City Hub 20 February 2020

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The demented diva headlines the Opera House for Mardi Gras 2020.

Inside: Our complete Mardi Gras guide

30 NIGHT TRIAL

Page 10-11

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city hub 20 FEBRUARY 2020

HubNEWS

Advertising guerrillas attack!

(See p. 6-7)

Lithium batteries exploding in trash HubARTS An evening of stand-up comedy with four of Asia’s hottest out and proud comedians (See p. 13)

Published weekly and freely available Sydney-wide.

Copies are also distributed to serviced apartments, hotels, convenience stores and newsagents throughout the city.

Distribution enquiries call 9212 5677.

Published by Altmedia Pty Ltd. While every effort is made to ensure accuracy of content, we take no responsibility for inadvertent errors or omissions.

ABN 52 600 903 348 Group Editor & Publisher: Lawrence Gibbons News Editor: Alec Smart Contributors: Alec Smart, Max Tillman, Eliza Spencer Cartoonist: Sam Mcnair Arts Editor: Jamie Apps Contributors: Erika Echternach, Irina Dunn, Madison Behringer, Mark Morellini, Olga Azar, Renee Lou Dallow, Rita Bratovich, Olga Sedneva Advertising Manager: Georgina Pengelly Cover Photo: Supplied. Myra Dubois in Dead Funny Designer: Nadia Kalinitcheva Advertising: sales@altmedia.net.au Mail: PO Box 843 Broadway 2007 Email: news@altmedia.net.au, arts@altmedia.net.au Ph: 9212 5677 Fax: 9212 5633 Website: cityhubsydney.com.au If you have a story, or any comments you’d like to share with us: news@altmedia.net.au @CityHubSydney

A Li-ion battery explosion is among theories for the disappearance of Malaysian Airlines MH370. Photo: Alec Smart

BY ALEC SMART arbage in a waste disposal truck suddenly ignited during a recent rubbish collection in the Eastern Suburbs, but thankfully the fire was extinguished by quick-thinking Waverley Council refuse workers.

The rubbish truck crew followed emergency procedure and stopped their vehicle at the nearest safe location then doused the flames with an onboard extinguisher.

The incident, in the last week of January, was caused by lithium batteries, which are notorious for detonating under pressure. Like conventional batteries they should never be included with household waste.

A Waverley Council spokesperson told City Hub “In the past 12 months, there have been five other incidents linked to batteries. When a lithium battery is damaged, it can result in a spark that ignites the highly reactive lithium and starts a fire.

“Fires can also result when non-lithium batteries are damaged. These batteries may heat to the point where pressure builds inside, potentially producing an explosion.”

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The most popular battery

Lithium-ion (Li-ion) batteries have become the world’s most popular form of rechargeable battery since taking over from conventional alkaline disposables and nickel-cadmium rechargeables, because they have double the energy output.

Li-ion batteries crushed within a garbage truck, where the pressure of the compactor reaches 16.2 megapascals (half of which would crush a nuclear submarine at depth), will force the unstable chemicals into reacting and that’s how the fire was ignited in the Waverley garbage truck.

 This incident reminds us

Safe disposal of batteries Batteries should never be put in recycling bins, as many contain toxic metals such as cadmium, mercury and lead. Li-ion batteries are more likely to be used in mobile phones, cameras, portable power tools and laptop computers.

Aldi supermarkets and most Officeworks stationery stores offer a free battery recycling service and will accept any brand of AA, AAA, C, D and 9V batteries, both rechargeable and non-rechargeable.

of the dangers of throwing batteries in the bin

The NSW Environment Protection Agency Community Recycling Centre: www.epa.nsw.gov.au

Mayor of Waverley, Paula Masselos, said “This incident reminds us of the dangers of throwing batteries in the bin, whether it’s standard AAA or AA batteries we use in television remotes and children’s toys, to batteries found in other common appliances such as laptops, mobile phones, power tools and cameras.”

Or search online for a proper battery disposal facility at www.recyclingnearyou.com.au Commercial businesses must have a commercial waste contract. For hazardous waste such as batteries visit: BusinessRecycling.com.au city hub 20 FEBRUARY 2020

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HubNEWS

WestConnex breaks night noise curfew until the trucks started breaking it.

“My entire family were being woken up at 4am by trucks speeding along the road. The trucks would then slam on their compression brakes to stop because of the red lights at the intersection of Campbell/May Streets and Unwins Bridge Rd,” she said.

“I’ve walked outside of my home at 5am and filmed the vehicles speeding and running red lights along this intersection.”

Curfew sign removed

The curfew sign, originally placed at the intersection of the Princes Highway and Campbell St, has now also been removed.

 The curfew is being

Sleepless nights for residents by St Peters’ WestConnex sites as construction trucks break curfew. Photo: Steve Kwak

By ELIZA SPENCER he sound of compression breaking, rattling trucks and booming horns on Princes’ highway from Campbell Street to Stanmore Road sound the march of progress towards the competition of the WestConnex New M5 project.

