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Desire and friendship collide in a play that doesn't shy away from thorny questions

Desire and friendship collide in a play that doesn't shy away from thorny questions

The Age2 days ago
The actors expertly inhabit these thorny, complex, highly flawed characters. O'Neill is a highlight as the sardonic, defensive and staunch Jo, while Lee embodies the seesaw of open-heartedness and despair that Lia experiences. Hofbauer, more recently seen in Red Stitch's Comeuppance, brings to life the agitated, morally vacillating Simon.
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Under Isabella Vadiveloo's direction, the characters pace around a dining table planted in the centre of the stage.
No actor is ever completely off-stage; the ghost of their presence a spectre haunting the other two in their absence as they loom behind a curtain. Bianca Pardo's set oscillates between being a domestic space and a public space through minute changes to the onstage furniture. The same could be said for the characters' outfits, which subtly shift as they age and move through different ways of being.
Who you identify with in this piece and how you relate to it will hinge on your relationship to the question of kids. What's Yours invites projection as it interrogates the necessary sacrifices and payoffs of modern living.
Reviewed by Sonia Nair
JAZZ
Troy Roberts Quartet ★★★★
The JazzLab, July 31
Sometimes, life has a way of jolting you into the present with a reminder of its fragility and unpredictability. At the JazzLab last Thursday, just minutes before Troy Roberts and his band were due on stage, a medical emergency in the audience resulted in a venue evacuation and plenty of sombre reflection as we waited outside.
When the ambulance departed an hour later (with the patient in a stable condition) and we filed back indoors, the mood was understandably muted, drained of the anticipatory buzz that typically greets Roberts before every performance. The Australian saxophonist has called New York home for 20 years now, so his legion of fans jumps at the chance to hear him whenever he returns here.
And it's not hard to see why. Any apprehension that the subdued atmosphere might linger was banished within seconds of the band's arrival onstage. A burst of cleansing energy from drummer Andrew Fisenden announced the opening tune – Solar Panels – before the rest of the quartet leapt on board.
As a composer, Roberts keeps his bandmates on their toes with elaborate, rhythmically complex tunes. Yet even without a proper rehearsal, Fisenden, Brett Williams (on piano) and Sam Anning (bass) navigated the variable time signatures, tempo shifts and rhythmic fillips with apparent ease, beaming with delight as they moved in lockstep with their animated leader.
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Roberts' arrangements of standards also contained elements of surprise: The Look of Love was taken at an unusually jaunty pace, the rhythm section conjuring a Latin feel beneath Roberts' agile tenor spirals, while Up Jumped Spring saw the quartet skipping back and forth between a flowing waltz and a breezy 4/4 swing.
On Coltrane's Transition, Roberts and guest saxophonist Carl Mackey both offered volcanic solos that tapped into the composer's earthy spirituality. Wise One was gorgeously restrained, with Roberts' majestic, elongated phrases resting on a bed of rippling piano and shimmering percussion.
A joyously ebullient calypso tune followed, then – as a coda – a brief but heartfelt ballad, sending us out into the night feeling uplifted and reassured.
Reviewed by Jessica Nicholas
THEATRE
Miss Julie ★★★
By August Strindberg, fortyfivedownstairs, until August 17
Relocating August Strindberg's Miss Julie to the kitchen of a Greek restaurant, Company 16 serves up a stormy version of a classic that continues to perturb and inspire the contemporary stage.
Class, gender, and sexual mores have changed markedly since the Victorian era. Underlying power dynamics are harder to shift, and the play's gendered battle still speaks urgently to us because Strindberg, despite his virulent misogyny, carved out combatants who were evenly matched, forever locked in an undecidable human puzzle.
Evenly matched doesn't mean equal.
A mutual power disparity between the lovers is crucial, and the most stunning production I've ever seen – Yaël Farber's Mies Julie – upped the ante by being set in South Africa under apartheid. Miss Julie was the daughter of an Afrikaner pastoralist; John one of his black servants. Racial as well as class inequality were set against the gender divide, amplifying the intensity of the play's explosive passions and deepening the sense of social tragedy.
The Greek restaurant setting here evokes the bustling, behind-the-scenes world of hospo. It's performed in the round, amid sinks and stainless-steel benchtops, and one striking feature is the depth of intimacy it establishes straight away between John (Adam-Jon Fiorentino) and his fiancee, fellow chef Kristina (Izabella Yena).
Their bond is more erotic, and more grown-up, than anything that happens between John and Julie, and John's obvious lapse in judgment in pursuing the boss's daughter makes you reflect on his self-destructiveness for a change.
A scornful, sylph-like incarnation of the title character from Annalise Gelagotis certainly has a self-destructive side. Julie comes across as so unformed in this portrayal, however, that even her vicious whims and the cruelties she inflicts seem to emanate from her vulnerability.
A piteous desperation attends Julie's desire for agency, and there's irony in her abusing the unearned power she does have. Meanwhile, John's arc feels depressing and familiar from headlines: the brooding romantic lead has a manipulative streak latent in his performance, allowing Yena's Kristina to provide a window onto what is – however complicated the situation – clearly predatory male sexual behaviour.
I'm not sure about the surprise twist at the end. It didn't quite land as tragedy and suffered the same issue as the lurid approach to some of the play's (admittedly blatant) symbolism.
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In lieu of decapitating Julie's pet bird, for instance, John sticks it in a food processor and presses the button. The audience laughed at the gory substitution – a spell-breaking moment in a production which, at its best, summons the moody extremities and intense performances that make Strindberg's battle of the sexes so compelling.
Finally, the restaurant theme has added allure for those who can afford to splash out. Premium tickets include a Greek-inspired immersive dining experience by celebrity chef Conor Curran.
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Aussie brings grain silo art to small North Dakota town
Aussie brings grain silo art to small North Dakota town

