Wednesday, 19 June 2013
NSW Government funding to advance plans for the transformation of the Gallery
The Art Gallery of NSW (Gallery) today welcomed the State Government’s decision to provide $10.8 million in 2014/15 which will enable the Gallery over the next two years to advance plans for the transformation of the Gallery and proceed with the next stages of planning for major works.
The funding will include feasibility and engineering studies, leading to a national and international competition for the selection of an architect to design the new building.
The master plan and strategic vision for the Gallery, titled Sydney Modern, was announced in March and proposes to transform the Gallery into a museum for the 21st century with a major expansion to double the size of the building and a renewed focus on serving a global audience.
The President of the Board of Trustees of the Gallery, Mr Steven Lowy AM, said the NSW Government’s funding was a decisive step forward for the overall proposal.
We believe we’ve made a sound case for the Sydney Modern expansion and are delighted that the Government has agreed to support this critical next phase of planning, he said.
It is important not just because of the cultural benefits that would flow from the expansion, but for the major economic impact it would contribute to the State for decades to come.
Sydney Modern would link the existing Gallery with a new iconic building making the most of the internationally significant site and its proximity to Sydney Harbour.
A Tale of Two Cities - Review
The goals came from set pieces
Ben Oxley
Tales of Two Cities
Sydney Chamber Choir and Adelaide Chamber Singers present: 3pm | Sunday 16 June | Great Hall, University of Sydney
Conductors: Paul Stanhope and Carl Crossin
http://sydneychamberchoir.org/
Well, it's 3pm on a Sunday, and I had the feeling it was prior to kick-off for a top division champions match. You can insert your favourite code here. Sydney Chamber Choir played host to the much-admired and well-drilled Adelaide Chamber Singers. This was A-League choral singing. Top drawer stuff. Perhaps more, it was recognition of two "managers" or conductors who are at the top of their respective games.
The opening featured both "teams" in British composer Gabriel Jackson's Sanctum est Verum Lumen. Concert programs are built around 'bookends' and this was a proverbial doorstep of choral glory. Great Hall took the sound and we were transported to a holy place; this was like a soundtrack of a stunning IMAX clip.
The soprano "bench" shone in altissimus. Their very contrasted tones set the seal on a challenging repertoire, including Britten's Hymn to St Cecilia, which was preceded by the 'faux' set piece, Jackson's Cecilia Virgo. Like the great teams, their execution was superb, showing the genius of birthday boy Britten to write such a persuasive, mellow homage to the patron saint of musicians.
So we reached a heady pause in the proceedings, to find sunshine and sandstone to behold. Standing at the back on our return were part of the singers in a new formation. Like rugby, we suffer the All Blacks in music. Visually we have ebony tones, but lush autumnal colours abound in this sonorous soundscape.
Then the masterclass began: Adelaide gave us Job's discourse on creation and faith, culminating in the well-known phrase, I Know That My Redeemer Lives, reminding us that it was Sunday, and we should reflect on the mighty with the Almighty.
Joseph Twist's A Strange Land links to another centenary, in that it evokes Verdi's Chorus of the Hebrew Slaves, in quoting Psalm 137. Again, the singers were adroit in detailed articulation, presaging the piece that set this ensemble apart from many others: Eric Whitacre's Leonardo Dreams of His Flying Machine, accompanied with bells and percussion played by the choristers. Very impressive.
But the 'big goal' beckoned. Tallis conceived a choral monument, with the translated text rendering "I have never put my hope in any other but in You, O God of Israel." While the venue is not a place of worship, it surrendered to the rising phrases of this quintessential anthem of praise. High praise too for Carl Crossin, and Paul Stanhope who provide inspiration in music that place them and their singers in a league of their own.
Well, it's 3pm on a Sunday, and I had the feeling it was prior to kick-off for a top division champions match. You can insert your favourite code here. Sydney Chamber Choir played host to the much-admired and well-drilled Adelaide Chamber Singers. This was A-League choral singing. Top drawer stuff. Perhaps more, it was recognition of two "managers" or conductors who are at the top of their respective games.
The opening featured both "teams" in British composer Gabriel Jackson's Sanctum est Verum Lumen. Concert programs are built around 'bookends' and this was a proverbial doorstep of choral glory. Great Hall took the sound and we were transported to a holy place; this was like a soundtrack of a stunning IMAX clip.
