How a small Inner West stage became a home for independent theatre and community storytelling More on Marrickville You don’t have to travel into the city to experience powerful, thought-provoking theatre; you can find it right here in Marrickville. Flight Path Theatre has spent the past seven years quietly creating a space where artists, audiences, and the wider community can come together under one roof. Championing independent productions, the theatre showcases bold, distinctive, and diverse stories, many of which reflect local voices. It’s a place where new ideas are encouraged, creative risks are supported, and both seasoned performers and first-time theatre goers can feel part of something meaningful and alive. Flight Path Theatre in Marrickville began as the home for its teaching arm, Inner West Drama, founded in 2013. Co-founders Siobhan and Kate had been searching for a dedicated space to run their classes when a historic theatre on Addi Road became available. With backgrounds in performance and a long-standing love of storytelling, the pair recognised the opportunity immediately. Their goal was simple but ambitious: to create a welcoming environment where people of all ages and experience levels could explore theatre and the connections it fosters. They wanted a space that felt open, inclusive, and creatively energising from the moment someone walked through the door. Over time, that original teaching venue evolved into a vibrant independent theatre hub serving Marrickville and the wider Inner West. The growth of the theatre has not been without its challenges. Just six months after opening, COVID-19 forced stages across the country to go dark. Ticket sales stopped overnight, classes were disrupted, and the future of live performance felt fragile. When doors were finally able to reopen, the cost-of-living crisis created fresh pressures for audiences and artists alike. Funding local creativity Like many grassroots venues, Flight Path operates with limited resources, and there are always more stories to tell than funding allows. Even so, the commitment to independent theatre has remained steady. The team continues applying for funding, growing its audience base, and building stronger ties within the community. Supporting theatre makers and providing a platform for new work remains central to its mission. Marrickville itself has played a significant role in shaping the theatre’s identity. The suburb is widely known for its cultural diversity, artistic energy, and strong sense of local pride. That atmosphere filters directly into the programming choices and overall tone of the venue. Productions are curated to resonate with a broad cross-section of the community, while also welcoming storytellers from across Sydney, interstate, and occasionally overseas. Many of the creatives involved have deep connections to the Inner West, bringing authenticity and lived experience to the stage. The theatre actively encourages locals to drop in, attend a show, or simply start a conversation about the kinds of stories they want to see performed. That openness has helped build an audience that feels personally invested in the venue’s success and future. Building a community Community engagement is at the heart of everything Flight Path does. Through Inner West Drama, programs are offered for children, teenagers, and adults, creating meaningful pathways for people to experience theatre beyond the audience seat. Classes focus not only on performance skills, but also on confidence, collaboration, and self-expression. Participants often speak about the friendships formed and the sense of belonging they discover through shared creative effort. Workshops and wellbeing-focused initiatives further expand the theatre’s reach into the community. One standout program, Worthy, supports adults living with disabilities through drama-based activities that prioritise inclusion and creative participation. The result of all this is a venue that feels warm, accessible, and distinctly local. Performances might range from intimate new works to reimagined classics, yet the atmosphere remains consistent: welcoming, curious, and community-driven. Audiences often return not just for a particular production, but for the sense of belonging the space provides. There is a familiarity that grows over time, with regular patrons recognising one another in the foyer and conversations continuing long after the curtain call. Artists value the opportunity to experiment in a supportive environment where collaboration is encouraged, and creative voices are respected. For emerging theatre makers especially, having a stage that welcomes bold ideas can make all the difference. Future of Flight Path Theatre Marrickville Looking ahead, 2026 is set to be an exciting year, with 16 main stage productions and family shows during the school holidays. The season includes world premieres, classics, and experimental works, all reflecting Flight Path’s commitment to bold storytelling and community engagement. After seven years in Marrickville, the theatre has become a true local gem, showing that excellent theatre doesn’t have to be confined to the city. It’s right here, for locals, by locals, and ready to be discovered. Visit www.flightpaththeatre.org for more information

New high-capacity return and earn recycling depot makes bottle and can recycling easier for Marrickville locals More on Marrickville Marrickville has added another sustainability win to its name with the opening of a new Return and Earn depot, making it easier than ever for locals, charities and community groups to recycle large volumes of drink containers. Located on Smidmore Street, the Marrickville Return and Earn Depot is the first full depot and the 13th return point in the Inner West Council area. The opening was marked with a community celebration attended by local organisations, including long-standing creative reuse centre Reverse Garbage. Designed with convenience in mind, the staffed depot can process up to 100 containers a minute and is ideal for anyone returning 500 or more bottles, cans or cartons at a time. There’s no need to pre-sort, and a drive-through layout makes it simple for those arriving with cars, trailers or trucks. A ‘tag and drop’ service is also available, while a separate machine in the car park caters to smaller returns. Users can choose how they receive their 10-cent refund, with options including vouchers redeemable at Coles, cash, e-vouchers, or direct payment to a bank account or PayPal via the Return and Earn app. Locals can also donate their refunds to one of more than 400 registered donation partners, including Reverse Garbage and Maggie’s Rescue, supporting sustainability education and animal welfare programs. Member for Summer Hill, Jo Haylen MP said Inner West residents have returned more than 235 million eligible containers since the scheme launched in 2017, helping to keep local parks and waterways cleaner while supporting the circular economy. Network operator TOMRA Cleanaway CEO James Dorney described Marrickville as a natural home for the new depot, while Exchange for Change CEO Danielle Smalley highlighted the program’s wider social impact, noting that more than $82 million has been raised for charities and community groups statewide. The Marrickville Return & Earn Depot 54 Smidmore Street Open Daily, 7am to 6pm.

Historic Inner West sporting ground, Henson Park, unveils improved facilities, accessibility and AFLW-ready amenities following $20 million makeover. More on Marrickville If you’ve strolled past Henson Park lately and wondered what’s been happening behind the scaffolding, here’s your answer, the $20 million upgrade and makeover is officially complete. Inner West Mayor Darcy Byrne unveiled the revamped ground and was joined by players from the Greater Western Sydney Giants, Sydney Swans AFLW sides and the Newtown Jets. Beyond the photo ops, the big question for Marrickville locals is simple, what’s actually changed? New Henson Park Henson Park has always had a certain charm, the hill, the heritage grandstand, the winter footy atmosphere. The good news is that the character hasn’t gone anywhere. What has changed is everything behind the scenes. The grandstand has been repaired and upgraded, including improvements to first-floor seating and new lift access to make upper levels easier to reach. Even longtime footy fans will notice the difference, and for families or older supporters, getting around the stadium is now much more convenient. One of the biggest shifts is in the player amenities. The upgraded facilities now include female-friendly change rooms, accessible toilets, and more storage for equipment, a move that reflects the rapid growth of women’s sport and the increasing use of the ground for AFLW matches. It’s a big win for young girls playing footy locally, who now have top-notch facilities to inspire the next generation of athletes. There’s also a brand-new multi-purpose building tucked behind the grandstand. Inside, you’ll find additional change rooms, toilets, a gym, and a community function space. That last addition could mean more local events, club functions, and community gatherings happening at the ground throughout the year, not just during footy season. Families haven’t been forgotten either, with accessible public toilets and baby change facilities now part of the mix. Even casual visitors coming for weekend sport or a stroll through the park will notice the fresh, modern touches. Henson Park has become a key venue for AFLW fixtures and remains the spiritual home of the Jets. The upgrade includes modern coaches’ boxes and improved broadcast facilities, meaning the ground is better equipped to host high-profile matches and larger crowds. For locals, that could translate to more major games landing in Marrickville and more visitors discovering what many already know, that Henson Park is one of Sydney’s great suburban sporting venues. When Can You Experience The New Facilities? While the official unveiling gave the first glimpse of the upgrades, locals will really get to judge when the stands fill up again, friends and families grab a spot on the hill, and the footy action kicks off in full swing. There’s something special about returning to a familiar ground and noticing the small changes — from smoother pathways to better seating and more welcoming amenities. After months of work and a $20 million investment, Henson Park is ready for its next chapter. And if early impressions are anything to go by, Marrickville’s favourite footy ground has managed to modernise without losing the character that makes it special. With improved facilities for players, fans, and the wider community, it looks like Henson Park will continue to be a hub for local sport, social gatherings, and weekend fun for many years to come. Henson Park sports ground is located at 32 Centennial St, Marrickville NSW 2204

Thirty years after installation, Marrickville Road’s historic Footpath Stories mosaics face neglect By Matt Abotomey It was summer, 1993. IOC president Juan Antonio Samaranch had just turned the city on its head, announcing Sydney would host the first Olympic Games of the new millennium.  In Marrickville, Olympic fervour was being funnelled into an ambitious public mosaic artwork - the Marrickville Road Footpath Stories project. The plan was to install 30-odd mosaics into the pavement of the suburb’s main street. Each work, designed by a different artist or community group, would provide a snapshot of life and culture in Marrickville. Looking to involve as many people as possible, Marrickville Council sent out flyers in six different languages requesting submissions from the community.  Maria Tsakalos didn’t receive a flyer. She had no idea about the Council’s plans. In those days, she was working as a shop assistant at a deli in Marrickville Shopping Centre. Walking home one afternoon, she saw people working in the church rooms next to St. Clements Anglican and went inside to look. When she was told about the project, she immediately joined as a volunteer.  Maria had no experience in design or masonry. But for six months she returned to the rooms every day after work, watching how other volunteers approached the task and piecing together her own contribution to the project. She was excited about the Olympics and wanted to show what it meant to her that an ancient Greek tradition was arriving on Australian shores. Her mosaic is entitled ‘Olympia’ and depicts a young woman crowned with a laurel and surrounded by olive branches and the Olympic rings. Her inspiration, she tells me, came from a picture on a tin of olive oil she had at home.  Mosaic History On 24 th  September, 1994, 39 mosaics were officially opened to the public. They were detailed, vibrant and unique. One shows a crowded tram running on an old line past Seymour’s Corner at the intersection of Victoria and Marrickville Road. Another depicts ‘Blondini’ an Australian copycat of Charles Blondin, the 19 th  century French daredevil, walking on a tightrope and breathing fire. Some are works of protest - “Tenants have rights!” screams one. A few, like a smiling elliptical sun, seemingly have no connection to Marrickville and simply please the eye.    