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There is supposed to be a noise curfew, but, as residents have recently found out, bureaucratic games have left them in the midst of construction noise day and night.

For Tamara Regan and her young family, the curfew provided the promise of a good night’s sleep,

broken; the curfew sign has now also been removed The email advised that the current contractors, CPB Dragados Samsung Joint Venture (CDSJV,) employed

by Transport for NSW are ‘not in a position to permanently reinstate the signage,’ due to the ‘handing back’ of Campbell St to Transport for NSW. “We were promised by Martha Halliday

from the original M5 team that this curfew would remain,” said Ms Regan, “now it has all been cloak and dagger action to remove the curfew by death.”

A spokesperson for Transport for NSW said “Properties in the vicinity of Campbell Road have been provided with architectural treatments to reduce impacts of traffic noise in the area… We are considering the community’s comments regarding the heavy vehicle curfew and will keep the community informed of any changes to the road network in their area.”

The curfew currently affects access for construction vehicles transiting from the 24-hour worksite on the end of Campbell St and Euston Rd. Campbell St provides the access for construction vehicles across the suburbs of St Peters, Marrickville, Enmore and Stanmore, through residential and school areas.

According to Inner West Independent Councillor Pauline Lockie, the removal of curfews would have “a very big impact… not just for residents along Campbell Street, but also May St, Edgeware Rd, Stanmore Rd and any other routes these overnight trucks would take from Campbell St.”

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HubNEWS

Trouble in the House of Murdoch

By MAX TILLMAN ailing audiences and an out-ofdate business model have both been cited as possible causes for News Corp’s significant drop in readership in 2019, with Rupert Murdoch’s publishing empire facing a mortal challenge as a changing audience-base continues to bite the bottom line.

According to research house Roy Morgan, 2019 was not a prosperous year for News Corps’ stable of mastheads.

F

 The reality is that their

business models have not kept pace with public expectations The company’s flagship newspaper, Sydney’s Daily Telegraph, saw its readership drop -15.5% from December of 2018 to December 2019, with all four of the News Corp publications surveyed as ‘Top State-Wide or National Mastheads’ by Roy Morgan having suffered declines.

It’s a concerning sign for Murdoch’s domestic line of publications given Nine

Entertainment’s Sydney Morning Herald grew its audience by 4.1% over the same period and The Financial Times saw a 14.1% increase in readers.

Dying or Simply Unwell?

Despite the dire performance results over the last year, News Corp-owned titles account for four of the top six most widely read newspapers in the country.

Yet heavy lies the crown, as this dominance of the news market relies upon a business model some media watchers consider unable to weather a changing media landscape.

“It’s a sign that the model doesn’t work, ” says independent media analyst Peter Cook.

This model, which relies heavily upon subscription-based revenue through paywalls on digital news platforms and monthly fees for pay-tv services like Foxtel, has suffered multiple blows to its dependability.

Streaming services such as Nine Entertainment’s Stan and the metered paywalls of The Sydney Morning Herald and The Age offer audiences a more egalitarian alternative.

“If anyone should have economies of

Murdoch’s often-incendiary news publications are in crisis for their future.. Photo: David Gomes/Pexels

scale it’s News Corp, they should be offering free news,” says Professor Linda Leung, Associate Professor in Arts, Cultural and Digital Creative Industries at The University of Technology Sydney.

“The reality is that their business models have not kept pace with public expectations.”

Heir Apparents

With concerns over ailing business models in the newspaper divisions and

FRE E EV EN T

“lower-than-expected revenues” from Foxtel, many Murdoch watchers doubt whether either of Rupert’s apparent heirs will maintain the vast swathe of media titles their father amassed.

“I mean if you look at the disaster that Foxtel’s been in the last five years, that’s been the period where [son] Lachlan’s had a big management role,” says media analyst Peter Cox. “I think we can see that there will be in the long term a collapse of the dynasty.”

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HubNEWS

Radical artists go to war

by ALEC SMART ubvertising – the manipulation of poster advertisements – is back with a bang, and not since the 1980s when B.U.G.A.U.P. (Billboard Utilising Graffitists Against Unhealthy Promotions) made witty alterations with their spray paint cans has public advertising been co-opted and called to account.

Except this time it’s not intrepid paintcan-wielding activists cheekily altering lettering under the cover of darkness to criticise cigarette advertising and other noxious promotions.

Instead, it’s daytime pirate pranksters with pre-printed posters.

On 30 Jan a group of 20 activists set out to subvert the mass-message medium of bus shelter advertising in selected suburbs of Australia’s three most populated cities. Wearing fluoro orange vests altered to suggest they worked for the company that hosts the adverts – JC Decaux – the pranksters opened the sealed frames that house the posters with hex keys and placed their substitute posters beneath the glass screens.

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Guerrilla ‘Brandalism’

The publicity stunt was done to draw attention to the Australian Government’s lack of concern for global climate change and its effects. 78 posters, which all contained the hashtag #brandalism, were infiltrated into the advertiser’s frames.

