camera, it’s a dream as a writer to have that level of immersion and to be an outsider looking in.” (GF)
Until Sep 13, ATYP, Pier 4/5 Hickson Rd, Walsh Bay, (02) 9270 2400, atyp.com.au]]>
Tully Arnot’s light sculpture, Cold Beer Cold Women, takes advertising lighting and transforms it into a sparkling expose.
Meanwhile Jensen’s Tjhung’s New God/False God, focuses on the role of contemporary art in public space. This installation is dominated by two zombie-like mannequins striving for survival, stretching their arms towards a central plinth surrounded by the black flags of political parades.
A stark white contrast is Sarah Contos’ 23 Ming Vases for Little Horse (everything that moves breaks). Her plaster vases juxtapose images of collectable Chinese pottery with the disposable transience of modern life.
Each artist has produced unique contributions that illustrate how their exposure to a different cultural atmosphere enhanced and expanded the creative horizon. (LR)
Until Oct 25, 4A Centre for Contemporary Asian Art, 181-187 Hay St, Sydney, free, 4a.com.au]]>
“This version is slightly more streamlined than the original adaptation. It’s about a family circling around this mad scientist who’s on the verge of a great discovery around the time of the Russian Revolution. Everything is falling apart in this big, old, meandering house; he’s blinded to it and everyone else is trying to keep it together – inside the house and the chaotic outside world,” says Toby Truslove.
This intriguing backdrop is brought to life with Upton’s artistic direction and vision whilst dancing around social and political statements, and ultimately the exploration of those topics within a creative, colloquial context.
“Those people who are incredibly wealthy are sort of blind to the wider, imminent, falling down of their world. Being oblivious to other people’s misery, ultimately, will lead to your downfall,” says Truslove.
“It’s a big, rambling, heartbreaking and hilarious play,” he says. (RBM)
Sep 8-Oct 25, Sydney Opera House, Bennelong Pt, $50-99, (02) 9250 7111, sydneytheatre.com.au
BY ROCIO BELINDA MENDEZ]]>
“When I play music I kind of lose my mind sometimes and I disconnect with my motor skills,” Neil says with an audible smile and a thick Scottish brogue. “I fell off one of the side pillars and smashed my head off one of the speakers. It looked as though it was going to be soft, but it very much wasn’t soft. I did split my head open a wee bit, so that was no fun.”
Their upcoming show at Enmore Theatre will make up for this tarnished (fuzzy) memory of the last trip. This tour was announced less than a month after finishing up with Soundwave and Neil explains that this time they wanted to do things a little differently.
“Every time we have played Australia, it seems like we have done it at two or three weeks notice. This time, because we’re desperate to come back and it’s been a while since we’ve played a run of shows, we tried to formulate a plan,” he explains. “But we also want to do it for any fans that we do have and play a proper show instead of playing for 30 minutes. When you have six albums that’s really fucking hard to do.”
An intimate gig may create a challenging set list for the Scottish rockers, but it’s the atmosphere that gets Neil every time. “Nothing beats when you’re in a smaller room and you get to see everyone,” he says. “It’s more like a moment in time with so much energy that could go either way. Kind of like an open communication with the people there. It makes it more exciting.
“We’re used to being the underdog and playing first on the main stage at festivals to not that many people who are just confused and perplexed. But we do relish that feeling,” he adds.
So can we have a guarantee that they will definitely be arriving in Australia this September, unlike their South By South West “Where is Biffy Clyro?” hoax?
After initial laughter, we have the response and explanation we need.
“We thought it would be pretty funny to create this illusive show at SXSW but there was actually no show,” Simon Neil explains. “But I’m 99 per cent sure that we will definitely be in Australia for this tour. It’s definitely not a hoax.” (CD)
Sep 5, Enmore Theatre, 118-132 Enmore Rd, Newtown, $70+bf, ticketek.com.au
The album shines when the energy levels hit that sweet spot between generic pop and moody folk, highlighted in the opening three tracks and later in Can’t See The Light.
