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Legendary Aussie soap star dies just weeks before birthday

Brian Wenzel has died aged 94. The beloved Aussie actor, known for his role on A Country Practice, passed away peacefully in an Adelaide nursing home, just weeks away from his 95th birthday. “It is with great sadness that we remember the life of beloved Australian actor Brian Wenzel,” the soap star's agent, Jennifer Hennessy confirmed in a statement. “His iconic and revered performances spanned multiple Australian generations with his wit and humour shining through to the end. “A passionate family man and devoted Carlton supporter leaves an irreplaceable mark on the Australian film and television industry.” Born on the 24th of May in 1929, Wenzel began his acting career at the age of just 17. He became a popular figure on Aussie TV in the 60s and 70s, starring in shows like Homicide, Division 4, and Matlock Police. He then scored his most memorable role as Frank Gilroy, an old-fashioned and uptight sergeant who was the heart of A Country Practice for 12 years. The show ran from 1981 to 1993, with a whopping 1,058 episodes, and he also briefly appeared on Neighbours after the show ended. Wenzel's role as Gilroy earned him a Logie Award for Best Actor in 1981. His final role on-screen was in 2014 for John Doe: Vigilante. In 2018 the actor had suffered two mini strokes that made him unable to walk unaided. “It’s terrible to not be able to walk and I can’t sing anymore, which is terrible. I’m hoping against all hope that I can get it all back again," he said at the time. Four years later, he was marred by his tragic battle with dementia and entered nursing care which he shared with his beloved wife Linda. Image: news.com.au/ Michael Marschall