The guerrilla action took place simultaneously in Sydney, Brisbane and Melbourne, in what the subvertisers described as “the nation’s largest unsanctioned outdoor art exhibition.”

Each colourful A1-sized poster, showcasing the work of 41 sociallymotivated artists and ranging from illustrations, graphics and cartoons, featured a bold message beneath the artwork. These included: ‘Donate to our brave firefighters today’; ‘Support our wildlife’; ‘Real climate action now’; ‘Support bush regeneration’; ‘Get out of dirty fossil fuel now’; and ‘Our government won’t act on climate change but we can’.

Unfortunately for the campaign, many of the posters were removed shortly after installation by JC Decaux employees.

Some of the posters that appeared in the Brandalism campaign to raise awareness of climate change and the Australian Government’s inaction

However, a compilation video documenting the anonymous activists planting the posters was posted to social media and several national newspapers ran the story.

The joint action, dubbed ‘Bushfire Brandalism’, was explained by a statement that was reprinted on The Culprit Club webpage. It said: “As a collective group of Australian

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city hub 20 FEBRUARY 2020

against advertising artists, we have been driven to reclaim public advertising space with posters speaking to the Australian Government’s inaction on climate change and the devastating bushfires. We do not accept that this situation is ‘business as usual’.

If the newspapers won’t print the story, we will!”

Scott Marsh

Among the artists whose work was used was political mural painter Scott Marsh, internationally (in)famous for his large external wall paintings around Sydney’s inner suburbs, often mocking public figures.

Readers probably recall Marsh’s painting of ex-Prime Minister Tony Blair with his hand down disgraced paedophile Archbishop George Pell’s underwear, to celebrate the legalisation of same-sex marriage (the two old friends opposed it).

Two of his murals endorsing samesex marriage were vandalised by fundamentalist Christians, a third criticising Prime Minister Scott Morrison’s lame response to the

bushfires was painted over a few days after it was created.

Marsh’s contribution to the pirate poster campaign was a portrait of Scott Morrison with the words ‘climate denial’ printed across his forehead.

In an interview with The Guardian newspaper, Marsh explained his involvement with the Brandalism action.

“I’m frustrated with the lack of action.

I got distracted for a while, but you can smell it in the air that now is the time to really push on climate change. If nothing happens now, it’s never going to f***ing happen.”

Wowser Nation

Meanwhile, satirical poster crew Wowser Nation have stepped up their own brand of subvertising, displaying humorous, thought-provoking stickers and posters on public sites around Sydney. Wittily critical of government abuses of power, this has included ridiculing the NSW Govt’s unpopular Lockout Laws curtailing night time entertainment.

Founded in 2016 by sculptor Clary Akon and psychologist Francis Merson to poke

fun at what they perceived were silly regulations, a sign they posted at Bondi Beach in 2017 warning “All joggers must wear a helmet. Fines apply” was so convincing it caused a stir and appeared in British conservative tabloid Daily Mail.

 Advertising posters have

been replaced with bespoke thought-provoking images and messages On their Facebook profile they state: “Wowser Nation is a collective which explores the Australian nanny state through subversive street art. We create satirical signs that encourage people to question the increasingly strict rules we are asked to follow. Our work embodies the disquieting suspicion that regulation aimed to improve our lives could be making them worse.”

Stop it or cop it!

In 2019 Wowser Nation launched a campaign to challenge NSW Police’s increasing use of sniffer dogs and strip-

HubNEWS

searching for drugs, gaining increased public support when it was revealed police were undressing children without parental permission at the entrance to music festivals.

Wowser’s ‘Stop it or cop it!’ poster (which took its title form Transport for NSW’s safe driving campaign launched in Dec 2017), spoofed NSW Police drug deterrent posters with blue and white checker squares, authoritative fonts and simple graphics. In Oct 2019 it suddenly appeared around Sydney’s central Station and fooled many people into thinking it was a genuine police warning.

On Australia Day 2020 Wowser Nation returned to Bondi Beach and parked a digital display LED sign in the car park flashing coloured text messages: “Hey You! We said no alcohol! No smoking, no music no dancing. Random cavity searches. Happy Australia Day.” Another blue and white checked witty Wowser Nation sign that is appearing on lampposts and walls around Sydney is the warning: ‘This area is patrolled by FUN POLICE, protecting Sydney’s citizens from themselves…’

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HubNEWS

The strange case of the illegible logo Please advise why Councillors were not given the opportunity to comment on or approve the new logo.”

by ALEC SMART he new logo for the Inner West Council (IWC) has ruffled feathers across the inner-west region.

Opponents say the new logo is illegible and that it cost too much. They also say the public should have been more involved in the decision-making process, especially since ratepayers financed the project – at a cost of $90,000!

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Brutalist bridge

Councillor John Stamolis told City Hub opposition was widespread: “Three polls are showing that people just don’t like it.