Unfortunately the final two tracks Funeral Sky, an unimpressive instrumental that has no sense of purpose or direction, and Black Water close the album on a sour note, which doesn’t bode well for future offerings. (JA)
BY JAMIE APPS]]>
Now it is finally coming to the stage in the edgy Sydney Fringe Festival production Kinski & I, written and performed by CJ Johnson.
“I read it over fifteen years ago and my jaw dropped,” he says.
“I thought the book was so crazy that one day I would have to bring it to an audience.”
Sourcing material from the original manuscript, and from Kinski’s daughter Pola, who alleges that he sexually abused her, Johnson focuses on the candid and disturbing reality of Kinski’s life.
“It has this crazy mad start and then it’s followed with this intense and incredibly difficult reality,” he says.
“Maybe he wasn’t having fun, maybe he was a monster.”
Resonating with the stories of modern celebrities like Rolf Harris and Robert Hughes, the production explores Kinski’s sexual addiction.
“When you first hear all this Kinski stuff it seems funny, but this is sexual addiction, and it gets these people into the worst sort of trouble,” says Johnson.
“It is very much adults only, something you want to approach with an open mind. It’s guaranteed to make your jaw drop.” (SOC)
Sep 3-14, Old 505 Theatre, Suite 505, 342 Elizabeth St, Surry Hills, $18-22, kinskiandi.com.au
BY SHAUNA O’CARROLL]]>
The film crew follows the lives of Viago (Taika Waititi), Deacon (Jonathan Brugh), and Vladislav (Jemaine Clement) as they look for their ‘necks’ victim, and the comedic timing and performances will have audiences in stitches.
The camera work is emblematic of the genre and although some may find it distracting it rings true in this context. The duration only adds to the overall positive experience of this society-relevant satire. Almost like an inside-out horror production, What We Do in the Shadows has an abundance of comedy with horror relief – an eccentric and imaginative perspective on an oversaturated subject. (RBM)
BY ROCIO BELINDA MENDEZ]]>
“For us, it’s about adventurous cinema. We want cinema to be a roller-coaster. We want to buy the ticket and take the ride. To reference Hunter S Thompson: ‘It’s an adventure, cinema should be an adventure’,” says Popescu.
With a comprehensive selection of underground films, from both local artists and international filmmakers, this year will showcase the best from hundreds of submissions, hand-picked by the festival directors.
“We usually start from the films themselves, and see what we respond to. What you normally find is that a theme ends up developing. This year there’s an apocalyptic/horror underlying current.
“It will be an experience like you’ve never had. I would recommend people come through for a day pass – you watch a film, then go have a coffee or beer, and meet other filmmakers while you’re waiting for your next screening. [It’s] a great networking experience too,” he says. (RBM)
Sep 4-7, The Factory Theatre, 105 Victoria Rd, Marrickville, From $14-120 (festival pass), suff.com.au
BY ROCIO BELINDA MENDEZ]]>
While occasionally the term ‘fringe’ may lend itself to images of esoteric productions held in random back laneways, this year’s new festival director, Kerri Glasscock, is making sure every experience at the festival will be cohesive and illuminating.
“This year we’ve made a concerted effort to partner with other arts organisations and to collaborate more with local artists,” said Ms Glasscock. “We’ve also taken more care in where events are taking place. So while we’re still an open access festival and don’t curate the art, we have curated where everything goes to make sure the right shows are in the right venues.”
As a force of nature in Sydney’s art scene and co-founder of trendsetting underground performance space, Venue 505, it’s important to Ms Glasscock that everyone involved – the venues, the performers and, of course, the audiences – are getting the most out of the festival. After all, festivals like Fringe are vital to Sydney. “It provides local independent artists an opportunity to collaborate with other artists, develop and try out new works, and find new audiences,” said Ms Glasscock, adding that it also gives “small- to medium-sized venues a chance to reach more people.”
Fringe ambassador Ngaiire strongly echoes this sentiment. As an independent soul singer in Sydney, she’s noticed, “most of my gigs have been outside of Sydney, which says to me Sydney needs more platforms to showcase what we have.”