The soprano "bench" shone in altissimus. Their very contrasted tones set the seal on a challenging repertoire, including Britten's Hymn to St Cecilia, which was preceded by the 'faux' set piece, Jackson's Cecilia Virgo. Like the great teams, their execution was superb, showing the genius of birthday boy Britten to write such a persuasive, mellow homage to the patron saint of musicians.
So we reached a heady pause in the proceedings, to find sunshine and sandstone to behold. Standing at the back on our return were part of the singers in a new formation. Like rugby, we suffer the All Blacks in music. Visually we have ebony tones, but lush autumnal colours abound in this sonorous soundscape.
Then the masterclass began: Adelaide gave us Job's discourse on creation and faith, culminating in the well-known phrase, I Know That My Redeemer Lives, reminding us that it was Sunday, and we should reflect on the mighty with the Almighty.
Joseph Twist's A Strange Land links to another centenary, in that it evokes Verdi's Chorus of the Hebrew Slaves, in quoting Psalm 137. Again, the singers were adroit in detailed articulation, presaging the piece that set this ensemble apart from many others: Eric Whitacre's Leonardo Dreams of His Flying Machine, accompanied with bells and percussion played by the choristers. Very impressive.
But the 'big goal' beckoned. Tallis conceived a choral monument, with the translated text rendering "I have never put my hope in any other but in You, O God of Israel." While the venue is not a place of worship, it surrendered to the rising phrases of this quintessential anthem of praise. High praise too for Carl Crossin, and Paul Stanhope who provide inspiration in music that place them and their singers in a league of their own.
Thursday, 13 June 2013
Slava’s Snowshow - Review
Reviewed by Regina Su
Slava’sSnowshow is a magical night of beauty and awe. I didn’t really expect anything and unless you really looked for an underlying subtext, there seemed to be little plot. A series of clowning sketches of slapstick, of children’s humour and of imagination allowed the all-ages audience to relive the wonder and awe of a child. The show is oddly satirical, clever and most importantly, very interactive. Above all else, this show is beauty unlike anything you’re ever seen. The theatrics, lighting, use of set, use of magic, all of these are stunning and awe-inspiring.
The performers from Slava’s Snowshow are part of a clowning troupe from Russia established in the mid 80’s by SlavaPolunin, who have been performing the Snowshowto sell-out audiences internationally since 1997. Being from Russia, the show is very eclectic and esoteric and like Eurovision, still accessible to anyone. Slava’s theatrical clowning company,has toured to comedy festivals internationally and has performed along Cirque du Soleil. Drawing upon comic-relief influences leading back to Medieval traditions, the show incorporates a range of movements, from Theatre of Cruelty, to Theatre of the Absurd and even pantomime, all of which at times pushed the audience into shocked laughter. Their fast-frantic lunacy can be likened to the gags of Charlie Chaplin and the clowns of the circus.
The show is non-linear, helter-skelter and hilarious and this totally confusing randomness is what gives the show its charm; in essence, it allows the audience two hours of imagination where nothing else matters, where the daily grind is left at the door and promptly forgotten. You feel happiness, contentment and you rewarded if you decipher any holistic meaning from the show and even if you don’t, the magnificent spectacle is more than enough. They re-create blizzards, rain, bed-time make-believe and they seem to defy the limitations of the stage and theatre, performing things you thought were impossible. They’re not focused on acrobatics and, they don’t need to. They’re comedians who treat everyone with lip-syncing Italian Operas, then fighting arachnids. As much as I try, I can’t retell this experience. It’s without spoilers and it’s indescribable. Even if you know what’s coming out of the sporadic darkness next, it’s always a surprise, an enjoyable one.
Two words of advice however- don’t leave at intermission as the fun hasn’t stopped in the theatre. Secondly, this show relies on clowning, so don’t attend if you’re clauraphobic.
Monday, 10 June 2013
Enron - Review
Reviewed by Marie Su
My companion and I are of an age to remember the original scandal involving the Enron Company in the USA exposed in 2001 and so were many of the audience members of the New Theatre in King St, Newtown. Lucy Prebble has written an insightful play; 'Enron', which unfolds the build up and eventual unraveling of the Enron Energy Company. This financial fiasco lead to company executives, workers, traders, investors and financial planners and yes, even the Lehman Brothers (as underwriters) into one of the greatest sharemarket debacles of recent memory.