ABC show 60% against and this would include people outside the Inner West. If we look inside the Inner West, opposition is between 75% to 90% depending on which source you look at.”

Motion quickness

On 3 Feb the new logo, an industriallooking white ‘IW’ in a black circle, was added on the IWC’s Facebook page when they updated their profile picture, but there was no accompanying public announcement. Thereafter several Facebook users who posted derisory comments on the IWC’s profile page, mocking the new logo, found their posts deleted.

“What a complete pig’s breakfast,” said one. “The graphic designer who put this together needs to be looking for a different career.”

“I am a Marketer & Brand Consultant with a long experience in branding, re-branding and this is definitely not a case study for a great logo,” said

What you’re now seeing is mass rejection of the IWC by our community

The new IW logo - inverted - resembles a man in 1950s swimming costume stood beside a Brutalist interpretation of the Anzac Bridge

another. “I support the other comments that this is a waste of money and totally unnecessary.”

Other remarks included, “It looks like a school project I did in year 5 with crayons!”, “The kid in year 7 that designed the Newtown High logo could’ve done a better job!,” and “Looks like a jigsaw puzzle put

together all wrong!”

At the Tues 11 Feb IWC meeting Councillor Julie Passas asked for information.

Her motion read in part: “Councillors have been sent a copy of the new Council logo and were told it was to be made public on the 3 February 2020.

Balmain Greens MP Jamie Parker also weighed-in on the discussion via a Facebook post on 11 Feb: “This looks like another own-goal from the Labor/Liberal coalition that run the Inner West Council, with this new unreadable logo branding project at a cost of over $90,000.”

City Hub inverted the industrial-type lettering of the new IW logo and submits that it resembles a man in 1950s swimming costume stood beside a Brutalist interpretation of the Anzac Bridge (see photo illustrating this article).

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THE ROYAL BUSHFIRE CIRCUS

irst it was the bushfires and the choking smoke, then the economic impact of the coronavirus, followed by the floods and now the announcement that we are about to endure yet another Royal tour. Even worse the Australian Government has invited Prince William and Kate Middleton to tour the devastated bushfire areas and take part in Australia’s bushfire recovery.

That of course is the cynical point of view and one more likely to be held by those who can’t stand a bar of the British Royal family. However, it’s also a view expressed by many Australians who have questioned the cost of parading the Royals around the country and the need for such a visit at all.

As far as cost is concerned, the argument is that the considerable budget required to mount the tour would be better spent directly on rebuilding people’s houses, businesses and infrastructure. The bill for these Royal junkets is seldom revealed but given the need for intensive security, travel costs for a large entourage and all the other regal requirements it could easily top a million or more. The Government justifies this expensive by claiming William and Kate will be instrumental in raising more funds for volunteer fire fighters and survivors. I would have thought the Australian public has done a pretty good job already with all their

THAT SNEAKY RABBIT

donations and fundraising endeavours – not to mention the money that has flooded in from overseas.

Whilst William and Kate no doubt have good intentions when it comes to supporting the bushfire recovery, the PR element of the whole exercise needs some scrutiny. There’s no doubt that a large section of the media will embrace the tour and see it very much as a commercial opportunity when it

comes to boosting TV ratings, as well as newspaper and magazine sales. We are already inundated with mindless reportage about the Royals and the bushfire tour will only boost the amount of TV news time and print space they already occupy.

It’s no secret that Kensington Palace is always up for any opportunity to push the popularity of the Royals worldwide, particularly as a counter-

By Sam Mcnair

#thatsneakyrabbit

play to the scandal surrounding Prince Andrew and the sudden departure of Harry and Meghan. Given the hostile reception that Scott Morrison received when he toured a number of bushfire areas it’s easy to see why he would be a willing partner in this kind of public relations side show. The Royals are the ideal antidote to smooth over any hostility that still exists between many in the public and the Morrison government, heavily criticised for their lack of preparedness for the bushfires and the way they initially reacted to the emergency.

If any real good is to come out of this Royal circus, it could well fall on the shoulders of Prince William to speak his mind on climate change and global warming, echoing the thoughts of other notable Brits including his dad Prince Charles, David Attenborough and Boris Johnson – all of whom endorse the accepted science of man made climate change. This of course could be a real embarrassment if he were to actually do so, given that many of the politicians, public figures and media scribes he’s likely to encounter on the tour are still shameless climate deniers.

Perhaps in the interest of a controversy free, feel good, meet the public journey around our scorched landscape he’ll get a gentle reminder from both the ‘firm’ back home and Scott Morrison’s crew to keep well away from any political comment. Just smile, shake as many hands as you can, hug a few koalas and pose for those endless selfies. The paparazzi will go crazy! city hub 20 FEBRUARY 2020

9

The Eighth Gay Wonder of the World Returns!

