After seven decades in the CBD, the Genesian Theatre is raising the curtain on a brand-new chapter in Rozelle. More on Balmain After putting on theatre classics in the tiny repurposed church on Kent Street for more than 70 years, the Genesian Theatre Company (GTC) has moved to a new home with new possibilities in Rozelle. New theatre in Rozelle. Photo: Genesian Theatre Neighbourhood Media spoke with theatre manager, Alice (Ali) Bendall about the past, present and future of GTC. “It was such a happy/sad moment,” says Bendall. “The new venue was stunning, but we had a fair few teething issues, especially making all the tech sing and dance how we needed for our productions. And we had a very short turnaround from getting the keys to the first curtain going up on An Inspector Calls. We were essentially handed an empty venue, so our incredible team from the first play were so patient and helpful as we built dressing rooms, furnished the space and took time to work out the best way to do things.” History of Gensian Theatre Company The GTC is actually 80 years old, created by a Catholic Youth Organisation in 1944 and named after St Genesius, the patron saint of actors. They performed in various venues before finding a permanent home in the deconsecrated St John the Evangelist church on Kent St in the CBD.  Old Genesian Theatre on Kent Street. Photo: Sardaka via Wikimedia Commons In 2017, the company was asked to vacate the premises by the landlords, the Catholic Church. After negotiating a two-year reprieve, GTC got another stay of eviction thanks to the pandemic. In the meantime, they managed to secure a new venue: the old school hall next to St Joseph’s Catholic Church in Rozelle.  “It’s a beautiful 130-seat playhouse with all the mod-cons!” says Bendall. “We have air-con that doubles as heating in the winter. Two large dressing rooms, a large Front-Of-House area with space for punters to sit and enjoy a drink before the show as well as at interval.” Bendall joined the GTC in 2021, bringing with her a wealth of talent and experience as a writer, choreographer, performer, director and now manager. She adapted Jane Eyre for the stage as the swan song performance for the Kent St venue — oh, and she also directed and co-designed the set and costumes.  Genesian Theatre Manager, Alice Bendall Mixed Emotions Reflecting on the move, Bendall has mixed feelings, saying there are some things she won’t miss: “The unwelcome inhabitants (rats! cockroaches!) All part and parcel of having such a beautiful old building.” And some things she definitely will miss:  “The feeling and sense of tradition; the walls seemed to breathe, having witnessed so much history, theatre and actors take to that stage. That sense of community and theatre tradition is something we have tried to hold onto and solidify as we move into our new venue.” Something else they’ve held onto is the beautiful stained glass windows, which they removed from Kent St and will soon hang inside light boxes in the upstairs gallery at Rozelle.  Upcoming Productions The GTC is renowned for its repertoire featuring classic plays and traditional productions. The new venue launched with a brilliant production of the thriller, An Inspector Calls, followed by Shakespeare’s Macbeth. Currently playing is Lord Arthur Saville’s Crime, adapted from an Oscar Wilde story. The rest of the season features: The Lady Vanishes, Moriarty - A New Sherlock Holmes Adventure, Side By Side by Sondheim, and It’s A Wonderful Life.  “From our incredibly full houses, the traditional seems to be what our patrons want,” says Bendall. “We strive to provide professional-level theatre at affordable prices. Theatre for everyone.” 2B Gordon St, Rozelle www.genesiantheatre.com.au

Headless corpses, riverside whispers, and betrayal in 1831 — uncover one of Balmain’s earliest unsolved murder conspiracies By Elliot Lindsay More on Balmain The Parramatta River hid a grim secret in late November 1831. When a fisherman found a headless corpse floating near Goat Island, off Mort’s Bay, though in those early colonial days, long before Balmain was known for its terraces and shipyards, this bay was known as Waterview. Thus, Balmain's Waterview Murder Conspiracy of 1831 came to prominence. The body, gnawed by fish, wore only tattered shoes, sparking dread in Sydney’s small waterfront community. In a small, smoky inn on Kent Street, a coroner's inquest packed the room with a tense, buzzing crowd, thick with whispers and the weight of grim curiosity.  The remains, sprawled in the dim candlelight, were those of Samuel Priest, a Clarence Street butcher, his neck carved with a chillingly precise, unnatural gash that no beast could have wrought. Charles Bayles, a colleague of the deceased, muttered about a cut that resembled the skill of a butcher.  Joseph Wilks, Priest’s hired man, had reported only days earlier that his master had fallen accidentally overboard in Birchgrove Bay after a debt-collecting trip to Kissing Point. Brought before the court, his story was shaky, and the jury smelled lies, branding Wilks an accessory to murder and sending him to Sydney Gaol. Yet the river’s depths held the truth, and Balmain’s Waterview Bay whispered of darker deeds. Days earlier, Rev. George Middleton’s servant, Mary Brady, had been frozen with terror as she sat on the veranda of Waterview House, the old colonial villa that once stood where Colgate Avenue and St John Street today meet. Hearing groans—“Oh! Oh!”—and a scuffle coming from the bay which the house overlooked, she was too frightened to investigate further. In her imagination, it was “rogues” or worse, some bushrangers who had been recently raiding the Balmain region. The following day, when the Reverend walked down to investigate, he found a black beaver hat near the shore, stuffed with butcher’s receipts. When presented to the court some were revealed to be in Wilks’ scrawl. At the Currency Lad Hotel on George Street, patrons swapped theories over rum: robbery, betrayal, or something colder? The headless corpse screamed foul play, but Wilks walked free in April 1832, the judge citing thin evidence. Sydney churned on—and the people forgot. Balmain, though, could not shake the shadow. In May 1834, Joseph Wilks, finding himself behind bars once again, this time for forgery, spilled a story that turned stomachs. Facing his own noose, he struck a bargain. He would exchange the “truth” behind Samuel Priest’s murder in exchange for his life. In doing so, he betrayed two men: William Chapman, the late Samuel’s supposed brother, and Henry Mills, another member of the butcher fraternity.  At the Police Office, Wilks’ words wove a nightmare. On November 10, 1831, he and Priest rowed from Kissing Point in a borrowed boat, collecting a debt from schoolmaster James Warman. After the men had beer and rum at James Squires’ old hotel, Priest, drunk, slumped in the boat and went to sleep. Warman asked if he could return with them to Sydney, Wilks was adamant that he could not. When nearing Long Nose Point, Wilks alleged that the two accused men William Chapman and Henry Mills appeared before them, their boat slicing the dusk. In Waterview Bay, Wilks claimed the two men insisted they swap boats, leaving Priest with them as his larger boat was harder to row alone. As he drifted away, he heard Mills curse at the drunk Priest followed by a violent thud. Wilks looked back to see Chapman battering Priest’s head with an oar. Next, Mills, holding the bloodied man by the legs dunked him overboard and drowned him.  Wilks followed their boat to shore, approximately where the Colgate building is today. Mills and Chapman dragged the drowned man onto the beach. To his horror, he watched one of the men reveal a butcher’s knife and carve around the dead man’s neck and with a twisting motion, he removed the head, making a popping sound.  