Caring

West Side Story returns to Handa Opera on Sydney Harbour

Get ready to snap your fingers, tap your toes and experience the magic of Broadway in Sydney as Opera Australia presents the electrifying musical extravaganza West Side Story – making its triumphant return to the Handa Opera on Sydney Harbour stage in 2024. The 2019 production of West Side Story, if you were fortunate enough to grab seats, was an absolute smash hit. With record-breaking ticket sales and rave reviews, it's no wonder this show stole the hearts of over 65,000 theatre and musical buffs. Directed by the incomparable Francesca Zambello, West Side Story promises to once again whisk audiences away to the bustling streets of New York City, complete with iconic songs, heart-pounding dance numbers, and enough drama to fill the harbour twice over. Leonard Bernstein and Stephen Sondheim's musical masterpiece will once again take centre stage, accompanied by Jerome Robbins' legendary choreography – and this year, we were fortunate enough to be able to pose a few pre-performance questions to none other than Guy Simpson, the show’s musical director, and the all-singing, all-dancing Wayne Scott Kermond, who is playing “Doc” onstage. Let’s raise the curtain and see what they have to say! <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Guy-Simpson.jpg" alt="" width="1280" height="720" /> Guy Simpson Guy Simpson, a seasoned musical director with nearly 45 years of experience, boasts an illustrious career spanning global productions. Notably, his involvement with iconic shows like Miss Saigon and The Phantom of the Opera has taken him across continents, from Australia to Asia and beyond. Simpson's extensive repertoire includes serving as Musical Supervisor and Director for Opera Australia's acclaimed productions such as Evita, My Fair Lady, and of course West Side Story. Additionally, his contributions as an orchestrator and producer of cast recordings further solidify his stature in the musical theatre realm. With credits ranging from beloved classics like Les Misérables to contemporary hits like Muriel's Wedding, Simpson's versatile talent continues to enrich the world of musical theatre on an international scale. OverSixty: What memories do you have of your first time working on West Side Story – when was it and what was the experience like? Guy: “I was a rehearsal pianist for the 1983 production of West Side Story. The conductor was Dobbs Franks, who came from the US to conduct the first production of the show in 1960. So I was lucky to learn the show from him. I wasn’t in the orchestra and had tickets to watch opening night but during the afternoon of that day I received a call to play in the orchestra that night because the pianist was unwell. I’ll never forget that! Since then I have conducted three seasons of the show and learn more and more about it each time.” OverSixty: What were Bernstein’s influences and what impact did Bernstein’s score have when the musical first premiered? And why do you think it remains so recognised today? Guy: “Bernstein was influenced by many things. There is an <a href="https://www.wrti.org/arts-desk/2018-08-23/the-surprising-backstory-to-west-side-story" target="_blank" rel="noopener">excellent article by Debra Lew Harder</a> that outlines these influences. I love the combination of Jewish themes, Puerto Rican rhythm, Mexican dance music and of course American jazz. His classical roots also come in here – especially the music of Aaron Copland and George Gershwin. The genius is Bernstein's ability to blend all this into a score that tells the story so brilliantly." OverSixty: What’s your favourite moment in the music that audiences might not always notice but could listen out for? Guy: I like what is known as ‘THE BALCONY SCENE’. Most people will know it as the iconic love duet ‘TONIGHT’. In the show this scene moves between spoken dialogue (with underscoring), into the song and back into dialogue in a wonderfully cohesive way. It is so well crafted and is quite a challenge for the conductor to fit the music with the dialogue in a seamless way. I also love the scene in the bridal shop that includes the song ‘ONE HAND ONE HEART’. <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Wayne-Scott-Kermond-as-Doc.jpg" alt="" width="1280" height="720" /> Wayne Scott Kermond Wayne Scott Kermond, hailing from a rich lineage of Australian Vaudeville performers, epitomises the essence of musical theatre, comedy and cabaret. With a repertoire spanning from Anything Goes to Hairspray, including acclaimed performances in several productions of West Side Story, Kermond's versatility shines through. Additionally, he's showcased his creative prowess as the creator and star of captivating cabaret shows such as Candy Man and Jive Junkys. Beyond the stage, Kermond's talents extend to film, where he's contributed to projects like Happy Feet 1 & 2, and as a respected scriptwriter and director for various musicals, cabarets and corporate events. With accolades including a Green Room Award and Mo Award, alongside nominations for Helpmann Awards, Kermond's exceptional abilities and esteemed showbiz heritage solidify his status as an extraordinary Australian talent. OverSixty: You and Guy first worked on this musical 40 years ago, how does it feel to be coming back together on the Handa Opera version? Wayne: “I first performed in West Side Story at the old Her Majesty’s Theatre (Sydney), 40 years ago playing the youngest member of the Jets gang, ‘Baby John’, and then again in another fabulous production touring Australia / New Zealand in the mid-nineties playing Arab. And so it was lovely to be reminded by Guy on the first day of rehearsals for this season how special it is to us both, here we are, doing it again, just a little greyer." “We shared a few laughs about ‘where did that time go?’, and how ‘young’ we still look after all these years. It’s so great to work with Guy again, I think the last show we did together was Chicago, back in the late nineties. So with Guy's huge amount of expertise and experience at the helm as our Musical Director the show is in great hands. Wait till you hear the amazing Orchestra.” OverSixty: What about this musical’s story, lyrics, etc resonate with you and why do you think it keeps being seen on stage? Can it appeal to all ages? Wayne: “West Side Story is as iconic to music theatre as Swan Lake is to ballet. All great musicals such as West Side have to have a great love story; West Side certainly has that. And to add to that, also an incredible score, dynamic original choreography and a beautifully written book makes it a triple threat. That's why it stands the test of time – it's an inter-generational piece, whose story and message still stands today, which is the reason why I’m now getting the opportunity to play an adult character ‘Doc’ in this OA production 40 years later, as it will be for another artist, in another 40 years' time.” OverSixty: What’s your favourite moment in the show and why? Wayne: It is very difficult to say there is a favourite moment as there are so many. The whole journey of the show is something everyone who loves theatre should experience. The Prologue, Dance at the Gym, America, Cool, Tonight, Something's Comin, and not forgetting the Quintet powerhouse... Every part of this show is special, whether you're seeing the show for the first time or for the tenth time, it’s exhilarating, poignant and moving." “It’s especially wonderful for me to have been given the opportunity to revisit the show, after all these years later as a performer. And it’s very exciting to watch another generation of performers being given the opportunity to experience such an exceptional piece of theatre.” So, mark your calendars, Sydney-siders, because Handa Opera on Sydney Harbour is about to serve up a theatrical experience like no other. With world-class performances, breathtaking views of the harbour, and enough fireworks to make New Year's Eve jealous, this is one event you won't want to miss. So grab your tickets, grab your friends, and get ready to experience the magic of West Side Story like never before. See you at the opera! For more information and ticket sales, check out <a href="https://opera.org.au/productions/west-side-story-on-sydney-harbour/" target="_blank" rel="noopener">opera.org.au/harbour</a> All images: Supplied

Domestic Travel

Elevating tradition: La Traviata at the Sydney Opera House

Opera Australia is set to enchant audiences as it opens its highly anticipated 2024 season with the Sydney premiere of Sarah Giles’ acclaimed production of Verdi’s timeless masterpiece, La Traviata. The curtains will rise on January 2nd at the iconic Joan Sutherland Theatre in the Sydney Opera House, promising an unforgettable journey into the world of love, sacrifice and redemption. Hailed as "an absolute triumph" by The AU Review and described as "audaciously new" by InReview, this co-production by Opera Queensland, State Opera South Australia and West Australian Opera promises to deliver the quintessential glamour of La Traviata while offering a fresh, female perspective. Director Sarah Giles skilfully brings the inner turmoil of Violetta to the forefront, shedding light on the harsh realities and heartaches of her life as a courtesan. Enhancing the narrative, Charles Davis' masterful set design delves into Violetta's public and private spheres, while his costumes brilliantly capture the opulent world of lavish parties and extravagance synonymous with La Traviata. For the first time, the award-winning conductor Jessica Cottis will take the baton, leading the Opera Australia Orchestra and the celebrated Opera Australia Chorus through Verdi's emotionally stirring score. Audiences can anticipate spine-tingling renditions of iconic pieces such as the lively "Brindisi" and the achingly beautiful "Sempre libera". Taking centre stage as Violetta, Australian soprano Samantha Clarke, fresh from a string of successful debuts in prestigious venues worldwide, including Carnegie Hall and the Sydney Symphony Orchestra, is set to mesmerise audiences with her poignant portrayal. Joining her are the talented Australian-Chinese tenor Kang Wang, reprising the role of Alfredo, and New Zealand baritone Phillip Rhodes, making his Opera Australia debut as Giorgio Germont. As the season progresses, rising Australian soprano Sophie Salvesani will step into the shoes of Violetta, a role she previously captivated audiences with in 2022. Alongside her, Australian tenor Tomas Dalton returns as Alfredo, while baritone Luke Gabbedy, fresh from his acclaimed performance in OA's five-star production of the Ring Cycle in Brisbane, graces the stage as Giorgio Germont. Prepare to be swept away by the passion, drama, and timeless melodies of La Traviata, as Opera Australia invites you to experience this unforgettable journey of love and sacrifice, reimagined for a new era. Don't miss your chance to witness this exquisite production at the Sydney Opera House, from January 2nd to March 16th, 2024. For more information, <a href="https://www.sydneyoperahouse.com/opera-australia/2024-season/la-traviata" target="_blank" rel="noopener">click here</a>.