From Paramatta to the CBD, Sydney comes alive for Mardi Gras. Here’s a few events not to miss

By Madison Behringer ach year the Sydney Gay and Lesbian Mardi Gras festival gets a little bit bigger, a little bit louder and attracts thousands more people to the city’s celebration of the LGBTQI+ community. The 2020 Mardi Gras in Sydney will undoubtedly be the largest festival yet, with the organisation stating: “From the sensational spectacle of the Parade to poignant panel discussions, phenomenal parties and pioneering queer performers, Mardi Gras 2020 is a diverse showcase of talent and diversity with events to involve every walk of LGBTQI life.”

This year the Mardi Gras theme is WHAT MATTERS! and festival goers are encouraged to vocalise and stand up for what’s important to them both personally and on a much larger scale. A huge range of events will be held across Sydney from the Rainbow Flag Raising Ceremony in Sydney’s Town Hall on Feb 14 to the annual Parade on Feb 29. Over 100 events will be held across Sydney as part of the 2020 Mardi Gras including parties, theatre shows, community events and workshops. Businesses and venues across the city will also feature Mardi Gras themed events that will run across the two-week festival period.

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city hub 20 FEBRUARY 2020

Mari Gras - 2019.

Photo: Supplied

South Wales, the annual Mardi Gras Parade will kick off at 7:30pm on Feb 29 in Darlinghurst. Featuring over 200 floats and groups, the Parade is the biggest night of the year on the LGBTQI+ calendar and brings thousands of festival goers to Oxford Street each year.

The Parade is a free event and remains a movement of protest to honour all those that have walked the same path over the last four decades. Vantage points for the Parade fill up quickly, so it’s best to arrive earlier in the day to save a spot for later in the evening.

Retailers across the city are getting into the festival spirit including Glebe’s Broadway shopping centre.

Broadway are hosting Mardi Gras-themed events and specials throughout the festival period stating, “We’re host an array of free fabulously fun events, insta-worthy installations and retailer specials that celebrate the significance of the festival, which is a beacon of diversity, inclusivity and LGBTQI rights.”

Events including drag, bingo and comedy nights will be held right through until Feb 29.

The Star, Sydney’s largest casino and entertainment venue, will for the fifth year in a row enter a float during

the 2020 Mardi Gras Parade. In addition, The Star will host the CHUUKA & Chill Mardi Gras Takeover on Feb 23 in the venue’s newest dining outlet featuring Drag Queen hosts Ivy & Vybe and DJs Beth Yen and Generik.

With views looking out to the harbour, the event is an unmissable party on the festival lineup.

When it comes to entertainment and shows, the Sydney Mardi Gras festival has a reputation for attracting the best of the best in the entertainment industry. This year the UK’s acclaimed queen of comedy Myra DuBois will bring her newest show Dead Funny to the Sydney Opera House as part of Mardi Gras. Celebrating her debut Australian tour, Myra will open Dead Funny tonight and can’t be more excited to welcome audiences to her… well, to her funeral.

“Well it’s a funeral. It’s my funeral. It’s probably the only funeral you can go to where the deceased is present because they’re not deceased,” said Myra. “Basically I just wrote my own funeral – it’s a marvelous way to make sure it’s done right. And then of course, when I actually do die, they’ve got a blueprint.”

Myra has attracted a committed and loyal fan base in the UK, who she affectionately refers to as the ‘Admyras’ (as in “admire-ahs”) and she hopes her Australian fans are just as adoring, saying: “It’s almost a badge of honour to receive the beam of my

Photo: Jeffrey Feng Photography

Myra DuBois Photo: Supplied

attention at one of my shows. So I’d like to see if that translates to Sydney.”

Myra is quick-witted on and off the stage and shared her personal take on her upcoming Australian tour.

“How I’m thinking about this in my head is that I’m going on a journey to let the Commonwealth say their goodbyes. Harry and Meghan aren’t going to make an official visit to Australia anytime soon so I’ll just have to do it.”

Having Dead Funny tour as part of the 2020 Sydney Mardi Gras festival holds a great deal of importance to Myra, with the comedian saying, “I’ve got quite a wide appeal with the acronym-ed community. The Ls, the Gs, the Bs, the Ts. A

lot of them come to my shows in the United Kingdom so it’s important for me to go out and make that connection on the other side of the world.”

Myra’s identity as a performer has been criticised and misrepresented in the past by the media and she is quick to clarify her stance by saying, “there has been a lot of talk that I’m a female impersonator which I think is a very gross example of misogyny and sexism in 2020. That people cannot see a successful woman without assuming there’s a man behind it.” Myra then laughed and said, “I am a concept and a phenomena.

I’ve got nothing to hide!”

Sydney audiences can expect a show like no other when they head along to Myra’s Dead Funny, with the star explaining, “everyone will feel like they know me, it will be very conversational, it will be very direct and of course there will be singing. I have a voice like no other!”

Myra went on to say, “There should be some songs, there should be some conversation and there’ll be a little bit of talk about death and about mortality. Maybe if someone’s buried a hamster in the last week they might want to give the show a miss. It might be a bit raw.”

Dead Funny

Until Feb 29. Sydney Opera House, Bennelong Point, Sydney. $39.9.-$54.90+b.f.