'Enron' is a salutory example of how hedging works in the sharemarket. It tells how rolling on debt, while not obviously illegal at the time, involves the loss of a moral compass. Insider trading huge payouts to executives and striving for profits that are not based on real productivity, create a bubble that is bound to bust.
My thanks to Lucy Prebble and the New Theatre for raising these issues and explaining then clearly; GFC's and sub-prime mortgage crises are, unfortunately, quite modern concerns for us, so this play is very relevant.
Matt Young, as Jeffery Skilling, portrayed the creative genious of a man with the understanding that if the law hasn't kept up with his financial strategies, then the government had employed inept lawyers. Mr Young was clear, persuasive and manipulative in his very effective performance. He was ably assisted by Nick Curnow as Andy Fastow, in his creative reboxing (Babushka doll-like) of debt and, his relegating of failing subsidiary companies in the form of Raptors ( cat-like women kept in wire, red glowing cages, waiting to be fed with debt). So, from this description it can be gleaned that the New Theatre production of 'Enron' was itself quite an imaginative and creative feat.
The staging, costuming, sound and lighting all assisted the very capable ensemble of fifteen actors (taking on sometimes seven roles each) in telling their quite complex tale. My special vote of appreciation goes to the two Lehman Brothers, (played by Gareth Cruikshank and David Todd). The audience appreciated their input.
Especially if audience members don't remember the Enron situation historically, this play is one where audience members certainly need to listen for intricate explanations and motivations, as well as insider humour. Audiences were also reminded that office politics involves sexual activities that could have been left to the imagination.
'Enron' shows at the New Theatre from the 4th-29th of June.
Wednesday, 5 June 2013
Dane Hiser: Settle Down - Review
Reviewed by Jasmine Crittenden
Dane Hiser’s comedic style is of the self-deprecating variety. His Sydney Comedy Festival show, held at Marrickville’s Factory Theatre in April, set the tone from the get-go.
While the audience watched a dark stage, embellished with only a television and a microphone stand, a voiceover struggled to announce the name of the main act, stumbling over several absurd yet laughable variations until Dane emerged.
Awkwardly introducing himself as a ‘ladies’ man’, the kind that women yearn to take home, he proved his point with the evidence: ‘Just look at me.’This ironic type of self-assessment resurfaced again and again during the next hour.
Dane certainly has the wry expressions and appropriate sense of timing to carry off such characterisation, but there were moments when the ‘ladies’ man’ quip lost its effect, simply because it was too-oft repeated.
Some of the most entertaining moments were those featuring the more quirky and creative ideas. The television was employed as a conduit for a series of rather bizarre and amusing, ‘self-promoting’ ads, and a song about a romance with an ‘IKEA’ girl, whose ‘heart comes in fifteen parts’ was undeniably clever, provoking quite a few laughs.
Dane is a comedian with promise. His script could do with some tightening and polishing, in order to cut out redundancies and increase the frequency of the wittier, more original material.
Dane Hiser’s comedic style is of the self-deprecating variety. His Sydney Comedy Festival show, held at Marrickville’s Factory Theatre in April, set the tone from the get-go.
While the audience watched a dark stage, embellished with only a television and a microphone stand, a voiceover struggled to announce the name of the main act, stumbling over several absurd yet laughable variations until Dane emerged.
Awkwardly introducing himself as a ‘ladies’ man’, the kind that women yearn to take home, he proved his point with the evidence: ‘Just look at me.’This ironic type of self-assessment resurfaced again and again during the next hour.
Dane certainly has the wry expressions and appropriate sense of timing to carry off such characterisation, but there were moments when the ‘ladies’ man’ quip lost its effect, simply because it was too-oft repeated.
Some of the most entertaining moments were those featuring the more quirky and creative ideas. The television was employed as a conduit for a series of rather bizarre and amusing, ‘self-promoting’ ads, and a song about a romance with an ‘IKEA’ girl, whose ‘heart comes in fifteen parts’ was undeniably clever, provoking quite a few laughs.
Dane is a comedian with promise. His script could do with some tightening and polishing, in order to cut out redundancies and increase the frequency of the wittier, more original material.