Ngaiire is thrilled to be one of the six ambassadors for Fringe alongside curator Ilan Kidron of The Potbelleez. “A lot of the artists on the bill are people that I’ve watched do the hard slug in Sydney for a long time,” she said. “They’re incredible at what they do, so it’s just nice to have a platform to showcase what Sydney actually has to offer.”
With so many events to choose from, here is our Alternative guide to the best shows at the Fringe. (MT) sydneyfringe.com
Before the Vegas residencies and world tours, before the sold-out gigs and the sordid divorces, long before the all-night mescaline benders and court-ordered rehab, Gigi Fontaine was a young girl living in the shadow of Hollywood’s most bankable silver-screen siren – Fifi Fontaine. Gigi Dearest is an explosive cabaret full of scandals, sauce and songs.
Sep 14, 17, 18 & 21, The Imperial Hotel, 35 Erskinville Rd, Erskinville, $22+bf
A mix of butoh (a form of Japanese dance theatre) and live art production, HIM reflects on the nostalgia of past lovers and loves. Created and performed by Coleman Grehan, his work asks, “How do you remember the one you used to love?” Featuring influences from visual artist Matthew Barney and modern ‘splatter’ artwork.
Sep 24-27, PACT, 107 Railway Pde, Erskineville, $15
Handle It – A One Woman Play
For Gen Y, relationships and sexuality have become inextricably connected to the internet. But what are the impacts of this obsession with social media on our emotional and sexual health? Laura Jackson’s one-woman play (though she plays many characters) confronts this question head on. There’ll be laughs, gasps and many unanswered questions.
Sep 4-6, Tap Gallery, 45 Burton Street, Darlinghurst, $15-20
Edgar Allan Poe is one of the greatest writers of the mysterious and macabre, but as the saying goes, behind every great man is a great woman. In Poe’s case, there were women. Edgar’s Girls will take audiences on a salacious journey where they’ll meet the beautiful ladies who inspired his work. Weaving in letters and writings of Poe himself amongst song, burlesque, and abstract performance art, Edgar’s Girls brings Poe’s work to life.
Sep 17-18, The Vanguard, 42 King St, Newtown, $24
Jade Empress Discovers Australia
Join Jade Empress as she discovers the Aussie outback from crocodiles, tinnies, utes, and the good ol’ meat pie. However, when she meets some of Pauline Hanson’s friends, her adventure takes a dour turn as she wonders if she can still call Australia home. Featuring some reimaginings of classic Aussie songs by Kylie Minogue, AC/DC, The Church, Cold Chisel and many more.
Sep 16-21, Imperial Hotel, 35 Erskineville Rd, Erskineville, $10-15
If you’ve ever been an intern (which in this day and age is likely) or died (which sometimes might feel preferable to interning), you’ll love this show by comedians Shane Addison and Paige Hally. With their deadpan humour and observations on topics like dream catchers, prostitution and hurting children for cheap zoo entry, it’s sure to be a whole heap of fun.
Sep 11-14, Factory Theatre, 105 Victoria Rd, Marrickville, $9
Aaron Flower (Guitar) and Oliver Miller (Cello) are part of Sydney’s improvising chamber ensemble Amphibious. For the Fringe Festival, the duo has broken off into their own world, playing everything from Couperin to Gotye. The music promises to be spontaneous, beautiful and expressive.
Sep 7, Old 505 Theatre, 342 Elizabeth St, Surry Hills, $15
BY MELODY TEH]]>
“This is a fantastic location in Waterloo and we … Read more]]>
“This is a fantastic location in Waterloo and we intend to create a boutique market with a strong emphasis on food. Customers will find everything to fulfil their weekly shopping needs, including an exciting choice of fashion, home wares, plants, flowers and of course, eco-friendly, sustainable, fair trade and healthy products,” said Elizabeth Taylor, Organic Food Markets founder.
The market will open this Saturday from 9am-1pm and then operate every Saturday and Sunday following.]]>