Tickets & Info: www.sydneyoperahouse.com

Sydney Gay & Lesbian Mardi Gras

Mardi Gras - 2019.

Photo: Jeffrey Feng Photography

Until Feb 29.

Various venues & prices.

Tickets & Info: www.mardigras.org.au

city hub 20 FEBRUARY 2020

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HubARTS

“I feel guilty leaving the bass, like I left my wife of 30 years” (See p.14)

Life Is Impossible Elle Harris & Chloe Schwank.

Photo: Matt Abotomey

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riter and director Paul Gilchrist was inspired by the true story of Photo: Liam Sharp Simone Weil, a radical, controversial French Jewish intellectual and activist who fled from France to New York during World War II. It is not a biopic as Gilchrist freely admits to taking liberties with the details. The title, however, reflects a true life dilemma felt by Weil that has been applied to the fictional character.

“The character, Simone feels stuck in New York during the war when she feels she should be back where the action is. She feels that life is impossible while she doesn’t have agency,” says Gilchrist.

Simone, played by Chloe Schwank, is serious and tormented. Elaine - played by Elle Harris - on the other hand is bubbly and enthusiastic. She is a 22-year-old Australian who has been sent to New York because of

Spice Night

her typing skills (and perhaps some “extra duties” in the mind of her boss).

“The play works on a dynamic between the Simone character and the Elaine character. The Elaine character is a young Australian in New York at the time, and she’s overwhelmed with excitement about being in New York…for her it’s just your standard dream come true,” explains Gilchrist.

Elaine has an image of New York that has derived from Hollywood films. Her mindset is portrayed in the play through musical theatre style sequences which, at first, express naivety, but then come to represent hope through imagination.

By contrast, Simone is deeply intellectual and pragmatic.

Through their meeting, the two women influence each other’s perspective to ultimately arrive at a more balanced world view.

“I would hope that [audiences] would find it entertaining, because in our last production we found that the humour worked well, the song and dance worked well. But it’s also a play that asks audiences to think, ’What is the best political strategy?’” concludes Gilchrist. (RB) Until Feb 23. Old 505 Theatre, 5 Eliza St, Newtown. $25-$30+b.f. Tickets & Info: www.subtlenuance.com

REVIEW

Faust

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hat a diabolically decadent yet divine production this is, featuring the age-old battleground of good and evil, of satanic temptation and moral decrepitude, in which the aging Faust surrenders his soul for youthful pleasures.

The ring-master is the malevolent, omnipresent, shape-shifter devil Méphistophélès. Teddy Tahu Rhodes fills this role superbly, with his mellifluous voice and precise French pronunciation.

Costume designer Brigitte Reiffenstuel fits him out as a satanic chameleon who appears in many guises such as a scruffy soldier, a musketeer, and even a transsexual/transvestite in the last act.

Russian soprano Irina Lungu took the role of Marguerite to soaring vocal heights, while the Italian tenor Ivan Magri lent his seductive skills to the role of Faust.

While Paule Constable’s lighting was meant to portray gaslight and subterranean Paris, the lux levels were less than optimal at times, with minimal distinction between matutinal and nocturnal periods.

Teddy Tahu Rhodes as Méphistophélès.

Photo: Prudence Upton

This was especially noticeable during the Jewel Song, when the tempting box of, no doubt, sparkling jewels was not visible; nor was Marguerite’s facial expression on her discovery of the treasure trove.

Anna Dowsley filled the role of Siébel wonderfully, but she didn’t stand out on stage, again because of the dim lighting. (ID) Until Mar 11. Sydney Opera House, Bennelong Point, Sydney. $48-$369+b.f. Tickets & Info: www.sydneyoperahouse.com

Joanne Kam

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resented as part of Sydney’s Gay and Lesbian Mardi Gras Festival, Riverside Theatres in Parramatta will host Spice Night, an evening of stand-up comedy direct from four of Asia’s hottest out and proud comedians.

Spice Night producer Toby Sullivan speaks of the political and social importance of a unique show like this one, saying, “It can be a shock to liberal, western sensibilities to understand how pressured these performers are. These performers are upsetting conservative, authoritarian governments just by being visible. It’s an electric context for standup.”

Four openly gay comedians from various parts of Asia will perform on the night: Hirzi Zulkiflie, Joanne Kam, Navin Noronha and Margot Tanjutco. From the group, some are the only out gay comedians in their country. Their shared stories on the night and the harsh reality of what they face back home paired with their stunning comedy is set to form a unique and unmissable experience for Sydney audiences.

Joanne Kam, known as the queen of Malaysian stand-up comedy, shared the personal importance of Spice Night saying, “It is very important especially as a Malaysian to take a stance that the LGBTQ + community is alive and we are a voice that needs to be heard. Our government do not want to highlight that we exist and sodomy is still a crime in Malaysia.”

Joanne is excited to bring her comedy to Sydney audiences saying, “there will be glamour and lots of audience interaction and crowd work as well stories from my persona escapes.”