Bank notes were removed from Priest’s waistband; Wilks, spineless, took a £5 note for himself. He was given the severed head and, under the threat of violence,e was forced to wrap it in a handkerchief and drop it into Cockle Bay. The body was opened so it may sink to the depths of the river. Suspicion tightened. Reverend Middleton confirmed that when the hat was found, he saw Chapman and Mills lurking around his bay with the excuse that they were searching for the missing Samuel Priest. Warman’s testimony about Wilks’ refusal to let him board the boat and his belief that Priest was in fact not drunk also casts doubt.  At the Rum-Puncheon Hotel on King’s Wharf, whispers grew: Julia Priest, Samuel’s widow, had seemed too close to Chapman so soon after his brother’s death, they even began living as man and wife in 1833. Constable Edward Cochrane saw her drunk and laughing with Chapman only hours after her husband was initially reported missing, her grief appeared lukewarm. A witness swore Julia once offered “twenty pounds to have her husband put away.”  By June 1834, Chapman, Mills, and Julia faced charges—murder for the men, accessory for her. In August 1834, the trial packed the Supreme Court. Wilks’ testimony, dripping with self-preservation, riveted the crowd, detailing the slaughter and his own cowardice. Julia’s defence held; her tears muddied her guilt. Chapman and Mills were convicted, their denials drowned out. Soon after, they swung at Gallows Hill, proclaiming innocence to the end, as a mob gawked at the spectacle.  Wilks, the snake, slithered free, his betrayal sparing him the rope. But was he merely a coward—or something darker? His tale, so vivid, condemned two men who never confessed. Could a psychopath lurk behind his trembling facade, weaving lies to bury his own evil? Joseph Wilks’ shadow stretched far beyond the Balmain murder. Many years later, in 1855, Wilks had settled with his family at Deep Creek, near the town of Casino. One grim day Wilks’ wife, Margaret, and two sons were found butchered, their heads hacked by a tomahawk.  Wilks claimed he was shepherding, finding his wife dead and his sons missing. Initially, he let others suggest it was the result of an Aboriginal raiding party, only for the theory to be dismissed when looting patterns did not fit and only Wilk’s tracks were found at the scene of the crime. Later, he accused a man named James Lynch, spinning a wild story that he had a dream where his family came to him and named Lynch the killer. His bizarre, contradictory stories drew suspicion as he was arrested, released and then re-arrested. Finally, the weight of evidence against him was enough to convince a jury, and he was finally convicted in 1858 for his son’s murder. Wilks faced the gallows but was reprieved for life imprisonment, public doubt clouding the circumstantial case. His knack for blaming others, from Balmain to Deep Creek, paints a chilling portrait: perhaps not just a betrayer of those who trust him, but a man whose lies masked a deeper, monstrous darkness.

Rozelle Favourite Brings Signature Coffee and New Breakfast Menu to Corner Bar More on Balmain After seven beloved years serving the Rozelle community from Lombardo’s Café & Deli, local favourite Nick Lombardo has officially closed the doors to his cherished café and opened a new chapter just down the road. He’s now brewing his signature cups of coffee as part of the team at Corner Bar. You’ll find Nick behind the machine from as early as 5:30am daily, serving the same rich, perfectly-balanced coffees that made him a household name. And coffee isn't all he's bringing - Nick is currently crafting a mouthwatering new hot roll menu, due to launch as part of Corner Bar’s refreshed weekday breakfast offering. Announcing the news on Facebook, Nick shared a heartfelt farewell: “It’s time for me to say goodbye to Lombardo Café Deli. After 7 amazing years, I’ve decided to close up shop and focus on the things that matter most—like spending time with my little family. I’m so grateful to all of you who have supported me on this journey. You’ve become like family.” Corner Bar, tucked away in the backstreets of Rozelle, offers a warm, rustic café vibe by day, transforming into an intimate New York–style wine and cocktail bar by night. With the upcoming addition of a new breakfast menu and Nick’s legendary touch, the bar is set to become an even more essential stop for locals seeking great food, top-notch coffee, and a relaxed neighbourhood atmosphere. “It’s been a wild ride, and I’m grateful to have shared it with you all,” Nick wrote in his post. While Lombardo’s Café & Deli may be gone, his culinary passion and community spirit live on—now brewing brighter than ever at Corner Bar. Rozelle locals, set your alarms. From hot rolls to heartwarming service, mornings just got a whole lot tastier.

Sydney’s New All-You-Can-Eat Japanese BBQ Spot, Gyuniku, Serves Up Unlimited Wagyu, Seafood, Sushi and More for Under $100 More on CBD If you’re a sucker for a good all-you-can-eat dining experience, Sydney’s newest Japanese BBQ venue, Gyuniku, needs to be on your radar. Tucked away on bustling Dixon Street in Haymarket, this premium, buffet-style Japanese BBQ restaurant is shaking up the city’s dining scene — serving up unlimited, high-quality cuts of meat (including Full Blood Wagyu MB9+) for under $100. Yep, you read that right. A Premium Japanese BBQ Buffet You Actually Want to Visit At Gyuniku, it’s all about quality, variety and the joy of endless options. The venue itself is modern and sleek, with dark timber panelling, moody lighting, and an atmosphere that somehow strikes the perfect balance between intimate date-night spot and lively group dinner destination. The restaurant features 30 individual BBQ stations and 25 tables, making it ideal for everything from birthday gatherings to catch-ups with your hungriest mates. Now, let’s talk about the food — because that’s why you’re really here. You’ll find an impressive variety of proteins ready for the grill, from marinated prawns and high-marbling short rib to marinated seafood, and the star of the show: cubed Wagyu cuts. Those little buttery, melt-in-your-mouth pieces of Wagyu were a personal standout, with each bite cooked over the hot coals retaining just the right amount of smoky char and juicy tenderness. It’s one of those menus that makes you want to try absolutely everything — and here, you can. DIY Sushi Bar, Hot Foods and Frozen Yoghurt Station But it’s not all about the BBQ. Gyuniku also boasts a self-serve sushi bar loaded with fresh nigiri, sashimi, and nori rolls made daily by traditional Japanese sushi chefs. There’s also a range of hot and cold dishes like Sukiyaki beef and vegetables, wakame salad, and DIY chirashi bowls you can build to your liking. To top it all off, they’ve thrown in a DIY frozen yoghurt station, complete with chocolate toppings, tapioca pearls, mochi and fruit jelly, which makes for a fun, light finish to what’s likely been a pretty meat-heavy meal. The mango frozen yoghurt almost stole the show. All-You-Can-Eat Pricing That’ll Surprise You Here’s the part that makes Gyuniku an instant standout: the price. The standard Wagyu J-BBQ buffet starts at just $57.90 per adult from Monday to Thursday and $64.90 on weekends. If you want to level up, the Premium Package — which includes unlimited servings of Full Blood Wagyu MB9+ alongside the entire buffet offering — comes in at $82.90 per adult. For those bringing little ones, kids’ pricing starts at $29.90, making it surprisingly family-friendly for a premium BBQ spot. Considering the quality of ingredients, the sheer amount of choice, and the fact it’s an all-you-can-eat venue in the Sydney CBD, it’s genuinely one of the better-value Japanese BBQ experiences you’ll find in town. If you’ve got a big appetite, a love for Japanese BBQ, and a soft spot for bottomless dining experiences, Gyuniku is a must-visit. It’s the kind of place you’ll walk out of feeling both satisfied and already planning your next visit. Go hungry, go with friends, and leave room for the mango froyo. Gyuniku 34/1 Dixon St, Haymarket gyuniku.com.au