Art

Sydney Opera House at 50: a public appeal, a controversial build, a lavish opening – and a venue for all

<a href="https://theconversation.com/profiles/michelle-arrow-45">Michelle Arrow</a>, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> It is one of the most famous buildings in the world. It has an instantly recognisable silhouette that adorns tea towels, bottle openers and souvenir sweatshirts. Miniature versions huddle in snow domes. You can build your own from <a href="https://www.lego.com/en-us/product/sydney-opera-house-10234">Lego</a>. Bidjigal artist and elder Esme Timbery constructed a replica in her trademark <a href="https://recollections.nma.gov.au/issues/volume_7_number_2/papers/displaying_the_decorative">shell art</a>. Ken Done put it on doona covers and bikinis. If you search the hashtag on Instagram, you will see over a million posts. Fifty years ago today, after a prolonged and controversial period of construction, the Sydney Opera House was officially opened by Queen Elizabeth II in a lavish ceremony. Spectators carrying flasks of coffee and cushions watched from the sidelines. More than 2,000 small boats viewed the ceremony from the water. After the national anthem was played and nine F111 aircraft roared overhead, the crowd heard a didgeridoo and Aboriginal actor Ben Blakeney delivered a prologue “representing the <a href="http://nla.gov.au/nla.news-article110753207">spirit of Bennelong</a>”. In her speech, the Queen remarked the Opera House had “captured the imagination of the world”. The opening festivities gestured both to Australia’s deep Indigenous roots and white imperial origins. The building itself symbolised a new era of state investment in cultural infrastructure. This was a hallmark of the “new nationalism” in the 1970s: the arts were regarded as essential to Australia’s newly confident sense of national identity. Today, the Sydney Opera House reminds us Australia can value culture for its own sake. But what did the Opera House mean to Australians when it opened 50 years ago? <h2>Building the Opera House</h2> The campaign for an Opera House in Sydney was initiated by Sir Eugene Goosens, who came to Australia as conductor of the Sydney Symphony Orchestra in 1947. He found a sympathetic ear in Joe Cahill, the Labor premier who committed Bennelong Point to the project and launched an international competition to design the building in 1955. This part of the story is well-known (indeed, there was even an <a href="https://www.theeighthwondertheopera.com">opera</a>). Danish architect Jørn Utzon’s bold, avant garde design won the competition and construction began in 1961, funded – in a democratic touch – by the NSW government’s Opera House lottery. Construction was plagued by difficulties and expanding costs. Utzon famously resigned from the project in 1966; Australian architect Peter Hall oversaw the construction of the interior. In spite of the jokes and doubts, by the time the building was finished, Australians had embraced the Opera House as their own. The Queen tactfully acknowledged the building’s construction delays in her speech at the opening ceremony, <a href="http://nla.gov.au/nla.news-article110753207">suggesting</a> “every great imaginative venture has had to be tempered by the fire of controversy”. <h2>Cringe and strut</h2> As historians Richard White and Sylvia Lawson <a href="https://trove.nla.gov.au/work/35026797/version/50553486?keyword=symbols%20of%20Australia">note</a>, while the Opera House was intended for all performing arts, the centrality of opera – with its expense and small audiences – made a symbolic statement a “new, more sophisticated Australia” had arrived. As Australia sought to find an identity independent of Britain, the Opera House became a symbol of this new nationalist turn. Some fitted the Opera House into older narratives of Britishness: in his book Sydney Builds an Opera House, Oswald Zeigler remarked we needed to thank Captain Arthur Phillip “for finding the site for this symbol of the Australian cultural revolution”. <a href="http://nla.gov.au/nla.news-article110752757">Gough Whitlam declared</a> it was "a magnificent building, Our civilisations are known by their buildings and future generations will honour the people of this generation […] by this building." In spite of this, there was still cultural cringe. The <a href="http://nla.gov.au/nla.news-article110753207">Canberra Times</a> reported the British media believed the Opera House was a sign that “the country had turned a corner artistically”. It was a telling sign of cultural cringe that their opinions were sought at all. The Opera House was part of an Australian cultural renaissance in 1973. The ABC broadcast an adaptation of Ethel Turner’s beloved Seven Little Australians. The bawdy Alvin Purple was a box-office smash. Patrick White became the first (and so far, only) Australian to win the Nobel Prize for Literature. The new wave of Australian drama was in full swing, and the Opera House’s opening season included a play by new wave star David Williamson alongside Shakespeare’s Richard II. Historians have nominated many emblems for the new nationalist mood (from the new national anthem to The Adventures of Barry McKenzie) but I would suggest the Opera House embodies it best: the soaring sails, the bold, rich colours of the interiors, and John Coburn’s glorious, confident curtains for the performance venues. <h2>For the elite or for the people?</h2> There were always objections on the grounds that government investment would be better focused elsewhere, rather than on a performance venue for “elites”. These arguments are wearyingly familiar today. Premier Joe Cahill rejected this charge from the outset: in <a href="https://mhnsw.au/stories/general/sydney-opera-house-the-gold-book/">1959 he declared "</a>the average working family will be able to afford to go there […] the Opera House will, in fact, be a monument to democratic nationhood in its fullest sense." Cahill’s insistence this was a building for everyone to enjoy and be proud of has been fulfilled by its creative use ever since. School children regularly perform; new audiences have been drawn by musicians of all genres, from punk to Prince. But the Opera House has also been a place for creative experimentation and innovative performance – as it should be. Today, 50 years from its opening, the Sydney Opera House reminds us the state still has a role to play in supporting the performing and creative arts in Australia. This radiant, soaring building belongs to all of us: a great reason to celebrate its birthday.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/213252/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/michelle-arrow-45">Michelle Arrow</a>, Professor of History, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/sydney-opera-house-at-50-a-public-appeal-a-controversial-build-a-lavish-opening-and-a-venue-for-all-213252">original article</a>.