Joanne hopes the audience will leave having experienced, “…the fact that I am loud, proud and in your face!” (MB) Feb 22. Riverside Theatres, Corner of Church & Market Streets, Parramatta. $29-$39+b.f. Tickets & Info: www.riversideparramatta.com.au city hub 20 FEBRUARY 2020

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HubARTS REVIEW

Bard On The Beach’s Julius Caesar & All’s Well That Ends Well

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ard On The Beach presents two Shakespearean classics for the 2020 summer season of tales of love, betrayal, power and intrigue in All’s Well That Ends Well and Julius Caesar.

The two plays, which are presented by the cast on different nights, can be experienced in multiple locations.

Set underneath the stars in the Rotunda at Balmoral Beach, theatre-goers can enjoy their dinner, while sitting comfortably on a blanket or a low chair

while watching the Bard’s plays being performed. All’s Well That Ends Well tells a one-sided romance story of Helena, the orphan daughter of a physician who falls in love with Count Bertram.

Everything does indeed end well as she devises a plot of disguised identities and promise rings to eventually win the man of her dreams.

Julius Caesar was played out on a set on the previous night with the same cast to give a sense of continuity. Centred

on the plotting and aftermath of the assassination of Julius Caesar, the play ends in tragedy as Caesar is betrayed by his close friend Brutus. However, Brutus believes he is an honourable man in taking part in the murder.

“The fault, dear Brutus, is not in our stars, but in ourselves....”

Once you have enjoyed Bards at Balmoral, check out the outdoor venues in Carrs Bush Park, Burwood, Cronulla and Watson’s Bay until March 2020! (KC)

Until Feb 9. Balmoral Beach, Rotunda. Tickets & Info: www.bardonthebeach.net

Banoffee - Look At Us Now Dad

Steve Arié

By Madison Behringer fter spending over 25 years as one of the most sought after double bass players in Australia, jazz musician Steve Arié is launching his first album since transitioning from the double bass to the saxophone. Steve’s newest release Quirks features 12 original jazz compositions with each highlighting the musician’s skill on his new-found love – the saxophone. Steve has played alongside some of Australia’s greatest jazz performers including Dale Barlow, Bernie McGann, D.I.G. and Ten Part Invention as well as being an acclaimed musician in his own right.

On Sunday March 8 at Johnston Street Jazz, Steve will host the Quirks CD

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launch alongside his band, The Arié Awards. Set to be a relaxed afternoon in the sun, the CD launch will feature a live performance of the album by Steve Arié and the band followed by a talk on the album by Steve himself.

“The CD launch is just a concert, really,” said Steve. “We’re going to play the songs from the CD with the band and then talk a bit about the songs.

There’ll be afternoon tea – it’ll be a really lovely get together. The venue is really lovely too.”

Steve spoke with City Hub about the transition he experienced as a musician as he moved from playing double bass to saxophone.

“I just found myself having more and more feeling for the saxophone. I started to fall out of love with the bass,” said Steve before going on to say, “I started feeling more and more like a saxophone player trapped in a bass player’s body.”

Steve feels intrinsically connected to his music and says he still thinks about the double bass often joking,

“It’s sort of like being married, playing an instrument. I sometimes feel guilty leaving the bass, like I left my wife of 30 years or something. Maybe I should have tried to make it work!”

His new CD Quirks has been the direct result of Steve’s new found love for the saxophone, with Steve saying, “It was only when I started playing saxophone that I started writing music more regularly… part of that transition was just thinking ‘what can I do with this?’ and thought maybe I needed to do a CD and record my original tunes.”

Steve is looking forward to the upcoming CD launch and is excited to share his passion for the saxophone with fellow jazz enthusiasts.

“A Sunday afternoon feels like the right vibe for my music… it’s happy music. I don’t play serious jazz, I play jovial jazz.

It’s just going to be a lovely afternoon I think.”

Mar 8. Johnston Street Jazz, 81 Johnston St, Annandale. $10-$20+b.f. Tickets & Info: www.stevearie.com.au

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anoffee’s debut album, Look At Us Now Dad, mixes traditional pop beats with engaging electronic sounds and a bit of rap to dive into topics such as addiction, obsession, heartbreak and resurrection.

The first song, Tennis Fan (feat. Empress Of), eases the listener into the album with a simple and catchy yet expressive groove that helps lighten the mood. As the album progresses, Banoffee introduces alternative harmonies and interludes to give depth to her messages. Through these stylistic effects, the listener has room to interpret the messages in a personalised way.

Banoffee’s smooth voice along with changing tempos and diverse moods make her sincere lyrics more effective and interesting to listen to.

Look At Us Now Dad is an album capable of taking listeners through an emotional journey within songs and throughout the album. (JS) WWW

Electric Gardens 2020 T

o celebrate its 5th Anniversary this Saturday the Electric Gardens festival is bringing its biggest and most diverse lineup yet. Half a decade of cutting-edge producers and world-class DJs will be celebrated in Sydney's shining Centennial Park.

