Night at the White Bay Power Station: Sydney Biennale’s Art After Dark
A howling March southerly pushed cold air and bouts of rain through the streets. It turns out that this weather was perfect for the haunting melodies and evocative art pieces I was about to witness at White Bay Power Station for Sydney Biennale’s Art After Dark.
An overcast Sunday morning at the Sydney Opera House: Review of Zadie Smith in conversation with Michaela Kalowski
So why were we all there? Because ZS is a person even more interesting than the characters she writes. She is one of the greatest essayists of our time.
The Boy Problem: Review of ‘Raising Boys’
I couldn’t ignore what seemed like the ultimate patriarchal irony: that women are the ones expected to do the labour—of going to the Opera House, booking therapy appointments, monitoring children’s social media usage—to ‘fix’ masculinity.
“We will return when the war is over”: Don't Ask the Trees for Their Names at Sydney Opera House
The room became very still after that. It was one of several moments in the evening where the audience seemed to move beyond polite attentiveness into something heavier.
I Saw God at Cameron Winter
This Opera House show was expected to be a repeat of his performance at Carnegie Hall in New York: stripped bare of everything but the music and a sense of cultural occasion.
A Sickening Performance: PULP’s Review of Drag 101: A New Drag Showcase
On Friday the 13th of February, full of spite from the working day, I stumbled down the stairs of the Cellar Theatre and sat my arse down on a metal bleacher for what would turn out to be the best evening of my week.
Laneway 2026 in the Sun, Rain, and Everything in Between
The sprinkling of water sent outfits into disarray, leaving hair a little more frazzled, makeup a little less blended, and everyone a little more ready to throw themselves around a dance floor.
Everything I Saw at BODIE8
As this performance explored the common myth of the changeling baby, it interrogated the way that myths justify the othering of individuals who live outside of social norms…
“A Tomb for the American Middle Class”: SUDS’ The Humans
Part family drama, part psychological thriller, Stephen Karam’s The Humans traps the Blake family in a dilapidated New York apartment for an uneasy Thanksgiving dinner. The play peels back the horror of modern American middle-class life; debt, illness, ageing parents, and unaccomplished dreams.
It’s Definitely Fascism… Review of the Sydney Opera House’s ‘Is it Fascism Yet?’
Trump will likely last a third term at least. But we must keep laughing at him. In this absurd political climate, solar joy offers a reevaluation of the current political paradigm as impermanent. I am championing joy as resistance.
Making it up as we go along (or was that something we’re supposed to know?): The Premiere Review
If we're all just putting it on for one another, isn't it nice to think that there is a place where everyone knows it's being put on?
The 50th Annual Medical Games: 2025 Med Revue
True to the Revue genre, the skits satirised the medical department’s faults. The hypocrisy of allocating exhaustive commutes to hospital residencies was poignant.
I didn’t mean to sound religious about sub-bass. But here we are: Soft Centre Review
Sydney night air, interrupted by a frequency I can only describe as blood rushing through the body.
Sydney Fringe Festival: Doomers by Matthew Gasda
The doomers are stilted in that strange tech bro way, unable to understand the implications of even their smallest actions. Their voices and accents clash in soulless conflict.
Sydney Fringe Festival: ‘Antigone is existential for me’
The production blurred time in fascinating ways. While grounded in Sophocles’ ancient text, it never felt bound by it.
Various Characters Review
Šime Knežević’s 2025 play Various Characters approaches with care and confusion the condition of Australian multiculturalism. A coming-of-age tale of multiple teenagers living in socially turbulent mid-2000s Sydney, the play never fully realises its focal point, nor answers the many questions it raises before the curtains close.
Will I Ever Get To Dance at a Venue Without 300 Homophobic Dudes? — PULP’s Sam Alfred Experience
Maybe we’re just living in a different time. After the concert, I reviewed Alfred’s Boiler Room X AVA set, noticing that the majority of the audience at that event were also white dudes with the same low taper fade haircuts and sunglasses. They bobbed their heads ambivalently and attempted to film the majority of the set, unable to just be in the moment. As events like Boiler Room have become increasingly popular, I sometimes wonder — are people coming to these things to have a boogie and support artists? Or are they going to find the validation that they seek?
I saw Ginger Root live and got my funk spunked//Remember to thank the internet for introducing you to new music - Ginger Root Review
He admits to taking inspiration from Haruomi Hosono and Yellow Magic Orchestra. But there are also notes of Anri, Tatsuro Yamashita or Miki Matsubara. His song Giddy Up replicates the feeling of galloping on a horse (naturally) at a staggering 158 BPM.
The Intelligence of Contemporary Art - Review
The Museum of Contemporary Art’s autumn 2025 season celebrates the diversity of Australian Contemporary Art with two exciting new exhibitions: ‘The Intelligence of Painting’, which features the work of fourteen women artists for whom the paint medium is a vital part of their practice, and Warraba Weatherall’s ‘Shadow and Substance’, the first solo show by the Kamilaroi artist. ‘The Intelligence of Painting’ will run until 20 July 2025, while Weatherall’s work can be viewed until 21 September 2025. These two exhibitions are wildly different – just as the contemporary art scene itself is diverse and unpredictable.