Thirty years later, the mosaics and their messages are no less arresting. But there is an unmistakable sense that time is catching up with them. Large cracks have erupted in some. Others have tiles missing. A few have been hacked at by souvenir-hunters or vandals. The worst punishment has been meted out by utilities companies whose workers rip out segments or whole mosaics to get at pipes and wires underneath. Some have been put back, but many have simply been destroyed. Local historian Rod Aanensen walks Marrickville Road most days. Over the years, he’s witnessed this destruction and, on a number of occasions, intervened to try and stop it. In 2022, he began photographing the mosaics and sharing them on the Marrickville Heritage Society Facebook page. He approached the Inner West Council about preserving the mosaics and in April 2023, they voted unanimously to investigate the cost of a full restoration. Seeking Restoration & Protection That was almost three years ago. In July of 2024, the mosaics were mentioned in a Council report of resolutions that had yet to be fulfilled.  Of the five stated aims for the mosaics, two stand out: to “work closely” with the Marrickville Heritage Society in preparing the restoration, and to “consult and where possible, prioritise working with the original artists of the mosaics…” Rod has been part of the Marrickville Heritage Society for years and is keen to be involved with the restoration, but he’s barely heard from the Council. Maria hasn’t even been approached. Meanwhile, the cracks in the Marrickville Road pavement are only getting wider. In 1993, Community Arts co-ordinator Susan McHattie said the idea of the Marrickville Footpath Stories Project was to “involve people in the creation of their environment.” Sitting in Maria’s compact, well-tended garden barely 100 metres from where Olympia sits, it’s clear Maria lives by these words. She is still immensely proud of her work and says she looks at it every time she walks past. She wants the mosaics preserved for “years and years and years.” “When I am dying,” she says, “I know I left something behind. I left my kids behind, but I left something for Marrickville.” Marrickville Mosaics can be spotted along Marrickville Rd.

Ku-ring-gai Council’s Multicultural Festival will be held on Sunday 22 March with an amazing program of music, dance, food and market stalls. Held at St Ives Showground from 10am to 3pm, you can enjoy music and dance performances, interactive demonstrations and an exciting variety of stalls selling cultural wares and culinary delights from all over the world. There will also be a range of fun activities for the kids including art and craft, facepainting and pony rides. Mayor Christine Kay said there was a wide range of multicultural community groups involved in bringing this year’s festival together.  “The Multicultural Festival is one of the many ways we celebrate our diversity and strengthen social cohesion,” Mayor Kay said. “Ku-ring-gai is home to a magnificently diverse community, with nearly 40 per cent of our residents coming from non-English speaking backgrounds. Council continues to work closely with its Multicultural Advisory Committee to ensure diverse cultural groups are represented in decision-making.” Performances include African drumming, Irish dancing, Reishinkan Kendo (Japanese martial arts), Kathak dancing (Indian), Chinese cultural displays, philharmonic orchestra and an Australian bush band. You can also participate in a range of workshops including African drumming, language lessons, Chinese calligraphy, French trivia, weaving stories and ‘Bollyfit’ (a fun workout with Bollywood music). Market stalls will sell a range of arts and crafts, along with gourmet food from across the world. The food market includes: Candela (Latin American Street Food) German Grill House (German) Authentic Turkish (Gozleme) Yans Dumplings & Noodle Bar (Chinese) Street Boss (Mediterranean) Kofte Express (Middle Eastern) Pocket Burger (Korean) Andina (Peruvian) Big Boi Tacos (Mexican) Amaize-ing (Latin) Lamda (Greek) Wander Food Catering (Dutch) Dolce Bacio (Italian) Dos Churros (Spanish) Chatime (Asian) The Multicultural Festival is supported by Ku-ring-gai Neighbourhood Centre (KNC), Hornsby Ku-ring-gai Community College, Neighbourhood Watch NSW – Hornsby Ku-ring-gai, CASS, AASHA Australia Foundation, NSW Police, French A La Carte, Sydney Multicultural Community Services, Multicultural Community Support and Chabad North Shore. Parking available on site or catch the free shuttle bus from Gordon Station or St Ives Shopping Village. For more information visit krg.nsw.gov.au/Things-to-do/Events-and-festivals/Ku-ring-gai-Multicultural-Festival-Harmony

3 day celebration of all things stickers at Sydney Sticker Expo. Send in your stickers and join the fun! Sydney’s most vibrant celebration of sticker art is back, and this year it’s bigger than ever. The Sydney Sticker Expo returns for three full days, transforming a love of sticky creativity into a global gathering for artists, collectors, and fans alike. What started as a one-night sticker bash in 2025 has exploded into a full weekend experience, bringing together local talent, international artists, and a community eager to trade, create, and celebrate stickers in all shapes and sizes. The Expo is a chance to see sticker culture at its best. Walk through walls covered in eye-catching designs and watch live sticker-making demonstrations. Whether you’re a street artist, a home studio creator, or someone who simply loves a good sticker collection, this event is for you. The emphasis is on creativity, connection, and the joy of sharing your art with a community that gets it. Artists are being called on to send their stickers for display - whether you have one sticker or hundreds, there’s room for everyone. It’s not just about showing off your work; it’s about joining a culture that thrives on collaboration, experimentation, and playful expression. The Expo encourages all participants to trade, stick, and swap with fellow artists, creating a unique, interactive experience where everyone leaves a little more inspired. Plus, there’s the thrill of discovery - spotting international contributions alongside homegrown designs gives the Expo a truly global feel. And for those who love the process as much as the product, the sticker-making demos offer insider insight into techniques, materials, and creative tricks of the trade. Whether you’re attending to admire, collect, or contribute, the Sydney Sticker Expo promises an unforgettable weekend of creativity, colour, and community. The best part? Entry is almost free - just a gold coin donation at the door (be generous!). Don’t miss your chance to be part of the sticky revolution. Sticker Submissions: Parcel Locker 10009 26908, 38–40 Pitt Street, Sydney NSW 2000 Deadline: April 15, 2026 Sydney Sticker Expo - May 8-10, 2026 Sydney Street Gallery 19 Sydney St, Marrickville

How Sydney’s early convicts risked the ocean to escape punishment and exile More on Sydney CBD By ALEC SMART During the early years of the British penal colony experiment in Sydney Cove, only a few convicts escaped custody due to its remote location and inhospitable climate. Among the successful escapees, a few joined Indigenous clans and effectively ‘went native’, whilst those who purloined a boat or joined the crew of a visiting ship had a greater chance of success. Departure of Whaler Britannia from Sydney Cove 1798 - by Thomas Whitcombe National Library Australia In the early 1800s, Aboriginal trackers in the employment of the police service were frequently utilised to track down runaway convicts who had fled through the bush. Convicts were a vital labour force and therefore State property, and escaped convicts often resorted to banditry and bushranging, making them a serious threat to new settlers in the expanding colony. The environment surrounding the Sydney settlement was fraught with threats, from known dangers, such as snakes and sharks, to the unknown, including venomous creatures and poisonous plants not yet recorded by science. Several escapees were killed by Aboriginals or just vanished, whilst others perished through starvation. Most of the convicts who escaped the colony’s harsh conditions were recaptured and severely punished. Some tried stowing away. At least six convicts were discovered on the First Fleet transport ships Alexander, Friendship, and Prince of Wales as they prepared to depart Sydney to return to Britain in mid-1788 after Governor Arthur Phillip ordered a search of all departing vessels. First Fleet in Sydney Cove, 1788 - by John Allcot, National Library of Australia After the Sydney penal colony was founded in January 1788, it was two years and eight months - September 1790 - before the first successful flight to sea in a stolen vessel by escaped convicts John Turwood and his four accomplices (see below). Later, when international whaling, sealing and trading ships anchored in coves around Sydney Harbour, including Walsh Bay, Campbells Cove, Moores Wharf (Millers Point) Circular Quay, Watsons Bay and Great Sirius Cove (Mosman Bay), for mooring, repairs, and processing blubber, some were hungry for crew members and often smuggled aboard escaped convicts to supply that demand. Deterrence However, by 1803, the problem of runaway convicts hiding aboard ships had become so prevalent that the Sydney Gazette and New South Wales Advertiser began regularly publishing lists of absconders to alert ship captains and local authorities. Under the governorship of Lachlan Macquarie (1810–1821) and Ralph Darling (1825–1831), strict regulations were enforced to prevent convicts from escaping the colony as stowaways. Under Governor Darling's 1827 Port Regulations, the masters of departing vessels were required to pay substantial fines - often £500 - if a convict was found to have escaped on their ship. Masters were often required to lodge a security bond before being granted clearance to leave port, which would be forfeited if they failed to prevent stowaways. Escaped convicts who were recaptured were locked in solitary confinement cells, made to wear leg-irons, flogged (sometimes with a cat-of-nine-tails’ whip that caused vicious, permanent scars), or banished to Norfolk Island or, from 1803, Van Diemen’s Land (Tasmania). The flogging of women was halted under British law in 1791, and although it was phased out for male convicts with the end of transportation in the 1850s, it remained on the statute books in some states for another two centuries. Ocean escapes Shortly after convicts were first landed in Australia, two – Ann Smith and Peter Paris ( a Frenchman) – went missing. It was speculated they stowed away on visiting French navigator La Perouse’s two vessels that sailed into Botany Bay a few days after the arrival of the First Fleet. After six weeks, La Perouse departed Botany Bay in March 1788, but his ships were wrecked on a Vanikoro Island reef in the Solomon Islands and the survivors perished. One of the first ‘successful’ nautical escapes from Sydney involved five convicts – highway robber John Turwood and five thieves, John Strutton, George Lee, George Connaway and John Watson – who, on the night of 26 Sept 1790, stole a small flat-bottomed boat (ie, designed for river use, not the ocean) at Rose Hill. Equipped with a week’s food, some spare clothes, bedding and necessary utensils, they rowed down the Parramatta River and through Sydney Harbour. At Watson’s Bay they abandoned the riverboat and, luckily, found a larger, single-masted vessel with a sail, to which they transferred their provisions and headed out through Sydney Heads. Hoping to sail to Tahiti, albeit without any navigational aids (no compass or sextant), they only made it 150km up the NSW coast and set ashore in Port Stephens. There, they were welcomed into the Worimi Aboriginal clan. Although Strutton died soon afterwards, the others were initiated, learned the language and were taught hunting and fishing techniques. Several married Worimi women and had children. Sydney from the west side of the cove - by George Evans, 1802 It was another five years before they returned to Sydney in Aug 1795, and that was through the chance arrival of a British warship, HMS Providence, sheltering from a storm. The captain persuaded the four Britons to return to Sydney, where they were received and excused punishment by acting Lieutenant Governor Captain William Paterson. Two years later, in September 1797, Turner and Lee escaped custody again with 13 runaway