Vivid Sydney set to sparkle this long weekend
Darling Harbour’s Vivid Aquatique show has already captivated over 110,000 people across the first week of Vivid Sydney, and due to its growing popularity has now been extended to include more lights, new full-colour lasers and three new water jets to delight crowds, doubling its size and filling Darling Harbour.
With shows on the hour ever hour from 6pm until midnight, audiences will also be treated to new additional dazzling fireworks at more shows over the long weekend including three shows on Saturday night (at 7pm, 8.30pm and 10pm) and two shows on Thursday, Friday and Sunday nights (at 7pm and 9pm). Full schedule below.
Aquatique Show International has developed and installed choreographed water and light shows for the public entertainment for more than 30 years, and has amazed audiences in over 52 countries. The four different shows playing on rotation at Darling Harbour were designed especially for the Sydney public.
Youth festival Fast+Fresh Dance is calling choreographers under 21 for 2013 season!
Now in its sixth year, Fast+Fresh Dance is returning to Riverside, Parramatta, in November 2013 to showcase short dance works choreographed and performed by Sydney’s finest young talent in dance.
This year, FORM Dance Projects is excited to announce a new partnership with Casula Powerhouse Arts Centre. Heats will be held at Casula and Riverside with finals taking place at Riverside on Saturday 16 November 2013.
Part of the Short+Sweet family of festivals, Fast+Fresh Dance presents short, new and innovative dance works that are up to five minutes in length. There will be three rounds of heats judged nightly by a panel of industry professionals. The renowned Creative Director of The Voice, Marko Panzic, will be on the final panel of judges.
Fast+Fresh Dance cultivates talent and performance by choreographers and dancers under 21. The festival inspires and educates young performers to strive for their own artistic excellence and encourages active participation in dance at all levels and styles including contemporary dance, ballet, jazz, hip hop, tap, krumping and cultural dance.
In keeping with the Short+Sweet tradition, all participants in Fast+Fresh Dance are eligible for sponsored awards such as Most Outstanding Choreography, Best Male Dancer, Best Female Dancer and the Audience Choice Award. In 2013, additional awards will be offered for Best Solo, Best Duet and Best Group. There is a swag of industry sponsored awards and cash prizes to be won.
This year will see the return of previous sponsors Ausdance NSW, Ars Musica Australis and Sydney Dance Company, plus support from arts companies including Flatline, Anything Dance, Bloch, Dance Central, Urban Dance Centre, Brent Street, Hills Adult Dance Company, DirtyFeet and Dance Australia Magazine.
Many participants of 2012’s season of Fast+Fresh Dance are currently training at some of the most elite institutions for dance, including the Western Australian Academy of Performing Arts and the New Zealand School of Dance.
Last year’s competitor Kei Ishii was selected as a mentoree in the creative development of a new work Puncture by Legs on the Wall, FORM Dance Projects and VOX, Sydney Philharmonia Choirs. The winner of Most Outstanding Female Dancer in 2012, Demi-Jo Manalo, is currently studying at the New Zealand School of Dance and has said of the program:
“I think Fast+Fresh has definitely opened some doors... The whole experience was nerve-wracking but also very thrilling. Performing a choreographer’s first ever work was a little daunting due to not knowing how the audience and judges would react. Thankfully it was a success!”
FORM Dance Projects and Casula Powerhouse Arts Centre are now seeking submissions from young artists to participate in this year’s season. All genres of dance will be considered, as long as the choreography is innovative and original. Submission are accepted via the post in DVD format, or can be sent via email with links to YouTube or Vimeo.
HOW TO ENTER:
Go to http://form.org.au or www.casulapowerhouse.com
to download an application form. A registration fee of $12 is required.
DVD, Vimeo and YouTube entries close
Monday 14 October 2013
SEASON DATES:
Heat 1
Tuesday 12 November, 7:30pm
Casula Powerhouse Arts Centre (CPAC)
1 Casula Powerhouse Road
Casula NSW 2170
Heat 2
Wednesday 13 November, 7:30pm
Riverside, Parramatta
Cnr Church & Market Streets Parramatta
Parramatta NSW 2150
Heat 3
Thursday 14 November, 7:30pm
Riverside, Parramatta
FINAL
Saturday 16 November, 7:30pm
Riverside, Parramatta
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