The Advertiser

timean hour ago

  • The Advertiser

Aussie brings grain silo art to small North Dakota town

High atop a massive grain elevator in the middle of Minot, North Dakota, Australian artist Guido van Helten swipes a concrete wall with a brush that looks more appropriate for painting a fence than creating a monumental mural. Back and forth van Helten brushes, focused on his work and not bothered by the sheer enormity of his task as he stands in a boom lift, 23 metres off the ground, and focused on a few square metres of a structure that stretches over most of a city block. "When you use these old structures to kinda share stories and use them as a vehicle to carry an image of identity, it becomes part of the landscape," he said. "I've found that people have really adopted them and become really super proud of them." The work on the former Union Silos is van Helten's latest effort to paint murals on a gigantic scale, with earlier projects on structures ranging from a dam in Australia to part of a former cooling tower at the Chernobyl nuclear plant in Ukraine. Although he has created murals throughout the world, grain silos in the US Midwest have been among his most frequent sites. "I do enjoy the opportunity to uncover stories that are often kinda considered out of the way or flyover communities," he said. Van Helten, 38, has been creating murals for years, working increasingly in the US over the past seven years. The Brisbane artist's interest in regional communities began in earnest after a mural he created years ago on a silo in an Australian town of 100 people. The idea, he said, drew interest, and he began a series of commissions around Australia and the US. Van Helten uses a mineral silicate paint formulated to absorb and bond with concrete, and it lasts a long time. He mixes tones specific to the colour of the wall and subtly layers the work so it blends in. "I love the colouring of these buildings, so I don't want to fight with them, I don't want to change it, I don't want it to be bright. I want it to become part of the landscape," he said. It's not a quick process, as van Helten initially meets with residents to learn about a community and then spends months slowly transforming what is usually the largest structure in a small town. He began painting in Minot in May with plans for a 360-degree mural that combines photography with painting to depict the people and culture of an area. The Minot elevator and silos were built in the 1950s and were an economic centre for years before they ceased operations around the early 1990s. Van Helten isn't giving too much away about what his Minot mural will depict, but said he has been inspired by concepts of land and ownership while in North Dakota, from ranching and the oil field to Native American perspectives. Minot is a city of nearly 50,000 people and sits near the Bakken oil field and Fort Berthold Indian Reservation. "It is really when you boil down to it in many ways about land and how different cultures interpret that and connect with it, and I feel it's really interesting in North Dakota because it is really such a big, open land," the artist said. Much of the mural is still taking shape, but images of a barn and female figures are visible. Property owner Derek Hackett said the mural is "a great way to take what is kind of a blighted property and be able to give it a facelift and kind of resurrect its presence in our skyline." The mural is entirely donation-funded, costing about $US350,000, about 85 per cent of which is already raised, said Chelsea Gleich, a spokesperson for the project. High atop a massive grain elevator in the middle of Minot, North Dakota, Australian artist Guido van Helten swipes a concrete wall with a brush that looks more appropriate for painting a fence than creating a monumental mural. Back and forth van Helten brushes, focused on his work and not bothered by the sheer enormity of his task as he stands in a boom lift, 23 metres off the ground, and focused on a few square metres of a structure that stretches over most of a city block. "When you use these old structures to kinda share stories and use them as a vehicle to carry an image of identity, it becomes part of the landscape," he said. "I've found that people have really adopted them and become really super proud of them." The work on the former Union Silos is van Helten's latest effort to paint murals on a gigantic scale, with earlier projects on structures ranging from a dam in Australia to part of a former cooling tower at the Chernobyl nuclear plant in Ukraine. Although he has created murals throughout the world, grain silos in the US Midwest have been among his most frequent sites. "I do enjoy the opportunity to uncover stories that are often kinda considered out of the way or flyover communities," he said. Van Helten, 38, has been creating murals for years, working increasingly in the US over the past seven years. The Brisbane artist's interest in regional communities began in earnest after a mural he created years ago on a silo in an Australian town of 100 people. The idea, he said, drew interest, and he began a series of commissions around Australia and the US. Van Helten uses a mineral silicate paint formulated to absorb and bond with concrete, and it lasts a long