Rebecca Paulson’s mission is to redefine dancer treatment and creative workspaces through her trailblazing company, Elysian Creative. More on Sydney CBD It takes more than sequins and strobe lights to run a dance company in Sydney, just ask Rebecca Paulson, whose choreography of talent, ethics and sheer stamina has shaped Elysian Creative into one of the city’s most recognisable nightlife names. Elysian Creative dancers What started as a passion project bearing her own name evolved into Elysian Creative, a company that’s become synonymous with empowerment, artistry, and a fierce commitment to dancer welfare. “For so long, the company was named after me, but as it grew, it needed a more distinctive branding,” Paulson said. The name ‘Elysian’, inspired by a Greek term meaning ‘divinely inspired’, stuck because it perfectly captured the ethos of a business built on passion and respect. A Dancer’s Journey: From Injury to Industry Leader Rebecca Paulson Paulson’s path to founding Elysian Creative was anything but linear. A lifelong dancer, she faced career-halting injuries before pivoting to teaching and choreography. “I auditioned as a Pacha Sydney dancer back in 2014, and not long after, a close friend asked me to organise dancers for his event,” she recalled. That serendipitous moment sparked a business that now employs 36 performers, including models, event staff, and even a dancer who returns for gigs after having a baby. Her background as a high school teacher, particularly in girls’ wellbeing, deeply influenced her approach. “I’ve seen many companies mistreat dancers, taking their innocence and inexperience for granted,” Paulson told Neighbourhood Media. “I wanted to create a space where dancers felt safe and valued as individuals first.” Raising the Bar: Fair Pay, Safe Spaces, and World-Class Artistry In an industry where dancers are often the first budget cut, Elysian Creative stands out by prioritising fair pay and safe environments. “This industry is cutthroat, and dancers are extremely influenced by those around them,” Paulson noted. She emphasised educating performers on their worth: “Some have trained for 18-25 years and spent thousands to reach their level—they shouldn’t undervalue themselves.” She insisted that care for her dancers comes before anything else, even when it’s not easy. “I care for my employees first and foremost over everything, sometimes to my detriment, some of my team would say.” Her priority is creating “a space where dancers felt safe and valued as individuals,” aiming to foster growth, trust, and leadership. Family, Festivals and the Future Elysian Creative Promo Team Member What sets Elysian Creative apart isn’t just flashy choreography or elaborate costumes. “It’s the environment and space we create,” Paulson said. “I am leading the industry to fight for fair and safe pay and working environments.” She described Elysian as “more than friends… we are like a big family,” adding that dancers have stuck together through marriages, babies, and heartbreaks. Among her proudest moments is the Pride Round halftime show for the Sydney Swans at the SCG. “A team of 12 drag queens and 7 dancers created a hype squad that performed in front of 80,000 people,” she recalled. But for Paulson, pride also comes from consistency. “Every week, I get to support the Australian arts industry. I have to give a special mention to my 11-year business relationship with Merivale for supporting us in that as well. That is an achievement I will never take for granted.” As for what’s next, her eyes are on new stages, both literal and metaphorical. “I would love to produce a cabaret show here in Sydney or assemble a group of dancers for a music clip.” Long-term dreams include major music festivals like Spilt Milk or international concert tours, and even a return to choreographing for sports teams. “I would really love to step back into the cheerleading space.” Still, full-time commitment to Elysian remains a consideration. “The next step is to look at if I’m ready to take the leap and jump on Elysian full time… but I’m not going to give all my secrets away,” she said with a laugh. “I’ve spent years perfecting the recipe for the perfect cake.” Follow Elysian Creative at: www.elysiancreative.org Instagram.com/_elysian.creative.productions

When a £230 lottery dispute sparked an all-out street battle between rival Chinese factions in 1892 Sydney, it exposed deep divides, secret societies, and a fragile peace in the city’s immigrant communities. By Elliot Lindsay More on Sydney CBD On 1 March 1892, the air outside the old Water Police Court at Phillip Street, Circular Quay, crackled with tension. Inside, a packed courtroom buzzed as Ah Chew, a vegetable dealer from the Go Yew faction, faced Gwoon Sing, a prominent storekeeper of the Doon Goon faction, in a blackmail case that had simmered for weeks. Chinese Gambling House - Illustrated Sydney News, 1871 Ah Chew accused Gwoon Sing of demanding £20 to suppress a false charge of assaulting his daughter, a ploy allegedly tied to a disputed pak-ah-pu lottery win of £230. The court, presided over by Mr. Benjamin Lee, S.M., was a kaleidoscope of Chinese merchants, gardeners, and gamblers, their faces taut with anticipation. As the interpreter relayed the verdict - case dismissed for unreliable witnesses - a roar erupted. The Doon Goon supporters, numbering nearly 400, let out a triumphant whoop, while Ah Chew’s smaller contingent of 80–100 seethed. The dismissal was a spark in a powder keg. As the courtroom frantically emptied, Phillip Street became a battlefield. Over 200 Chinese men of the rival factions clashed in a pre-orchestrated frenzy, wielding iron rods, bamboo poles, knuckle-dusters, and stones, some hidden in vegetable baskets whisked in from Campbell and George streets. Blood stained the footpath as heads were split and faces slashed. Senior-constable Beadman, battered by a bamboo pole, and Constables Wilson and Richardson struggled against the tide, arresting twelve rioters - eight from Doon Goon Faction and four from Go Yew Faction. Cabs whisked some rioters away, but the chaos left a trail of injuries and fear, with police later fining those arrested at the same court. The roots of this violent eruption lay in a gambling dispute that exposed deep factional divides in Sydney’s Chinese community. The trouble began at Gwoon Sing’s underground lottery operation at 273 George Street, where Ah Chew, a savvy player from the Go Yew faction, marked three winning tickets. Gwoon Sing, claiming insufficient funds and alleging fraud, refused to pay, sparking a feud. When legal recourse failed - gambling debts were unenforceable - Gwoon Sing reportedly escalated to blackmail, a charge Ah Chew brought to the Water Court. This clash was not isolated but part of a broader conflict between two factions with distinct identities and territories. The Doon Goon faction, numbering 2,000–3,500, dominated the city’s core, centred around Lower George St, Campbell St, and Essex St. Comprising storekeepers, hawkers, and gamblers, they were linked to gambling dens and the Loon-Ye-Tong secret society, known for its influence and alleged control of vice markets. Gwoon Sing, a 30-year resident with shops at Goulburn St and The Rocks, was a key figure; his faction was accused of aggressive tactics. In contrast, the Go Yew faction, with about 1,600 members, was based in rural and suburban areas like Botany, Waterloo, Cook’s River, Lane Cove, Willoughby, Rockdale, and Hurstville. Primarily market gardeners, they were less tied to urban gambling but fiercely protective of their rights, rallying behind Ah Chew and his cause. The Go Yew city presence was primarily centred around the Belmore Markets that were once located on Campbell St, near the Capitol Theatre, and around parts of Surry Hills. The riot’s aftermath saw desperate attempts to quell the feud. By March 4, 200 Chinese merchants, convened by Mr. William Loo Ching, a man of significant wealth and famed for discovering one of the largest gold nuggets in history, at the Standard Theatre, urged unity and raised funds to settle Ah Chew’s claim and placate Gwoon Sing. Ah Chew agreed, but Gwoon Sing’s rejection soured the effort. Quong Tart, a respected merchant, led a peace committee, but by March 16, the Doon Goon faction, meeting at Lower George-street, publicly denounced him in resolutions published in the Sydney Morning Herald, refusing his arbitration for their 2,000 members. Their resistance was fuelled by the committee’s anti-gambling and anti-opium stance, clashing with Doon Goon’s interests. Water Police Court - Scene of the riot on Philip Street Tensions escalated further. By March 23, newspapers reported on rumours of men associated with the rival factions purchasing revolvers and rifles, raising fears of another riot. A conspiracy case on March 24 at the Water Police Court saw Gwoon Sing accuse Ah Chew of falsely alleging blackmail, but it was dismissed, with a heavy police presence preventing another violent outbreak. Meanwhile, related violence flared elsewhere. In October 1892, a fan-tan dispute at 56 Goulburn St led to a riot injuring Ah Dick and Gum Bo, with convictions issued on November 4. References to “Chinese Freemasons” demanding gambling house payments hinted at secret societies beyond Loon-Ye-Tong. The feud between the Doon Goon and Go Yew factions fuelled anti-Chinese sentiment in 1890s Australia, casting a harsh spotlight on Sydney’s Chinese community. The public spectacle of their conflict, particularly the violent Phillip Street riot of 1 March 1892, was detrimental to the community’s commercial interests. Leading merchants and powerful gambling operators likely viewed such open exposure of internal strife as disastrous for business, tarnishing their reputation in a city already wary of their presence. After dominating headlines, the feud faded from the pages of the Sydney Morning Herald and Daily Telegraph. Yet, the animosity probably persisted, simmering in the shadows of back alleys and private gambling dens in Surry Hills and The Rocks, beyond the gaze of police constables and journalists.

From Indie Shorts to Global Premieres, Here’s Where to Catch Sydney’s Top Cinema Events This Year. More on Sydney CBD Sydney’s film festival scene is a treasure trove for cinema lovers of all kinds. Whatever you’re into, from ripping international stories to underground indie gems, the city offers a rich lineup that celebrates creativity and storytelling on every scale. From big screens to tiny devices, these festivals showcase fresh voices and daring visions, making Sydney a vibrant hub for film enthusiasts eager to explore the many faces of cinema throughout the year. Sydney Film Festival Closing Night 2024 Flickerfest 📅 Annually in January 📍 Bondi Pavilion, Bondi Beach 🎥 Short films Showcasing the best in contemporary storytelling from Australia and around the world. Audiences can enjoy a diverse range of genres, from drama and comedy to animation and documentary, all set against the iconic backdrop of Bondi Beach. The 2025 Festival saw more than 3,500 entrants, resulting in a showcase of more than 200 short films. Antenna Film Festival 📅 5-15 February, 2026 📍 Bondi Pavilion, Bondi Beach 🎥 Documentaries Australia’s premier international documentary event, presenting around 50 compelling documentaries each year. The program covers a wide range of topics—from personal narratives and social justice to environmental and political issues. Featuring a blend of Australian and international films, Antenna offers an engaging platform for audiences interested in powerful non-fiction storytelling. Queer Screen 📅 Annually in February 📍 Various venues across Sydney 🎥 LGBTQIA Cinema Queer Screen’s Mardi Gras Film Festival is an annual celebration of LGBTQIA+ cinema, showcasing nearly 150 films including dramas, documentaries, comedies, and shorts that explore diverse queer experiences. The festival highlights past performances from stars like Alan Cumming, Bette Midler, and Whoopi Goldberg. It also offers a mix of in-person screenings and on-demand viewing, making queer stories accessible to audiences across Australia. Short+Sweet Film Festival 📅 Annually in March 📍 Turner Hall, TAFE Ultimo 🎥 Short films A vibrant celebration of concise storytelling, showcasing a diverse range of short films from local and international filmmakers. Audiences can expect a dynamic program featuring genres from drama and comedy to animation and experimental works — all under 10 minutes long. The festival typically includes multiple heats leading up to an exciting gala final, making it a lively and engaging experience for lovers of sharp, creative cinema. Sydney Film Festival 📅 June 4-15, 2025 📍 Various venues across Sydney 🎥 International features, documentaries, shorts Celebrating its 72nd edition, the Sydney Film Festival is one of the world's longest-running and most prestigious film festivals. From June 4 to 15, 2025, the festival will showcase the very best in contemporary cinema, offering audiences the chance to experience premieres, red carpet events, and exciting special programs across Sydney. Details and full program HERE. SmartFone Flick Fest Sydney Underground Film Festival 📅 September 11–14, 2025 📍 Dendy Cinemas, Newtown 🎥 Independent and experimental films SUFF showcases a bold selection of independent and experimental films that push the boundaries of conventional cinema. The 19th edition features a lineup of provocative narratives, avant-garde documentaries, cult classics and genre-defying shorts from around the world. The festival also includes special events, networking opportunities, and a 48-hour film challenge, fostering a vibrant community of filmmakers and cinephiles. Details and full program HERE Sydney Science Fiction Film Festival 📅 October 3–5, 2025 📍 Event Cinemas George Street, Sydney 🎥Speculative storytelling Presenting a curated selection of science fiction and fantasy films from independent filmmakers worldwide. Jewish International Film Festival 📅 October 2025 📍 The Factory Theatre, Marrickville 🎥 Jewish and Israeli-themed cinema Australia's most comprehensive showcase of Jewish-themed cinema, JIFF presents a diverse lineup of feature films, documentaries, and short films from around the world. In addition to film screenings, JIFF hosts special events and discussions, providing audiences with deeper insights into the stories and themes presented. Details HERE. Japanese Film Festival 📅 November-December, 2025 📍 Sydney, Australia 🎥 Japanese cinema Showcasing a diverse selection of films ranging from contemporary dramas and comedies to classic period pieces and anime. The 2025 program includes titles like "Mom, Is That You?!" and "Let’s Go Karaoke!", offering insights into Japanese culture and storytelling. The festival provides a unique opportunity for audiences to experience the depth and diversity of Japan's film industry. SmartFone Flick Fest (SF3) 📅 November 7–9, 2025 📍 Sydney, Australia 🎥 Films shot entirely on smartphones and tablets Lights, camera… phone! The SmartFone Flick Fest (SF3) is Australia’s original and biggest international film festival dedicated entirely to movies made on smartphones and tablets. Now in its 11th year, SF3 proves you don’t need blockbuster budgets or fancy gear — just your phone, a great idea, and a spark of creativity. Entries for the 2025 festival are open until September 1, welcoming filmmakers of all ages and skill levels. Categories include feature-length films, 3-minute shorts, the themed SF3 Mini (‘Breath’ this year), an exciting new AI film section, and SF3 Kids for young creators. With over $50,000 in prizes and a chance to premiere on Sydney’s big screen, the festival offers three thrilling days packed with red-carpet screenings, Q&As, parties, and free masterclasses on everything from screenwriting to film sound. Whether you’re a filmmaker or a film fan, SF3 is the pocket-sized festival with a big-screen heart. Get filming!

Harris Farm Markets has landed in Redfern, joining Potts Point and Broadway with fresh, local produce and gourmet groceries for inner Sydney locals. More on Sydney CBD Since 1971, when David and Cathy Harris opened their first store in Villawood, Harris Farm Markets has stood for something greater than just selling fresh food. From day one, they believed in nature itself — the land, the sea, the air, the elements — and all the good it can bring. Nature nourishes our bodies and delights our senses, but it also does more than that. It brings families together, supports communities, and provides farmers with purpose. At Harris Farm, that connection to nature isn’t just respected — it’s what drives every decision. Harris Farm isn’t a supermarket in the traditional sense. It’s a market — one that responds to the natural rhythms of the earth and celebrates its unpredictable abundance. If nature decides to send a bumper crop of blueberries, those berries end up on special. If apples come in with a few dings or odd curves, they’re embraced as Imperfect Picks and sold at a discount — helping customers save money while tackling food waste in a practical, joyful way. This is a place where freshness isn’t a tagline, it’s a principle. The fruit and veggies are always seasonal, the seafood often still glistening from the Market, and the bread warm from in-store bakeries. Harris Farm partners with local artisans and suppliers — cheesemakers, bakers, butchers, and growers — not just because it’s the right thing to do, but because it makes for better food. It’s this commitment to quality, sustainability, and community that’s helped Harris Farm flourish into one of Australia’s most loved independent retailers. For over 53 years, Harris Farm Markets has remained 100% family-owned and operated. What started as one modest store has grown into 32 (and counting) locations across Sydney, regional NSW, and Queensland. Along the way, the company has welcomed more than 3,000 passionate employees — all working toward one shared goal: reconnecting Australians with the joy of food. That joy is evident the moment you walk into a Harris Farm store. The fruit and veggie section is a riot of colour and scent; the shelves are stocked with thoughtful finds, quirky ingredients, and crowd favourites alike. You might stumble upon a new brand of local olive oil, sample a wedge of cheese you've never heard of, or finally find the exact spice blend you once brought back from a holiday. It’s food shopping as a discovery, not just a chore. But the magic of Harris Farm lies just as much in its values. Sustainability is built into the business, from reducing packaging to sourcing ethically and embracing seasonal excess. The Imperfect Picks initiative alone has saved thousands of tonnes of good produce from going to waste. And through long-standing relationships with local farmers, Harris Farm ensures that every dollar spent helps support real people — not just big corporations. As Co-CEO Luke Harris puts it, “We’re for more than just good food. We’re for the greater goodness.” That philosophy runs through every initiative and interaction, from in-store tastings and community events to the way each store is tailored to its neighbourhood’s needs. The idea isn’t to copy and paste a model across cities, but to build something local, relevant, and generous — a space where people genuinely enjoy shopping for their food. Today, Harris Farm continues to evolve, with new stores opening in growing communities like Redfern and Marrickville. Long-standing favourites in places like Broadway and Potts Point continue to innovate and connect. But no matter the postcode, the promise remains the same: better tasting produce from sustainable suppliers, bigger value from unexpected harvests, and a deep respect for the land that gives it all. In a world of endless choice and increasing detachment from where our food comes from, Harris Farm Markets is a refreshing return to source. They’re not just selling ingredients — they’re helping people fall in love with food again. Redfern B103 - 107/2-38 Baptist St, Redfern Australia’s favourite independent food retailer has officially arrived in Redfern. Opened on 22 August 2024 and located within TOGA’s The Village Surry Hills precinct, Harris Farm Markets Redfern brings a fresh new energy to Sydney’s inner city. This vibrant new store is more market than supermarket — a bustling space filled with the sights, scents, and flavours of seasonal produce, gourmet groceries, and pantry favourites. Inside, shoppers will find a curated selection of the freshest fruits and vegetables, quality meats, artisanal cheeses, and everyday essentials, with a strong focus on local and sustainable sourcing. In keeping with Harris Farm’s commitment to community and quality, the store features Infiniti Bakery as its resident in-house bakery, serving fresh breads and pastries daily. Long-time partner Fish in the Family anchors the seafood section with its expert selection of locally sourced, responsibly caught seafood. “We’re excited to bring Harris Farm Markets to Redfern and become part of this dynamic and diverse community,” said Luke Harris, Co-CEO. “We celebrate what’s in-season and in abundance, and we’re proud to share our ‘Values with Values’ philosophy with our new neighbours.” Whether you’re a Redfern local or simply passing through, this new store offers something for everyone — fresh food with heart, under one welcoming roof. Potts Point The Village Centre 24 - 30 Springfield Ave A hidden gem tucked into the leafy elegance of Potts Point, this Harris Farm feels more like a boutique market than a supermarket. The narrow streets and Art Deco buildings set the perfect stage for a shopping experience centred around flavour and quality. Local favourite Bourke Street Bakery keeps customers fuelled with golden sausage rolls and flaky pastries, while Fish in the Family ensures the seafood counter is always buzzing with choice. With an array of organic produce, specialty items, and local gourmet goods, this store has become a staple for Potts Point’s food-savvy locals. Broadway Broadway Shopping Centre LG06 Located just beneath the Broadway Shopping Centre, Harris Farm Broadway may be hidden from street view, but it’s deeply rooted in the local community. This store serves up the signature Harris Farm blend of freshness, variety, and sustainability in a setting tailored to busy students, workers, and families alike. Partnering with Infiniti Bakery for fresh bread and Fish in the Family for daily seafood, the store delivers quality essentials with a personal touch. Whether you’re grabbing lunch or restocking the pantry, this is a local go-to that never feels generic.

Secret WWII bunkers, movie sets, and urban myths: find out what awaits inside the refurbished St James Tunnels By ALEC SMART More on Sydney CBD The St James Tunnels beneath Hyde Park in Central Sydney are expected to open soon for regular public-access tours after a multi-million-dollar refurbishment program. The 1920s-built subterranean railway corridor – never actually used as a rail conduit – are dual tunnels 20 metres below St James Station, adjacent to the City Circle line. St James Tunnel. Photo: Beau Giles (Wikimedia) The long-closed subways, often called the ‘Ghost Tunnels’, consist of a double-track tunnel running north from St James for approximately 250 metres beneath Macquarie St (parallel to the NSW State Library) and two single track tunnels running south of St James that extend 750 metres to Whitlam Square (below the intersection of College St, Oxford St, Liverpool St and Wentworth Ave). Originally intended to connect the east-west train link on the greater Sydney rail network, they were designed by visionary engineer John Bradfield, the project supervisor and chief designer on the Sydney Harbour Bridge, as part of the Bradfield Plan (which he first proposed in 1908). Inspired by the New York Subway, with station architecture influenced by the London Underground, this would have seen St James as a hub connecting the City Circle Line and a subterrestrial track east to Bondi Beach, beneath Oxford St. Two additional platforms at St James were also built for this purpose. St James Underground - JC Bradfield 1926 However, after initial digging began in 1923, the project was largely abandoned in 1932 due to financial constraints caused by the Great Depression (worldwide economic downturn from 1929-1939), despite the construction of the first two stations on the U-shaped City Circle line: St James and Museum. Although Wynyard Station was opened in 1932 (St James opened in December 1926), Circular Quay, the final link in the central business district rail loop that included Town Hall and Central, was not opened until 1956 – a quarter of a century later (Bradfield died in 1943). Until then, St James Station was used as a terminating station for the East Hills and Illawarra lines. The Eastern Suburbs line was not constructed until the 1970s (opening in June 1979). However, instead of utilising the two abandoned platforms and aforementioned tunnel sections at St James, planners diverted the route and constructed a new station at Martin Place, which was instead linked to Town Hall Station (and terminated at Bondi Junction, not the seafront). St James Tunnel. Photo: Foto Sleuth (Wikimedia) Contemporary use of the tunnels The ‘ghost’ tunnels and platforms have been closed and disused in the century since their development, apart from temporary sanctioned artistic productions. These include several movie scenes, a few artist projects and a mid-1990s episode of Australian TV drama series Police Rescue which featured a boy who fell down a stormwater drain. A large bell is reportedly in situ in one tunnel, which was employed as
a gong by ABC Radio sound effects technicians for an historic program called The Listening Room (broadcast on Classic FM on Monday nights from 1989 to 2003). Six of the more significant uses include: (1): From 1933-34, Spanish immigrant Raymond Mas utilised the northbound tunnel as an experimental mushroom farm (after an earlier venture in the Glenbrook Tunnel in the Blue Mountains failed). In an August 1934 article in the Blyth Agriculturalist, the mushrooms – which reportedly grew in beds consisting of “four parts of straw to one of cow manure” and yielded over three tonnes between April-May 1934 - were described as “a little gold mine.” (2): In World War II the southbound tunnels were adapted to public air raid shelters as well as an operations bunker occupied by the Royal Australian Air Force and the Women’s Auxiliary Air Force, created to gather vital intelligence data. This was in response to nationwide fears of a Japanese military invasion following the 31 May 1942 incursion into Sydney Harbour of three Japanese midget submarines, one of which torpedoed a troop accommodation ferry berthed at Garden Island. The invasion threat was real – after multiple attacks on Australian and US Navy vessels and merchant ships off the NSW coast, sinking nine vessels and killing over 50 sailors - on 8 June 1942, a Japanese submarine fired 10 shells into Sydney’s Eastern Suburbs, damaging houses in Woollahra. The sub surfaced just 10km off the coast of Malabar, using the beam from Macquarie Lighthouse to guide its weapons’ trajectory. The military attempted, unsuccessfully, to detonate and collapse the St James Tunnels after WWII (which proved too well reinforced for conventional dynamite), although the staircase that accessed the bunker was destroyed by fire on 16 November 1968. (3): The successful quartet of Matrix films (1999-2021), a dystopian science-fiction series starring Keanu Reeves, Carrie-Anne Moss and Laurence Fishburn as cyber-rebels pursued by violent government agents headed by Hugo Weaving, included fight scenes filmed on the abandoned platforms beside the St James Tunnels and around the station above. Scenes from the first Matrix movie, filmed in the St James Tunnels, with a digitally-added train. In the 2003-released Matrix Revolutions, the third instalment in the series, the consciousness of Keanu Reeve’s character Neo is trapped in a subway station called ‘Mobil Ave’, which serves as a transition zone between the Matrix (the cyber program that controls humanity) and the material world. (4): The 1998 movie Dark City, described as ‘tech noir’ (a subgenre of science fiction), which borrowed significantly from the Matrix series, includes scenes filmed in the St James Tunnels where a mysterious group known as ‘the Strangers’ dwell. (5): A tunnel and platform is featured in Zoë Badwi's 2010 music video Freefallin, during which she wanders along an illuminated pedestrian subway after the station exit is closed and encounters a twilight world of erotic dancers splashing in water. (6): Australian cult-horror film The Tunnel (2011), a drama presented as a documentary, utilised the St James Tunnels. A film crew descends beneath the city to investigate why homeless people are going missing and encounters an underground lake and predatory monsters. Screenshot from Zoë Badwi's 2010 music video Freefallin' Revitalisation In September 2018, NSW Government sought expressions of interest “to activate the hidden space at St James Station into a world-class attraction. The proposed opportunities include entertainment, retail or dining options.” Then-NSW Transport Minister Andrew Constance declared, “We want ideas that could transform the platform and tunnels into a world-renowned attraction. Spaces like the St James tunnel are rare. Around the world, hidden spaces are being converted into unique experiences and we want St James Station to be part of that.” The solicitations closed on 6 November 2018, but in 2020 a Sydney Trains spokesperson revealed the expression of interest process was ‘not complete.’ On 28 February 2025, the NSW Government’s Ministry of Transport issued a statement announcing the St James tunnels had been “turned into a historic tourist hotspot after a million-dollar makeover.” Abandoned Platform, St James Minister for Transport John Graham said: “These historic tunnels are more than just infrastructure; they are an expression of Sydney’s development as a modern, international city. These tunnels belong to the people of NSW, so it’s fantastic news that they’ll become another of our city’s great public spaces. “Tours like BridgeClimb on the Harbour Bridge are now a must-do experience for Sydney locals and visitors alike. In time, we want to see tours of the St James tunnels become just as popular.” The media release promised “visitors will be able to explore hidden parts of the St James Tunnels following restoration and revitalisation works to create a unique underground experience.” This will involve a walking tour with a guide combined with an “immersive multimedia and soundscape” – presumably without the sound of Japanese missiles and the smell of cow manure! Until now, the tunnels were only legally opened to the public during Sydney Open, an annual event that supervises access to restricted areas across the city; described by the organisers as “a chance to explore the city’s most historic and significant buildings, religious structures and architectural monuments”. Anecdotes from previous visitors to the old tunnels – which include graffiti artists, the Melbourne-based subterranean explorers known as the Cave Clan, and even a 1970s witches’ coven that allegedly performed seances in the dark, damp conduits – describe graffiti-strewn walls (among them Heritage-listed messages written by the soldiers stationed there in WWII) and a fine netting of tree roots hanging down. The latter are the exploratory ends of fig trees growing in the grounds of Hyde Park, many metres above. An alleged 'seance room' - screenshot from a clandestinely-taken video by Actual Boys A large sector of the northern tunnel is flooded by decades of seeping stormwater. Colloquially known as ‘St James Lake’, witnesses describe it as ten metres wide and up to five metres in depth. An urban legend reveals the waters host a mysterious albino eel. An inflatable dinghy and paddle were photographed at the side of the ‘lake’ for explorers to paddle into the darkness, if the sharp teeth of a hungry eel doesn’t deter brave venturers. The water will be drained before the northern tunnel is open for public access. Guided walks through the southern tunnels (reportedly accessible via a black door set into the wall of a subway in St James Station) and the WWII bunker are anticipated to run several times a day, after an accredited tour operator is appointed to oversee the attraction. Opening dates and details on the St James Tunnels tours will be released via NSW Government’s Transport for NSW webpage. =========================================

From useless eyesore to community centrepiece  Read More on Balmain By Rita Bratovich After years as a festering scar on the landscape, the dilapidated former Balmain Leagues Club is relinquishing its coveted plot of land to a magnificent new development — Rozelle Village.  Inner West Council and developers have finally found common ground on a piece of turf that has sat in grime and potential for 15 years. The old Balmain Rugby League Club is located on an enviable block on a high point on Victoria Rd, close to the intersection with Darling St.  Developers have had aspirations for a multi-level complex ever since the premises was vacated in 2010, but they have been locked in battle with the then Leichhardt and later Inner West Council over the details.  Balmain Leagues Club. Image: ShhSydney Now at last, developers PERIFA (of Versatile Group) and Mitsubishi Estate Asia (MEA) have got the green light on a 16-storey, mixed-use apartment building and community precinct.  The New Rozelle Village Named Rozelle Village, the new site will feature 227 apartments, of which 59 will come under the Minns Government In-Fill Affordable Housing initiative.  The residence will include a selection of well-appointed one, two, and three-bedroom apartments, as well as penthouses featuring views across the cityscape and harbour.  The area around the buildings will become a public square with stylish landscaping, activated laneways, and outdoor seating. Commercial and retail offerings include a range of food and hospitality venues, a community art studio and a full-line supermarket.  Rozelle Village is anticipated to become a focal point for locals and a destination for visitors. The design melds vintage aesthetic with modern vision, bringing past and present harmoniously together.  Inside the old Balmain Leagues Club. Image: ShhSydney History of the Balmain Leagues Club Balmain is one of Sydney’s oldest suburbs and the area’s residents have always exhibited local pride. In 1908, when the NSW Rugby League first formed, the Balmain team (the Tigers as they were later known) was one of the original nine sides in the competition. The Tigers were also one of the most successful teams, with a premiership tally second only to St George and South Sydney up until the mid-1990s.  Financial woes forced the team to merge with the Western Suburbs Magpies in 1999, where they became the Wests Tigers.  In 2010, the NSW Government asked the club to vacate its premises on Victoria Road due to a metro transport project that ultimately never eventuated. (A metro station on a revised route is now being built on James Craig Rd, closer to Rozelle Bay.) During the intervening years, while people bickered over blueprints, the building gradually fell into ruin. Anything that wasn’t bolted down (and some things that were) was stolen; it was graffitied and vandalised and it rusted and crumbled. Youths, artists and the homeless all took advantage of the abandoned monolith. It degenerated into an ugly wreck, even as massive new infrastructure was being built all around.  That old building has already been demolished, and the first cement will be poured any day now. Rozelle Village is expected to be completed in 2028. We can’t wait.

Preserving the Legacy of Balmain Courthouse: A Historic Landmark with a Vision for the Future by Des Kennedy SC The Balmain Courthouse was designed by the Colonial Architect, James Barnet, and officially opened in August 1887 by the NSW Governor, Lord Carrington, with much pomp, ceremony, and fanfare. It cost £17,000 to build, is two-storeyed, and was combined with the Post Office - a grand Victorian building that towered over the Balmain Peninsula. It was designed to convey the power and authority of the justice system and to provide much-needed legal and postal services for a burgeoning population. The combined Courthouse and Post Office formed a unique public building. Lord and Lady Carrington arrived by Government launch and were met by the Lady Mayoress, and a reception committee at the Darling Street Wharf.  In a four-horse carriage with outriders and a postilion, accompanied by the Sydney Scottish Rifles with band and pipers, they processed to the Courthouse and were greeted on the steps by the Premier of NSW, Sir Henry Parkes — a Balmain resident. The local newspaper, The Balmain Observer, recorded that the display of bunting was profuse. The flags of all nations, sorts and sizes fluttered in the breeze.  The fact that Balmain people are thoroughly maritime was abundantly evident from the number of ensigns and blue pennons displayed on all sides.  Two thousand children from local public schools sang the national anthem. A crowd of more than 10,000 attended.  The Engineers and Shipwrights, Druids and Free Gardeners turned out in great force. The engines of the Fire Brigades were festooned and decorated. The Governor proposed a toast to the “Prosperity of Balmain”. It was a grand and momentous event. At the time, there were 24,000 persons in the Municipality of Balmain, 4,200 dwelling  houses, 400 shops, and 12 churches. Inside Balmain Courthouse The courtroom is large and impressive, with a gallery, unusual for such historic courthouses in NSW. At the rear are four cells and a courtyard, described by the paper as the “prisoners’ yard” or “bear-garden”: “The cells are much like other cells, and do not require description, as those familiar with them don’t need it, and those who are not, don’t want it.” The judicial bench was said to be long enough to seat all the Colonial Judges. In 1926, the Police Station was added onto the side of the Courthouse. Whilst it was sympathetically done, it compromised the architectural integrity and unique appearance of the combined buildings. It was closed in 2015 and is unlikely to be used as a courthouse again. During its time, appeals, criminal trials, inquests, and minor civil cases were conducted. It became a busy Court of Petty Sessions. Future of Balmain Courthouse Its future use awaits the outcome of a yet-to-be-finalised Conservation Management Plan (CMP), commissioned by the Department of Communities and Justice. The CMP is to identify a range of appropriate future uses and, hopefully, tell us more of its 138-year history.  Regrettably, Communities and Justice has not yet decided whether to publicly release it. It has indicated it will only do so if it decides to divest or transfer the property. This is an important public building that has gone unused for 10 years and should be made available for community use and benefit. There is a compelling case for the CMP to be made public. Since 2023, the author and others have urged the Government to repurpose it as a state-of-the-art Museum of Balmain, Birchgrove, and Rozelle, with the courtroom preserved for legally related activities — re-enactments of famous trials, mock trials, legal moots, theatrical and musical productions, concerts, films, meetings, corporate events, legal education programs, and a range of other suitable uses. This proposed use is strongly supported by the Inner West Council’s Unity Hall Hotel and Civic Precinct Community working group and our local Member, Kobi Shetty MP.  The Council has resolved to seek community use for the building and to engage with the Government to undertake a feasibility study for the proposed museum purpose. Balmain’s residential development was the first of its kind in Australia, and it became the site of the first industrial and maritime industry in the country — and a major maritime port. It represented the next stage in Australia’s development as a nation after its colonial period. The famous Mort’s Dock became the largest employer in Australia. It was the biggest shipyard and engineering works in the country during the latter half of the 19th century. By 1905, Mort’s Dock and other associated works covered 18 acres and were the greatest hive of industry in the country. These were tumultuous times for Balmain workers and unionists, who won an 8-hour working day after strike action. They established the Labor Electoral League, and in the 1891 NSW State Election, won 31 of the 141 seats in the Legislative Assembly. The League became the Australian Labor Party, with its first branch meeting held in that year at the Unity Hall Hotel. Balmain is also home to the Balmain Bowling Club , the oldest in New South Wales, established in 1880. It hosts the Balmain Sailing Regatta, the first sailing regatta in Australia, which began in 1841. Balmain is also home to the Balmain Rowing Club, the first rowing club in Australia, founded in 1882. Additionally, Balmain is recognised as the birthplace of Rugby League in 1908. Political Significance Of Balmain Courthouse Balmain has been home to a Governor-General (Sir John Kerr), a Prime Minister (Billy Hughes), three NSW Premiers (Sir Henry Parkes, John Storey, and Neville Wran), Minister of State Tom Uren, jurist and politician H.V. Evatt, Mayors Nick Origlass, Jamie Parker and Darcy Lawler, Dawn Fraser, as well as many of Australia’s most significant business and sports figures, artists, musicians, singers, journalists, actors, seamen, celebrities, and “colourful Sydney identities.” One of Balmain’s favourite sons was the Hon. Neville Wran KC, who lived in Nicholson Street and attended the local primary school. His grandfather, a master stonemason, carved the coat of arms on the Courthouse. Neville Wran served as Premier of NSW for 10 years, with outstanding accomplishments. The Inner West Council has resolved to dedicate Neville Wran Square, in front of the Courthouse, as a fitting commemoration of the legacy of “a working-class Balmain kid who went on to lead and modernise Sydney and NSW.” If this proposed use of the Courthouse is achieved, Balmain can become an important hub for international, Australian, and NSW tourism — a boon for local businesses. The Balmain Courthouse — and Balmain — deserve such a grand vision. If you think you have a use for the space, or an idea for its future use - please reach out and let us know - info@neighbourhoodmedia.com.au

Koreaboo Offers A Taste Of Korean Cuisine, Connection, and Cultural Identity By Lucy Pearson Read More Surry Hills Content Michelle Lim Davidson’s new play, Koreaboo , being staged by Griffin Theatre Company, is running from 14 June to 20 July 2025 at Belvoir St Theatre. The production continues Griffin Theatre Company's proud legacy as Australia’s home for bold new stories.   In Koreaboo, food becomes a silent language of care between a Korean Australian girl, Hannah, and her mother - one that tries, and sometimes fails, to bridge a generational and cultural gap. It’s a theme that resonates deeply with many from immigrant families, including Korean Australian chef and food writer Heather Jeong, who has dedicated her work to sharing the richness of Korean cuisine with Australian audiences. Here, she reflects on food as a connection, the evolution of Korean womanhood, and what she wishes more people understood about her culture beyond K-pop and kimchi. We sat down with Michelle to talk about the upcoming production. Food is often a bridge in immigrant families - have you seen this in your own life or community, and how might food help reconnect people like Hannah and her Umma? Growing up as a Korean Australian, food was always our love language. Through food, we expressed love, gratitude - even apology. Sharing meals kept us emotionally safe, often replacing words with flavours. For Hannah and her Umma, connection through food could’ve helped, but their culinary expectations didn’t always align. Umma, busy running the mart, couldn’t meet Hannah’s romanticised vision of Korean cooking - like making kimchi from scratch. Still, she offered what she could: ramyun and banana milk. Even convenience food can carry love when it’s shared instinctively. In Koreaboo, Hannah relies on optimism and Google Translate. In your own work introducing Korean food to Australians, how do you navigate language, cultural nuance, and authenticity? Food is a universal language. A well-prepared meal, offered with care, doesn’t need translation. I’ve found that when you open up Korean cuisine - its history, rituals, and flavours - people respond with curiosity and respect. As for authenticity, that’s an evolving concept. My authentic self grows and shifts over time, and so does Korean cuisine. It’s not fixed; it adapts. This story touches on intergenerational expectations, especially for women. You started cooking at nine to support your mum. How did that shape your understanding of Korean womanhood and responsibility? I learned early that Korean women were powerful - but that power had to be wrapped in passiveness. They were expected to be good mothers, educate children, run a household, support their husbands, and honour their elders. The burden was relentless. While many women today push back against these expectations, in my mother’s generation, the pressure came not only from men, but from within the family structure. Responsibility was inherited, not chosen. K-Pop, kimchi, and hanboks are entry points into Korean culture for many Westerners. What deeper aspects do you wish people understood? Korea has a turbulent history, but Koreans rose from trauma with resilience and grace. At our core, we’re not just warriors - we're scholars, poets, and artists. We value family, honour our ancestors, and hold deep spiritual traditions. K-pop isn’t a fluke; it comes from a culture that has long nurtured creativity. One concept I wish more people knew is Han  - a collective emotion of unresolved sorrow and longing born from centuries of invasion and hardship. It’s not just historical - it lives in daily life and even in pop culture. Han  is the emotional undertone of the Korean spirit: quiet, enduring, and deeply human. Catch Koreaboo  at Belvoir St Theatre  from 14 June to 20 July 2025 , brought to the stage by Griffin Theatre Company , champions of bold, original Australian storytelling. Tickets HERE .