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city hub 20 FebruARY 2020

This year's iteration of the festival will be headlined by acclaimed UK artist Craig David. Also on the bill are; Gorgon City, Wilkinson, My Nue Leng, Nora En Pure, PanPot, Shockone, and homegrown megastar What So Not. Electric Gardens 2020 continues

the event's tradition of presenting top-tier electronic artists and underground sensations; with dazzling stage production, generous set times and a pristine location.

Feb 22. Centennial Park, Sydney. $128.80-$261+b.f. Tickets & Info: www.electricgardens.com.au

HubARTS

séance

from ceramics to slate-writing, coiled forms of black porcelain artworks and oil paintings of babies from the 70s at the Stanley Street Gallery.

Swedish master glassmaker Peter Nilsson presents his work Ragnorok, the one who will eat the sun. The work describes “the world of Fenris breaking free from his ties and eventually eating the sun, leaving earth in complete darkness,” says Nilsson. This draws parallel to the urgency of climate crisis and human’s disconnection to nature. (KC) Until Mar 14. 1/52-54 Stanley Street, Darlinghurst, NSW 2010. Info: www.stanleystreetgallery.com.au

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‘séance’ is an attempt to communicate with spirits; the word comes from the French word for “session.” The English word however describes a meeting of people gathered to receive messages from spirits via a medium.

Returning to Stanley Street Gallery is a group exhibition entitled séance, curated by Sean Morris.

This new exhibition follows on from his successful The White Room. The new exhibitions sees Morris going back to black as he showcases 22 artists working with everything

Fantastic Film Festival Australia

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he inaugural Fantastic Film Festival Australia encompasses genre and alternative cinema that doesn’t fit into traditional categories.

Festival director Hudson Sowada who spent the most part of last year programming this festival, explained that the film festival comprises 25 uniquely bizarre films.

“We’re focusing on diverse films which give different perspectives on reality and horror. They’re all premiere screenings and there’s one retro screening of Sons Of Steel, an amazing lost heavy metal musical which is followed by a Q&A with the director. We’re really trying to make ourselves stand out in different and interesting ways.”

The films are all strictly R-rated and the festival is targeted towards audiences between the ages of 25 & 35.

“Some of these films you wouldn’t

want to sit down and watch with your grandmother!” laughed Sowada.

“There are others which are fantastic atmosphere pieces like The Mute, a beautiful Polish film which is a meditation on faith and the history of Christianity. A lot of the films are from countries which you wouldn’t get to see much from.” (MMo)

The Professor And The Madman A

t the outset this film appeared to be channeling Les Miserables with a frantic chase through cobbled streets in torrential rain. The chase is actually one man hunting down another with a gun in his hand and a clear intent to kill. Shooting his mark dead the killer is dragged off in chains to prison.

Turns out the killer, William Minor (Sean Penn) is actually a war hero with PTSD, and was formerly a surgeon. He and English professor James Murray (Mel Gibson), in the process of compiling words for the English dictionary, meet when Minor finds a request from Murray for new words and definitions in a book that has been delivered to him in prison.

Murray has opened the search to the public and Minor decides to join the quest coming up with 10,000 words making him the largest single contributor to the English dictionary.

A true story and a feat for which the

Feb 20-Mar 4. The Ritz Cinema, Randwick. $16.50-$70+b.f.

Tickets & Info: www.fantasticfilmfestival.com.au

WWWW

36 Husbands

HOT PICKS CHAINED FOR LIFE – A fantastic exploration of disability. Fronted by an activist who suffers from a condition that causes his face to deform.

Opening night film.

MUTANT BLAST – A crazy, amazing troma extravaganza. For audiences interested in the most insane side of cinema. Closing night film.

SUICIDE TOURIST – Intense title, but this is a beautiful, slow-burning film with amazing scenery.

real William Minor was not credited because he was deemed a madman.

The Professor And The Madman is just as ambitious as the undertaking of the compilation of the English dictionary. An A-list cast with a standout performance by Jennifer Ehle as Murray’s wife, whom Murray describes as ‘the spice of the book.’

While not a great film this is a film well worth seeing. (RLD)

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Husbands is true community film-making. The cast and crew spent five months traveling and working together with a tiny budget, with many playing both on and offscreen roles.

The film follows the story of three powerful women with masterful

kung-fu skills. They’re employed by an unidentified organisation as spies, tasked with luring 36 men to become their husbands, gaining a vital piece of information from each of them along the way.

The acting has some highlights, however the premise of the film and the 36 husbands is never entirely made clear. The kung-fu fight scenes, however, are well executed and impressive.

36 Husbands is a light-hearted comedy with a quirky soundtrack and a fun cast. (LS) WW1/2

Bright Blue Gorilla will be holding a special Q&A screening/concert on Feb 22.

Humph Hall, 85 Allambie Road, Allambie Heights.

Info: www.brightbluegorilla.com city hub 20 FEBRUARY 2020

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