convicts, seizing a cutter ship, the Cumberland, near the mouth of the Hawkesbury River. They forced the captain and crew to disembark – a very unwise move given their lack of maritime navigational skills - then headed out into the Pacific Ocean and vanished forever, probably drowned. Another remarkable sea escape took place in 1791. On 28 March, Cornish fisherman William Bryant and his wife Mary, seven other convicts and the Bryant’s two children, stole Governor Philip’s cutter and set off for the Dutch East Indies (Indonesia). Although they were properly stocked with food and navigational aids, it took a month to sail 1000km, and they encountered storms at sea and Aboriginals on shore – some hostile, some welcoming. On 5 June, after 69 days and 5,000km, they landed at Kupang, Timor, and were initially accepted as survivors of a shipwreck. However, when the truth came out that they were escaped convicts, they were imprisoned, where Bryant and his son died. The remainder were deported to England, with four more dying on the voyage, among them the Bryant’s daughter. Mary and the remaining three convicts were put on trial, but public sympathy spared her deportation back to Australia. In November 1793, the surviving quartet were issued pardons and were freed from custody. Sydney Cove, Port Jackson 1804 To deter the theft of water craft by convicts, British authorities limited the number of vessels allowed to operate in Sydney and only one shipyard - the King’s Dockyard, established on the Western Shore of Sydney Cove in 1800 – was permitted to build new boats. Although a number of vessels were constructed at the turn of the century, both in the dockyard and by independent boatbuilders, it wasn’t until 1855 that Australia’s first privately-run dry dock was opened, in Mort Bay, Balmain. Convicts During the convict era (1788–1868), approximately 165,000 convicts were transported to Australia, with about 80% of them convicted of theft, often for minor offences driven by poverty. Petty theft was the most common reason for transportation, with sentences often lasting seven or 14 years for offences involving small, low-value items. Many of these offences were committed out of survival-driven poverty in overcrowded, industrialising cities. While these crimes seem minor today, they were treated harshly under the 18th and 19th-century British legal system, which heavily protected property, especially of the affluent. Although termed "minor," many convicts had prior convictions - about 60% of men - or committed these crimes in a way that the legal system determined warranted a severe punishment: 7-years, 14-years, or a life sentence. A convict chain gang going to work near Sydney - by Edward Backhouse, 1842 - National Library Australia Such long sentences that took them away from family and friends inevitably brutalised the convicts and made them more determined to escape. There were 11 ships in the First Fleet that arrived from Britain when Sydney was founded as a penal colony in January 1788, six of them convict transports containing 775 prisoners (504 men, 192 women, and 13 children) guarded by approximately 247 armed marines. The Second Fleet in 1790 was notorious for the cruelty inflicted upon the 1006 prisoners – at least two captains of the six vessels had previously transported African slaves across the Atlantic. Of the 1,038 convicts embarked, 273 died during the voyage (26%) and 486 (47% of those embarked) arrived sick and were hospitalised. Within six months of their arrival, 40% of the convicts were dead. The Third Fleet of 11 ships that arrived between February and April 1791, including the Mary Ann with its all-female cargo, fared better, and brought over 2,000 convicts. For the convicts, many of whom were serving long, harsh sentences for crimes that today would be considered misdemeanours, an opportunity to escape was capitalised upon. Port Jackson, ca. 1821, convicts working in a quarry on the left - by Major James Taylor - State Library NSW Whaling Whaling and sealing companies began regularly operating from Sydney in the 1790s, capitalising on the annual whale migration along the East Coast of Australia between May and November every year. Captain Cook’s journals from when he visited New Zealand and Botany Bay in 1769-70 noted that whales and seals were plentiful in the southern seas. This prompted entrepreneurs, such as the Enderbvs, to lobby British maritime authorities for access to the South Pacific, until then monopolised by the East India Company. Whaling ships first arrived in Sydney in 1791. Five of the 11 vessels of the Third Fleet – Active, Britannia, Mary Ann, Matilda and William & Ann, all owned by the merchant Enderby family - began whaling in the South Pacific soon after disembarking their human cargo. The Britannia was the first European ship to catch and kill a whale off the Australian coast on 10 November 1791. In 1792, the Brittania and William & Ann became the first European whaling and sealing boats to operate commercially in New Zealand waters. Boats Approaching a Whale - by M Dubourg, 1813, National Library Australia Whaling in Tasmania followed and began almost immediately after European settlement in 1803. The first whaling station, Trywork Point (Droughty Point), was established in 1805 on the Derwent estuary. Whaling became vital to the developing colony, with whale products among Australia’s primary exports prior to the discovery of gold and coal. Walsh Bay, on the Dawes Point peninsula in Sydney Harbour, became the busiest port in the South Pacific, processing and exporting a range of whale products. This included blubber for lubricants, oil for lanterns and candles; baleen (fine teeth from filter-feeding whales) for umbrella spines, brushes and women’s corsets; meat and organs, often dried and used for pet food; and bones and teeth, carved into figurines, knife handles and decorative items. South Sea Whalers boiling blubber by Oswald W Brierly Convicts and whalers The whaling industry, which required a crew of up to 40 for the larger ships and barks, and around 20 for the smaller brigs and schooners, often recruited escaped convicts as cabin crew. The whaling vessels spent long months at sea, and until whales were sighted, the journeys could be monotonous, with the on-board hierarchy very rigid. The pursuit and capture of whales was extremely dangerous, involving six-man crews launched in rowing boats (four oarsmen, a boat-header who steered and commanded, and a harpoon thrower). They manoeuvred alongside the moving leviathan and thrust harpoons attached to ropes into its exposed flank. The crew’s wages were dependent on the sale of the numerous parts that the whale was dissected or rendered down into. After the ship owner paid expenses and took his commission, there mightn’t be much left of the sale proceeds to distribute among the ship hands. Often sailors were paid in advance and remained indebted to the company if the season’s catch was poor. This meant it was a very unattractive option for professional sailors, but acceptable work for escaped convicts and other miscreants evading authorities, especially those with maritime skills. American whalers began anchoring in Chowder Bay below Middle Head from the late 1820s. The first dedicated whaling station on the Australian mainland (previously the sea mammals were dismembered on board the ships or towed to beaches) opened at Twofold Bay (near Eden) in 1828. Flensing A Whale, Twofold Bay, NSW. Photo: CE Wellins, National Library Australia Mosman became renowned as a centre for whaling after the opening of Sydney’s first commercial whaling station in Mosman Bay (then Great Sirius Cove) by Archibald Mosman and John Bell in 1833. By 1837, there were 42 whaling ships based in Sydney, employing around 1300 crew. It soon became known that American whalers and merchant trading ships had enabled the disappearance of fleeing convicts. For example, in 1796, Thomas Muir, a Scottish political reformer and lawyer sentenced to 14 years transportation to Australia for sedition, escaped Sydney on board the American fur trading ship Otter, bound for Vancouver. As late as 1840, Charles Dolphus, an English convict, stowed away aboard an American whaling ship and disembarked in Fiji after breaking off his leg irons. He eventually made his way back to Britain, was arrested and jailed for four years, but later wrote a popular biography of his experiences. Shooting a Harpoon at a Whale - by M Dubourg 1813 - National Library Australia The frequency of convicts escaping on American ships created diplomatic tensions between the British and American authorities. This threat to maritime trade prompted the United States to appoint a consul to Sydney, James Hartwell Williams, in 1836, who was specifically tasked with controlling renegade seafarers. A consulate office opened in Sydney in 1839, ensuring American ships did not disrupt local colonial laws by harbouring runaway convicts. Decline of transportation In the early 1800s, New Zealand was also a magnet for escaped convicts because it was not yet colonised by a European nation. Most of the escapees worked in maritime trade, especially the seal and whaling industry. Many worked for Sydney merchants who dropped gangs on islands to harvest seal skins and oil for export to China and England. The Sydney Herald estimated in 1837 that there were between 200 and 300 former convicts residing in New Zealand, a large proportion of them ‘bolters’. The last convict ship to Sydney, the General Palmer, arrived in 1850 (although transportation officially ended in 1868 in Fremantle, Western Australia). By then the whaling and sealing industry had declined due to over-production and a severe reduction in wildlife from unsustainable mass slaughter. The Great Sirius Cove whaling station in Sydney Harbour had already closed following the bankruptcy of Archibald Mosman and his business partners in 1844. In 1851, discovery of gold in Ophir, near Bathurst, triggered a major ‘gold rush’ with the arrival of thousands of immigrant speculators, and Australia’s economy transitioned from marine to agricultural and forever changed. Mosman Bay , where Archibald Mosman's whaling station was situated from 1833 - 1844. Photo: Alec Smart =======================================

Discover which herbs thrive as the weather cools and how autumn conditions support healthy, productive growth. Autumn is a wonderful season for growing herbs. As summer heat fades, daytime temperatures become milder while the soil stays warm, creating comfortable growing conditions. Increased rainfall and fewer pests make it easier for herbs to establish strong roots and develop healthy leaves. Both leafy herbs and hardy perennials flourish during this season, making autumn perfect for planting a productive and flavourful herb garden. These herbs will thrive as the climate cools in Autumn: Parsley Parsley thrives in cooler, stable temperatures and evenly moist soil. Autumn encourages lush leaves and richer flavour. It also tolerates light frost, allowing it to produce well into winter. Coriander Coriander grows best in cooler weather, which slows bolting. Shorter days reduce flowering, giving more tender, usable leaves. Regular harvesting keeps the plant healthy and productive. Chives Chives are adaptable and naturally cold-tolerant. Autumn planting supports steady growth, and in mild climates, they often remain productive throughout winter with minimal care. Mint Mint benefits from cooler temperatures and higher soil moisture, which reduce wilting and enhance leaf flavour. Because it spreads vigorously, planting in containers is recommended. Thyme & Sage Mediterranean herbs like thyme and sage thrive when planted in autumn. Warm soil encourages strong roots, while cooler air prevents excessive growth. Once established, these herbs are drought-tolerant and long-lived. Rosemary Rosemary prefers full sun and well-drained soil. Autumn planting allows it to establish strong roots before winter, and in mild climates, it can continue growing year-round. Choosing the right herbs for autumn ensures a healthier, more productive garden. By planting during cooler weather, you encourage strong roots, vibrant leaves, and lasting flavour that can be enjoyed well into the colder months.

Why Beds Australia Is Redefining Better Sleep, Sustainability and Bedroom Design More on Sydney CBD Beds Australia is Australia’s largest independent bedding retailer, partnering with trusted local brands to deliver sustainable, expertly crafted mattresses and beds designed to support better sleep and long-term health. A little history Beds Australia was founded on the belief that sleep is the third pillar of health. Partnering with Australia’s most respected heritage manufacturers, drawing on generations of expertise from AH Beard (1890s), Sealy (1920s) and SleepMaker (1930s). This shared commitment to Australian-made craftsmanship and quality is proudly embodied in their name Beds Australia. Sustainability Sustainability is a collaborative approach. Beds Australia is a proud founding member of The Australian Bedding Stewardship Council, a voluntary industry-led initiative that is backed by the Federal Government. Trends in bedroom furnishings Timeless bedroom furnishing trends favour softer textures and warmer tones. Whilst style is personal, simplicity with classic lines remains popular. Natural colours and pure linen fabrics are preferred. When purchasing bespoke beds, customers consider practicality to maximise versatility, allowing seasonal refreshes through quilt covers and throws. Appetites are far more creative with stand-alone headboards, including vibrant colours, bold patterns and dimensional textures. Often a focal point, expressed as a piece of art, with the boldest examples extending wall-to-wall or floor-to-ceiling. New mattress considerations When purchasing a new mattress, take your time as it's a long-term investment. Consider whether retaining size and existing linen against the opportunity to size up or down. Ensure you have a solid base, which is the essential foundation. Prioritise comfort: firm for tummy and some back sleepers, medium for most side sleepers, and plush for extra pressure relief. Understand the support system: inner springs offer high durability with better airflow, whilst pocket springs reduce partner disturbance with extra contouring for hips and shoulders. Brand trust and reliability go hand-in-hand. Other factors include temperature regulation, edge support, materials, sensitive choice, and warranty period. Our knowledgeable specialists are available to help you make an informed decision over the phone, via our website or in our incredible showroom. The importance of sleep This is a common question and is best answered by the likes of Matthew Walker, a neuroscientist who published the book “Why We Sleep”. Essentially, significant scientific progress in sleep has only occurred in recent years. It’s worth a read and validates many commonsense principles we would intuitively understand. Regularity is absolutely key; waking and sleeping at the same time every day has direct positive biological, cognitive, physical, mental and emotional benefits. Good habits also include regular daily exercise earlier in the day, in addition to a cut-off time for caffeine. Light plays a critical role, firstly through daily exposure to direct morning sunlight and ensuring a dark, cool bedroom that is screen-free. BEDS AUSTRALIA 503 Old South Head Road, Rose Bay 1300 588 788 bedsaustralia.com.au

Experience the Power of the Human Voice in Sydney Philharmonia Choirs’ Inspiring 2026 Concert Season More on Sydney CBD Sydney Philharmonia Choirs’ 2026 concert season celebrates sublime music, from beloved Baroque favourites such as Bach’s St John Passion to awe-inspiring masterpieces like Britten’s War Requiem, alongside thrilling works by today’s composers.  Photo: Keith Saunders Whether an exquisite baroque program with the Chamber Singers at Pier 2/3, the youthful sounds of VOX at White Bay Power Station, or the wall of sound that comes from the 400-voice Festival Chorus in the Sydney Opera House, the Choirs present music that will excite every musical taste.  And you needn’t just enjoy it from the audience seats: make 2026 the year you sing in the choir yourself. ChorusOz is your opportunity—whether you’re a shower star or a curious can’t-sing-a-note—to join 999 others on stage at the Sydney Opera House. Perform with a real orchestra and world-class opera stars in Verdi’s grand tragedy, Aida. Past participants call the experience “life-changing,” and many return year after year.   Choirs for all people & occasions Later this year, you could join our Christmas Choir and sing in Handel’s Messiah at the Opera House. Hallelujah! Photo: Keith Saunders 2026 is also the year our young adult choir VOX turns 25, the average age of its members. Renowned for its contemporary choral sound, virtuosic a cappella harmonising, and themes of spirituality, environment, and community, VOX will mark the milestone with World O World, a gorgeous anniversary concert in November at White Bay Power Station.    If you’ve never experienced the Choirs before, the season-opening concert Gloria! at Pier 2/3 in Walsh Bay is the perfect introduction. Hear Vivaldi’s brilliant Gloria in D, Handel’s fiery Dixit Dominus and JS Bach’s radiant Cantata No.12 right on Sydney Harbour as the sun sets over the water. Could there be a better setting? And after the concert, join the choristers for a drink to celebrate the beginning of the season.  Explore the whole season and buy tickets at sydneyphilharmonia.com.au

Engine Ignites Sydney Dance Company’s 2026 with Bold New Works, Global Choreographers and Powerful Contemporary Dance More on Sydney CBD In 2026, Sydney Dance Company ignites a year of bold artistic collaboration, presenting powerful choreographic ideas in a season defined by empowerment, curiosity and fearless exploration. Reflecting the Company’s rich legacy while forging new creative pathways, 2026 celebrates the evolving landscape of contemporary dance across major stages, intimate spaces and ambitious programs supporting independent artists. Season One launches in June at the Sydney Opera House with Engine, a striking triple bill uniting three extraordinary choreographic voices. Artistic Director Rafael Bonachela premieres The Journey Itself is Home, featuring a score by Grammy Award-winning composer Bryce Dessner and inspired by the poetry of Matsuo Bashō. The program also marks the Australian premiere of The Mass Ornament by Berlin-based Spanish choreographer Fran Diaz, set to the music of Henryk Górecki, and the return of Melanie Lane’s viral sensation Love Lock. A reimagined folk dance of the future, Love Lock features costume design by Akira Isogawa and a pulsing score by UK electronic artist Clark. Celebrating 40 Years of Sydney Dance Company Across August and September, the Company celebrates 40 years at Walsh Bay Arts Precinct, culminating in Season Two’s Current at the Neilson Studio. Featuring new works by Raghav Handa, Jenni Large and Azzam Mohamed, alongside Bonachela’s E2 7SD, Current offers an intimate, electrifying portrait of contemporary Australian dance. The year also sees the fifth edition of INDance, reaffirming Sydney Dance Company’s commitment to nurturing independent dance and connecting adventurous ideas with curious audiences. Engine is a striking triple bill set to ignite the Sydney Opera House stage with raw power. Uniting three extraordinary choreographers, Engine promises an exhilarating, electrifying performance. The program features the premiere of The Journey Itself is Home, Rafael Bonachela’s newest work, the Australian debut of Fran Diaz’s hypnotic The Mass Ornament, and the return of audience favourite and critically acclaimed Love Lock by Melanie Lane.  Dates: 24 June 2026 – 12 July 2026 Venue: Drama Theatre, Sydney Opera House Secure your seat to both our 2026 productions and enjoy exclusive subscriber benefits. Save 15%, receive priority seating, and enjoy flexible booking — the best value for the full season.

One of Sydney CBD’s hidden gems, Ette, is a quietly brilliant CBD dining spot filled with chic vibes & standout small plates. More on Sydney CBD Food : Incredible.  Vibe : Super chic bar + dining room with a welcoming open kitchen. Cost : Very affordable small bites, dearer entrees and mains ($$) I’m genuinely kicking myself for not discovering Ette sooner. As someone always on the hunt for city spots to host clients, catch up with friends or sneak in a pre-show drink, this venue would have come in handy more times than I can count. Consider this my belated love letter to a place that somehow flew under my radar - and one I’m now quietly adding to my regular rotation. You know the kind: a spot you half want to keep to yourself, but can’t help recommending because it’s just that good. Ette Sydney, The Hidden Dining Gem Of Sydney Ette is tucked almost unassumingly within the lobby of a corporate building at 10 Bridge Street in the heart of Sydney. Step inside and the outside hustle melts away into a low-lit hum of dark, moody interiors and after-dark confidence. At the centre of the room is the open-plan kitchen, where flames lick the grills and chefs move in a kind of controlled choreography that’s quietly hypnotic. Service mirrors the energy - attentive, accommodating and impressively knowledgeable throughout. Delicious Season Menu The menu champions seasonal ingredients, treated with enough creativity to keep things interesting without tipping into fussiness. It works just as well for a few snacks as it does for a full meal, with a smart mix of share plates, confident entrées and mains. The drinks list is equally thoughtful, pairing clever house cocktails with classics and an extensive wine list that encourages lingering. We started with the Zucchini Flower ($9), fried to a perfect crisp and stuffed with silky cream cheese, jalapeño and wild honey - utterly indulgent. The Sashimi Mosaic followed: kingfish and salmon cured ceviche-style and arranged atop passionfruit, finger lime and coconut. Almost too beautiful to eat. For a quick, flavour-packed bite, Ette’s ‘conettes’ punch well above their size, offering four elegant options ranging from Yellowfin Tuna Tartare to Beetroot Tartare with goat’s curd. Effortlessly versatile, Ette suits everything from a relaxed lunch to an intimate dinner - but it truly shines as a stylish after-work or pre-show haunt. A discreet gem you’ll want to return to again and again.