time. He mixes tones specific to the colour of the wall and subtly layers the work so it blends in. "I love the colouring of these buildings, so I don't want to fight with them, I don't want to change it, I don't want it to be bright. I want it to become part of the landscape," he said. It's not a quick process, as van Helten initially meets with residents to learn about a community and then spends months slowly transforming what is usually the largest structure in a small town. He began painting in Minot in May with plans for a 360-degree mural that combines photography with painting to depict the people and culture of an area. The Minot elevator and silos were built in the 1950s and were an economic centre for years before they ceased operations around the early 1990s. Van Helten isn't giving too much away about what his Minot mural will depict, but said he has been inspired by concepts of land and ownership while in North Dakota, from ranching and the oil field to Native American perspectives. Minot is a city of nearly 50,000 people and sits near the Bakken oil field and Fort Berthold Indian Reservation. "It is really when you boil down to it in many ways about land and how different cultures interpret that and connect with it, and I feel it's really interesting in North Dakota because it is really such a big, open land," the artist said. Much of the mural is still taking shape, but images of a barn and female figures are visible. Property owner Derek Hackett said the mural is "a great way to take what is kind of a blighted property and be able to give it a facelift and kind of resurrect its presence in our skyline." The mural is entirely donation-funded, costing about $US350,000, about 85 per cent of which is already raised, said Chelsea Gleich, a spokesperson for the project. High atop a massive grain elevator in the middle of Minot, North Dakota, Australian artist Guido van Helten swipes a concrete wall with a brush that looks more appropriate for painting a fence than creating a monumental mural. Back and forth van Helten brushes, focused on his work and not bothered by the sheer enormity of his task as he stands in a boom lift, 23 metres off the ground, and focused on a few square metres of a structure that stretches over most of a city block. "When you use these old structures to kinda share stories and use them as a vehicle to carry an image of identity, it becomes part of the landscape," he said. "I've found that people have really adopted them and become really super proud of them." The work on the former Union Silos is van Helten's latest effort to paint murals on a gigantic scale, with earlier projects on structures ranging from a dam in Australia to part of a former cooling tower at the Chernobyl nuclear plant in Ukraine. Although he has created murals throughout the world, grain silos in the US Midwest have been among his most frequent sites. "I do enjoy the opportunity to uncover stories that are often kinda considered out of the way or flyover communities," he said. Van Helten, 38, has been creating murals for years, working increasingly in the US over the past seven years. The Brisbane artist's interest in regional communities began in earnest after a mural he created years ago on a silo in an Australian town of 100 people. The idea, he said, drew interest, and he began a series of commissions around Australia and the US. Van Helten uses a mineral silicate paint formulated to absorb and bond with concrete, and it lasts a long time. He mixes tones specific to the colour of the wall and subtly layers the work so it blends in. "I love the colouring of these buildings, so I don't want to fight with them, I don't want to change it, I don't want it to be bright. I want it to become part of the landscape," he said. It's not a quick process, as van Helten initially meets with residents to learn about a community and then spends months slowly transforming what is usually the largest structure in a small town. He began painting in Minot in May with plans for a 360-degree mural that combines photography with painting to depict the people and culture of an area. The Minot elevator and silos were built in the 1950s and were an economic centre for years before they ceased operations around the early 1990s. Van Helten isn't giving too much away about what his Minot mural will depict, but said he has been inspired by concepts of land and ownership while in North Dakota, from ranching and the oil field to Native American perspectives. Minot is a city of nearly 50,000 people and sits near the Bakken oil field and Fort Berthold Indian Reservation. "It is really when you boil down to it in many ways about land and how different cultures interpret that and connect with it, and I feel it's really interesting in North Dakota because it is really such a big, open land," the artist said. Much of the mural is still taking shape, but images of a barn and female figures are visible. Property owner Derek Hackett said the mural is "a great way to take what is kind of a blighted property and be able to give it a facelift and kind of resurrect its presence in our skyline." The mural is entirely donation-funded, costing about $US350,000, about 85 per cent of which is already raised, said Chelsea Gleich, a spokesperson for the project.

Aussie brings grain silo art to small North Dakota town
Aussie brings grain silo art to small North Dakota town

Perth Now

timean hour ago

  • Perth Now

Aussie brings grain silo art to small North Dakota town

High atop a massive grain elevator in the middle of Minot, North Dakota, Australian artist Guido van Helten swipes a concrete wall with a brush that looks more appropriate for painting a fence than creating a monumental mural. Back and forth van Helten brushes, focused on his work and not bothered by the sheer enormity of his task as he stands in a boom lift, 23 metres off the ground, and focused on a few square metres of a structure that stretches over most of a city block. "When you use these old structures to kinda share stories and use them as a vehicle to carry an image of identity, it becomes part of the landscape," he said. "I've found that people have really adopted them and become really super proud of them." The work on the former Union Silos is van Helten's latest effort to paint murals on a gigantic scale, with earlier projects on structures ranging from a dam in Australia to part of a former cooling tower at the Chernobyl nuclear plant in Ukraine. Although he has created murals throughout the world, grain silos in the US Midwest have been among his most frequent sites. "I do enjoy the opportunity to uncover stories that are often kinda considered out of the way or flyover communities," he said. Van Helten, 38, has been creating murals for years, working increasingly in the US over the past seven years. The Brisbane artist's interest in regional communities began in earnest after a mural he created years ago on a silo in an Australian town of 100 people. The idea, he said, drew interest, and he began a series of commissions around Australia and the US. Van Helten uses a mineral silicate paint formulated to absorb and bond with concrete, and it lasts a long time. He mixes tones specific to the colour of the wall and subtly layers the work so it blends in. "I love the colouring of these buildings, so I don't want to fight with them, I don't want to change it, I don't want it to be bright. I want it to become part of the landscape," he said. It's not a quick process, as van Helten initially meets with residents to learn about a community and then spends months slowly transforming what is usually the largest structure in a small town. He began painting in Minot in May with plans for a 360-degree mural that combines photography with painting to depict the people and culture of an area. The Minot elevator and silos were built in the 1950s and were an economic centre for years before they ceased operations around the early 1990s. Van Helten isn't giving too much away about what his Minot mural will depict, but said he has been inspired by concepts of land and ownership while in North Dakota, from ranching and the oil field to Native American perspectives. Minot is a city of nearly 50,000 people and sits near the Bakken oil field and Fort Berthold Indian Reservation. "It is really when you boil down to it in many ways about land and how different cultures interpret that and connect with it, and I feel it's really interesting in North Dakota because it is really such a big, open land," the artist said. Much of the mural is still taking shape, but images of a barn and female figures are visible. Property owner Derek Hackett said the mural is "a great way to take what is kind of a blighted property and be able to give it a facelift and kind of resurrect its presence in our skyline." The mural is entirely donation-funded, costing about $US350,000, about 85 per cent of which is already raised, said Chelsea Gleich, a spokesperson for the project.

Beloved WA beer festival returns to coastal city
Beloved WA beer festival returns to coastal city

Perth Now

time2 hours ago

  • Perth Now

Beloved WA beer festival returns to coastal city

The highly anticipated Fremantle BeerFest is officially back, with the craft beer festival announcing its return at the end of this year. Brewers from all over Western Australia will be on display with more than 12,000 visitors expected to attend at Esplanade Park on November 14-16. Aussie EDM legends The Presets will headline the music offering, while the weekend will feature heaps of beers and ciders, along with a variety of entertainment and activities ranging from axe throwing to giant beer pong. Running since 2011, the festival has become a calendar event for avid craft fans, with Fremantle Mayor Hannah Fitzhardinge saying the city was excited for their return. 'As beer lovers will know, Fremantle's widely regarded as the home of Australian craft beer and we're proud to help showcase the industry's latest and greatest in the stunning surrounds of Esplanade Park,' she said. 'The craft brewing industry supports local jobs and innovation and introduces visitors to our vibrant food and drink scene.' Freo Beerfest returns to Esplanade Park in November. Credit: Supplied In true Freo spirit, the event will celebrate 25 years of local icon Little Creatures, which has shaped the State's beer culture across the past quarter century. Festival founder and co-director James Harding said that it was an achievement that deserved to be celebrated. 'Freo BeerFest is the perfect setting to celebrate the game changers,' he said. 'We've stood side-by-side with producers like Little Creatures since 2011, helping showcase the most unique and timeless experiences the industry has to offer. 'We're proud to be WA's original major beer and drinks festival and we've lasted because we evolve, surprise, and serve up the best every year.' Freo Beerfest celebrates its 10th anniversary in 2022. Credit: Supplied Field sales director WA for Little Creatures Danny Connolly said BeerFest has become a key part of the WA drinks scene. 'The event has helped shape our community for over a decade, and we're proud to celebrate our 25th year with a festival that continues to lead the way,' he said.

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