Domestic Travel

Beloved Aussie opera singer passes away

Award-winning opera singer and music theatre singer Jacqueline Dark has passed away at 55. According to ABC, Dark passed away in a Sydney hospital on Tuesday night following a long battle with cancer. Australian tenor Kanen Breen, who she shares a son with, paid an emotional tribute on Facebook and shared the heartbreaking details of her final hours. “The love of her life was our boy Xander and, from the moment he existed, she did it all for him,“ Breen said in a statement. “It (her heart) was standing next to her, in the shape of our boy, and we literally watched as she gave the last of her life to make him happy one last time,” he added. “She took her last heroic breaths surrounded by profound peace and profound love.” Dark performed in various operas across Australia and internationally, including with Opera Australia, Victorian Opera, Pinchgut Opera, and Opera Hong Kong. She won multiple awards including two Green Room Awards and a Helpmann Award, among others. Tributes from the Australian music community have started pouring in on social media. "Her irrepressible humour and life and energy and musicality made her one of the greatest of Australian mezzos," wrote Erin Helyard, Artistic Director of Pinchgut Opera. "Jacqui's magnificent voice and magnetic stage presence entrenched her place in Australia's musical history; her indefatigably upbeat personality will be long remembered," added her agent Patrick Togher. "Whenever she came into ABC Classic for an interview, we always ended up laughing so much. And as an artist, she was brave — just as happy singing cabaret or with electronic musicians as she was tackling Wagner," said ABC Classic Drive presenter Russell Torrance. Dark was born in Ballarat, Victoria, and spent 10 years as a maths and physics teacher before pursuing her career as a singer, according to The Australian. She also appeared on So You Think You Can Dance and was a guest panellist on the popular music quiz show Spicks and Specks. Image: ABC Classic

Caring

Award-winning soap actress dies at age 70

Nancy Fragione has died at the age of 70. The award-winning actress was best known for her starring role on All My Children, in which she played Tara Martin from 1977 to 1979. According to an online obituary, Fragione passed away on August 18th in her native Massachusetts, however her cause of death is still unknown. The actress is remembered for her iconic portrayal of villainess Cecile de Poulignac in Another World from 1981 to 1984, in the role that earned her a Soap Opera Digest award for outstanding villainess in a daytime soap opera. Fragione was revered by soap opera lovers, with devastated fans taking to X, formerly known as Twitter, to express their grief over her passing. "One of the most famous villainesses in soap opera history has passed away," one fan expressed. "Nancy Fangione was truly a soap icon," another said. The soap star also had a string of primetime television credits to her name including a guest starring role as Fran Fine's cousin Marsha on The Nanny, Highway To Heaven, Matlock and Buck Rogers. Nancy met her husband, Christopher Rich, on the set of Another World, as the co-stars married in 1982. The pair welcomed one daughter, Mariel, together during their marriage but ultimately divorced 14 years later in 1996. Image credits: Instagram

“An exciting place to be”: Carmen becomes first opera performed on Cockatoo Island

Operas as we know them conjure up images of concert halls with soaring ceilings, tiered, cushiony seats, and singers projecting their voices for the whole audience to hear. To take opera beyond the theatre and into the great outdoors comes with plenty of challenges, many of which conductor Tahu Matheson has become all too familiar with while conducting the orchestra for <a href="https://www.oversixty.com.au/travel/domestic-travel/fireworks-motorbikes-and-opera-carmen-on-cockatoo-island-review">Carmen on Sydney’s Cockatoo Island</a>. “It’s quite tricky,” he tells OverSixty. “In particular, it’s the distance. The orchestra is a long, long way away from the grand outdoor stage.” With the orchestra located in one of the island’s historic buildings and the opera’s main stage on the water’s edge, Matheson and the cast rely on monitors to see each other and stay in time. “I can see the stage but only really from a distance,” he explains. “So really, I just listen, basically, and try and follow the singers as much as possible. “And they've got a big monitor, and when they can they take note of the monitor.” Naturally, the elements present another challenge to be overcome with the help of microphones, and the help of sound designer Tony David Cray, who Matheson describes as a “sound genius”. “He never stops working. When we’re all having a break, we hear moments of stuff that we’ve just done, and then he's just working on the sound and seeing if we can make this clearer and more beautiful, and more articulated,” Matheson says. But the most interesting part of this production for Matheson has been how it has changed from the original under the guidance of director Liesel Badorrek. “Carmen, probably one of the strongest women in opera, is being sort of interpreted just slightly differently, from a woman’s point of view,” he says. “There’s always a little bit of Carmen where, yes, she’s an incredibly strong character, but it’s definitely been written by a man, so a man’s idea of a strong woman. “And so Liesel just interprets that in a slightly different way… a strong woman from a woman’s perspective. I think it’s timely and it’s also slightly more interesting than we’ve had in the past.” Opera Australia’s version of Carmen draws attention to themes of violence against women at a time when sexual violence and coercive control have been in the spotlight. It also modernises the appearance of Carmen through costuming and set design, opening up questions of whether future productions could follow suit in a bid to appeal to modern audiences. But, Matheson says this can be tricky when dealing with an artform like opera. “I think there are some things about opera, just the artform itself, that are so thrilling and exciting that I don’t think you're going to experience them in any other artform,” he says. “It’s very difficult because it’s a hybrid of three or four different artforms, each of which, in itself, is capable of reducing the audience members to tears, whether it’s just the spoken word alone, or just music in a concert, or just a singer with a piano. “And then you bring all these things together and then you add a dramatic plot to it - it has the ability to be something so thrilling and so amazing. “But it also has this fragility because it depends on all four or five disparate parts working together. And so it can fail, and sometimes it does. “And I think it’s worth remembering as a member of the public that it has the possibility to be the most stunning experience that you’ve ever had in your life. “At the same time, we do need to modernise, think forward a little bit and [think]: How do we engage with people as well as wanting them to engage in the artform itself?’ “I don’t think it’s as simple as going, ‘We’ll add more people in jeans and t-shirts so that people empathise with characters’, but somehow a mixture of both, I think it’s what we need.” Carmen on Cockatoo Island is showing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>. Images: Prudence Upton / Opera Australia

Domestic Travel

Amazon’s resuscitation of Neighbours: can Aussie TV become good friends with streaming?

Many were shocked by the <a href="https://www.theguardian.com/tv-and-radio/2022/nov/17/neighbours-soap-opera-australia-to-return-on-amazon" target="_blank" rel="noopener">announcement</a> that Australian soap opera Neighbours would return to screens in 2023, courtesy of a new deal between production house Fremantle Australia and multinational digital streamer Amazon. Significantly, this announcement overturns many expectations about television in the age of streaming. When <a href="https://www.abc.net.au/news/2022-03-03/neighbours-tv-show-cancelled-after-37-years/100880272" target="_blank" rel="noopener">news of Neighbours’ cancellation</a> broke earlier this year, streamers declined to offer a lifeline, with veteran cast member Stefan Dennis (aka Paul Robinson) lamenting that soaps seemed <a href="https://theconversation.com/the-loss-of-neighbours-is-a-loss-of-career-pathways-for-australias-emerging-screen-professionals-185289" target="_blank" rel="noopener">out-of-kilter</a> with the demands of streaming. Back in February, journalist <a href="https://omny.fm/shows/please-explain-1/everybody-needs-good-neighbours-now-neighbours-nee" target="_blank" rel="noopener">Michael Idato noted</a> streamers were focused on “short-order, very high quality” blue-chip programming, with long-running, continuing soaps like Neighbours presenting a less attractive option despite loyal fans and healthy audience numbers. After all, when axed by UK Channel 5, Neighbours was still attracting 1 million daily viewers in the UK alone. So what has changed? Why is Melbourne’s own beige yet beloved (by some) Neighbours positioned at the precipice of a new dawn in streaming’s evolution? <h2>What’s the value of Neighbours to a streamer?</h2> Amazon’s resuscitation of Neighbours is unprecedented in the Australian context, as it represents the first time a multinational streaming service has commissioned a stripped (weeknightly), continuing soap. Yet, in a global context, Neighbours seems to be part of a recent trend. This year, soaps in other significant Anglophone markets shifted from daily broadcast to online streaming: Hollyoaks in the UK and Days of Our Lives in the US. No one knows how this will play out for the US-based streamer and its new ad-supported, free streaming service <a href="https://www.amazon.com/adlp/freevee-about" target="_blank" rel="noopener">Amazon Freevee</a>. What we do know is there are very good reasons why a streaming platform could be interested in a show like Neighbours. The value of soaps is entrenched in industry lore. Since their transition from radio to television in the US during the 1950s, continuing soap operas have provided the backbone of many a network, ensuring consistent, returning and ardently loyal audiences. In doing so, soaps have a proven ability to weather the storms of radical technological and industrial change. A similar logic prevailed presumably in 2011, when Network 10 shifted Neighbours onto its new free-to-air channel <a href="https://en.wikipedia.org/wiki/10_Peach" target="_blank" rel="noopener">10 Peach</a>. On the one hand, this move signalled a marginalisation of the prime-time soap. On the other hand, it was a means to lure a valuable audience to the fledgling multichannel. Idato refers to Neighbours as a “<a href="https://omny.fm/shows/please-explain-1/everybody-needs-good-neighbours-now-neighbours-nee" target="_blank" rel="noopener">library series</a>”: one with an extensive back catalogue of content. With 37 seasons and more than 8,000 episodes under its belt, Neighbours puts supposedly mega-series like Game of Thrones, The Simpsons and Supernatural to shame. Library series bring inventory and depth to a streaming service in a way that new content cannot, no matter how heavily promoted or highly produced it might be. Currently, streamers are looking not just to attract new subscribers, but to retain them by keeping them engaged with the platform. Series that come with their own in-built library of content developed over multiple years or decades can benefit streamers precisely by bringing with them their large, loyal audiences while offering countless episodes for fans to explore. The Fremantle/Amazon deal seems to signal something quite the opposite of previous predictions, pointing to the increase of “low-prestige” programming on streaming platforms and the rising tendency for streamers to adopt and adapt pre-existing televisual logics and strategies. We are seeing the resumption and resurrection of patterns of broadcast, free-to-air programming, not its demise. In the context of Amazon, one reason for this shift is likely the Federal Arts Minister Tony Burke’s confirmation last Thursday of <a href="https://www.afr.com/companies/media-and-marketing/streaming-services-will-be-forced-to-meet-local-drama-quotas-burke-20221118-p5bzf5" target="_blank" rel="noopener">government plans to introduce local content quotas for streaming</a> services. At the 55th annual Australian Writers Guild Awards, Burke stated he had already met with streamers to inform them of the forthcoming policy. In light of this development, Amazon’s renewal of Neighbours will help it to meet Australian content requirements. <h2>Has TV streaming reached maturity?</h2> It seems we are moving into a new, more mature phase of streaming television. Initially, streamers sought to loudly distinguish themselves from older forms of television, but they now seem less focused on branded distinction and more concerned with getting down to business. Like the networks that dominated TV in the 20th century, streamers now pursue multiple interests, popular taste communities and tried and tested formulas, alongside edgier-style, prestige programming like Sex Education and this year’s Australian reboot <a href="https://theconversation.com/teenage-misfits-messy-emotions-and-joyous-discussions-on-consent-heartbreak-high-is-a-bright-new-piece-of-television-188733" target="_blank" rel="noopener">Heartbreak High</a>. Similarly, streamers are now reverting to old-style revenue models through the <a href="https://www.theage.com.au/culture/tv-and-radio/why-the-future-of-streaming-is-looking-unexpectedly-like-tv-s-past-20221121-p5c00d.html" target="_blank" rel="noopener">introduction of ad-supported subscription tiers</a>. Television is changing, most notably in its separation from the broadcast programming schedule. But the logics of what attracts and retains audiences are far from obsolete – they are merely being updated for digital delivery. Soap operas are widely denigrated, but they can prove to be a guiding light in moments of media transformation. This article originally appeared on <a href="https://theconversation.com/amazons-resuscitation-of-neighbours-can-aussie-tv-become-good-friends-with-streaming-195101" target="_blank" rel="noopener">The Conversation.</a> Image: Ten

Could Johnny Ruffo be returning to Summer Bay?

Johnny Ruffo has teased a possible return to beloved Aussie soap, Home and Away. The 34-year-old who is suffering from brain cancer, shot to fame on the popular series in 2013, playing Chris Harrington. On Thursday, Johnny told Yahoo that he would like to return to Summer Bay in a cameo. The actor and X-Factor star said he has retained a strong friendship with his former Home and Away cast mates, especially Lynne MacGranger, 69, who plays Irene Roberts on the long-running show. Johnny told the publication he has a great relationship with Lynne both on and off-screen, describing the actress as a "really good friend". Johnny said if he did return to Home and Away, he wants Lynne's character - who runs the local cafe - to feature. "[I would just waltz in] and order a coffee," Johnny said, describing his idea for a "come back scene". "And Lynne - I mean Irene - would be like...Chris!" Johnny revealed his prognosis as terminal earlier, only a few short months ago now and said he doesn't want the diagnosis to slow down anything in his life anymore. Image: Network 10

Caring

Fireworks, motorbikes and opera: Carmen on Cockatoo Island review

Even if you haven’t seen Carmen, you’re sure to recognise its standout tunes that have cemented themselves into pop culture - and you won’t want to miss its current showing on Sydney’s Cockatoo Island. A first for the historical island, Carmen has been transported both out of its traditional theatre environment and its 18th-century Spanish setting, being reimagined with a gritty, modern aesthetic that matches Cockatoo Island’s former ship-building warehouses and preserved industrial heritage. While leaning on a ‘rock ‘n’ roll’ theme, the vibe from both the setting - think scaffolding and piles of barrels and destroyed cars - and costuming - think modern military gear, denim, fishnets, leopard print and elements of Y2K fashion - is more reminiscent of punk, dystopia, and Mad Max, with a trio of stunt motorbike riders and fireworks as icing on the cake. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review1.jpg" alt="" width="1280" height="720" /> Y2K, punk, and modern military styles collide in this adaptation of Carmen to create a dystopian feel that’s disconnected from a particular time or place. Image: Prudence Upton (Supplied) Taking Carmen out of a Spanish cultural context gives the production a more timeless feel too, with additional imagery projected behind the cast during key scenes pushing the audience to interpret Carmen and Don José’s increasingly toxic relationship with a modern lens - particularly regarding themes of violence against women and coercive control. In a time where these issues are being talked about more openly, this shift in perspective couldn’t be any more relevant, even if it does come across in a heavy-handed way in some moments. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review2.jpg" alt="" width="1280" height="720" /> In a world post-#MeToo and amid growing awareness of how issues such as coercive control victimise women, Opera Australia’s production draws attention to the negative elements of Carmen and Don José’s relationship. Image: Prudence Upton (Supplied) While many aspects of how Carmen is presented have been changed for this adaptation, the music has stayed true to the original - with one difference coming from the nature of presenting an opera outdoors. With the talented orchestra, led by conductor Tahu Matheson, located some distance away from the main stage in an adjacent building, the music is projected using speakers. Despite the challenging situation, which saw the conductor and singers rely on screens to see each other, the performance is just as flawless as if the orchestra were in a pit beneath the stage of a concert hall. When combined with the minimalist scenery and miked singers, it gives the production the sense of being less like an opera and more like a musical, with the grunge aesthetic making it seem particularly similar to Andrew Lloyd Webber’s Cats. But this didn’t take away from the performance, with the talents of Carmen Topicu and Roberto Aronica (who share the roles with Sian Sharp and Diego Torre) as Carmen and Don José and their captivating chemistry shining through. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen-review3.jpg" alt="" width="1280" height="720" /> Bullfighter Escamillo has been transformed into a leather-clad rockstar mobbed by an adoring crowd against a backdrop of wrecked cars. Image: Prudence Upton (Supplied) The reimagining of the bullfighter Escamillo (played by Daniel Sumegi and Alexander Sefton) as a rockstar with elements of Elvis - including an iridescent black cape - is refreshing and helps to convey his celebrity status to a modern audience and the contrast between him and the more humble corporal Don José. Micaёla also serves as a contrasting character, with her costuming of pastels and a more conservative, housewife-esque outfit highlighting her as the innocent village girl against Carmen’s bold and more revealing outfits, as well as her strength, independence and rebellious nature. With a cast already considered large for an opera, Opera Australia’s production has seen this number grow even more as the roles of Carmen, Don José, Escamillo, Micaёla and Frasquita are shared, with singers performing on alternate nights. <img src="https://oversixtydev.blob.core.windows.net/media/2022/12/carmen1.jpg" alt="" width="1280" height="720" /> Carmen’s costuming helps to convey the contrasting nature of its key characters, such as between childhood sweetheart Micaёla (right) and fiercely independent Carmen (left). Images: Prudence Upton (Supplied) Other updates to the opera, such as motorbikes taking on the roles of bulls at the bullfight and the use of street dance choreography throughout, are employed to create the feeling of timelessness and modernity, along with the meta nature of the set design and story, including the use of a Carmen poster as a curtain for Carmen to walk through. All in all, Carmen on Cockatoo Island is a refreshing take on a well-known opera that is sure to be enjoyed by regulars and first-timers alike, while its modern messaging will be sure to spark important conversations among those who see it. Carmen on Cockatoo Island will be performing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>. Image: Prudence Upton (Supplied)

Domestic Travel

Neighbours is saved!

Get ready to return to Ramsay Street in 2023, with the new year bringing along a new season of Neighbours. Amazon have swooped in and saved our beloved Aussie soap just as the long-running series wrapped up in July after a huge 37 years on air. Actors Stefan Dennis, Alan Fletcher, Ryan Moloney and Jackie Woodburne are all signing on to reprise their roles as Ramsay Street residents, in the fictional suburb of Melbourne known as Erinsborough. "Neighbours has captivated its audience for nearly 40 years, building a dedicated and loyal following for the lives and stories of the characters on Ramsay Street," Lauren Anderson, head of AVOD original content and programming for Amazon Studios said in a statement when announcing the news. "With the power of streaming, we're able to offer a catalogue of thousands of Neighbours episodes for new audiences to discover this legendary series and current fans to relive their favourite moments. "We look forward to immersing the audience in new Ramsay Street experiences when we relaunch the show next year for Amazon Freevee and Prime Video customers.” For us watching in Australia, the series will return to channel 10 for the first-run episodes but will be available a week later on Amazon Prime Video which will host the series for viewers in New Zealand and Canada. Fans in the UK and US will be able to watch it on Amazon Freevee. "Neighbours is a unique series with a powerful connection with its fans across the world," Jennifer Mullin, global CEO of production company Fremantle, said in the announcement. "We cherish the show and all those who have been part of its incredible story over many decades, so we are thrilled that we have found a new home with Amazon Freevee.” We can expect new episodes to roll out later in the year, with the soap going back into full production in 2023. Image: Instagram

Stranded opera singer busks to earn cash after cancelled flights

After her flight home was cancelled, one Jestar passenger said she was forced to busk for money until she could get home. Edit Pali had travelled to a remote resort in Phuket with her husband Tibor to celebrate her 50th birthday when a cancelled flight saw their stay extend for another five days. Having spent a large portion of their savings on their trip, the couple were faced with the problem of paying for their additional days in the resort. Ms Pali told <a href="https://9now.nine.com.au/a-current-affair/stranded-aussie-jetstar-passengers-speak-out/04c064ba-f60c-43dd-8ba8-640595f8ddc9" target="_blank" rel="noopener">A Current Affair</a> that the airline had offered them $30 for meals and $150 for accommodation each day in compensation - but the money failed to arrive. “I’m a tough chook but I cried, I really cried,” she said. Taking advantage of her skills as an opera singer, Ms Pali decided to sing for her supper at breakfast, lunch and dinner while they waited for the funds to come through. "We're just average people, we don't make a lot of money, so for us to go away to Thailand for a week to a luxury resort, that was a big enough chunk into our savings,” she added. A Jetstar spokesperson said they were aware of Ms Pali’s situation and were doing “everything we can”. But Ms Pali isn’t the only person affected by a cancelled flight, as six out of 11 of Jetstar’s 787 planes were grounded earlier this month. At least 4,000 passengers travelling on popular winter routes, including to Bali, Thailand, and Japan, have been affected by delays and cancellations, with the airline blaming lightning, bird strikes and parts shortages. "Our teams work around the clock to get passengers on their way as soon as possible and we provide a range of support, including help to cover accommodation and meals costs as well as other reasonable expenses," the airline said. In a statement, Jetstar said Ms Pali and her husband were due to have their expense claim paid by September 27. Image: A Current Affair

Travel Trouble

Review: Il Trovatore at the Sydney Opera House

Tarot, clowns, romance, and drama abound in Opera Australia’s rendition of Il Trovatore, the melodramatic tale created by famed operatic composer Guiseppe Verdi. Set in 15th-century Spain, Il Trovatore follows Manrico (Yonghoon Lee), a rebel soldier and troubadour who is in love with lady-in-waiting Leonora (Leah Crocetto), who has also caught the attention of the Count di Luna (Maim Aniskin). Some years before the opera is set, the Count’s father accused a Romani woman of bewitching one of his sons and had her burned at the stake, but not before her daughter, Azucena (Elena Gabouri), supposedly snatched his son and threw him into the fire as well. It is then revealed that Azucena had mistakenly burned her own child in the fire and had taken Manrico from the count and raised him as her own son. With Azucena urging him to exact revenge on the current Count, Manrico rescues Leonora from the Count and they plan to marry each other. However, when Azucena is arrested and Manrico is captured attempting to rescue her, Leonora is faced with the decision to make the ultimate sacrifice to save her beloved. Opera Australia’s rendition of this classic opera blends tradition with innovation: the setting shifts forward in time to the Spanish Civil War and traditional set pieces are replaced primarily with towering digital screens. Though this change in setting was captured well with the costuming, with the Count’s men donned in 40s era grey overcoats and armed with a mix of swords and pistols, the digital stagecraft captured the ambience of Il Trovatore more than a sense of place and came across as shallow in some moments. <img src="https://oversixtydev.blob.core.windows.net/media/2022/07/il-trovatore1.jpg" alt="" width="1280" height="720" /> That said, the digital aspects weren’t without their positives, playing with the audience’s sense of space and highlighting important aspects of the story, with projections of a series of tarot cards (a nod to Romani culture), a rundown circus, and a disembodied clown head as notable examples. The rotating stage of the Opera House’s Joan Sutherland Theatre and select physical props and sets were used quite effectively to capture the dilapidated circus grounds and hospital. Meanwhile, silhouetting the cast to punctuate between scenes and songs and circus folk and henchmen frozen mid-fight showed how the cast could themselves become scenery. As for the cast themselves, Lee shone as the fierce troubadour, even when he seemed to falter and be visibly in pain on some notes. