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“Love,” so the song pile-driven deep into your brain goes, “will never let you be the same.” Which goes for the show, too. You can’t unsee Aspects Of Love, the sweepingly silly Andrew Lloyd Webber musical extravagantly revived at the Hayes Theatre. You certainly can’t unhear Love Changes Everything, its saccharine strains injected into every
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Magpie Diaries is a band hailing from the Hunter region of NSW. Its well-crafted tunes could be loosely described as contemporary-country and blues-influenced-folk rock (stated influences include Grateful Dead, Neil Young and Van Morrison). They also bring other sensibilities, such as a fair whack of sax to the table on their debut album Sanctuary. The band is fronted by Matt
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By Shane Murphy
About five years ago, I picked up a copy of Koraly Dimitriadis’ first book of poetry – Love and Fuck Poems – in a bookshop in Fitzroy. Idly flipping its pages, I realised that she was writing with a fire and fervour that I hadn’t seen much in recent times. I was hooked straight away,
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Last year I reviewed legendary indie band, The Pixies’ excellent performance at the Hordern Pavilion in Sydney for Daily Review. In some quarters, the band that played that night at the Horden was a Clayton’s version of The Pixies; it didn’t include original bass player Kim Deal, who was replaced by Paz Lechantin, who does
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The first episode of SBS’s four-part drama On the Ropes (which premiered this week) begins with an image reminiscent of Darren Aronofsky’s The Wrestler: a behind-the-back handheld shot tracing the steps of a person marching towards the ring. We assume this character, Amirah Al-Amir (Nicole Chamoun) is a boxer, but discover upon her arrival that
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By Shane Murphy
Tropical Fuck Storm, the latest project from Drones mainstays Gareth Liddiard and Fiona Kitschin, Erica Dunn from Mod Con/Harmony/Palm Springs and Lauren Hammel from High Tension, collaborated with promoters Hear My Eyes to present a live score to the Coen Brothers’ 2013 film No Country for Old Men this week. TFS as a rock band incorporate
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At the wake after his mother Mary’s death, Patrick sings. It’s dawn. The day after I travelled down (up? over?) to Melbourne to see Jane Bodie’s play Lamb. I’m tucked away in the attic by a window that looks out over my neighbour’s paddock. The sheep are huddled together against the rain. There’s a lot to
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Rock Bang, developed as part of Circus Oz’s 40th year, is a co-production with Otto and Astrid Rot (Daniel Tobias and Clare Bartholomew), the grunge-punk-wunderkinders and co-founders of the Die Roten Punkte (The Red Dots). If you haven’t come across the squabbling Rot siblings before, they’re sort of Hansel and Gretel meets Rocky Horror Show,
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It’s easy to assume that Twelfth Night is a piece of Christmas frippery, and it certainly sounds benign – as fairytales go I mean. You forget how sour it turns. You forget what an out and out thief is Toby Belch, how ruthless are the machinations visited on the hapless Andrew Aguecheek and even the
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Things are grim in the Surry Hills home of Belvoir St Theatre. In the upstairs theatre, a bitterly married couple are waiting for each other to die in an isolated hut in Sweden (The Dance Of Death). Downstairs, a lonely bureaucrat is freezing to death in the depths of a bitterly cold Russian winter. In
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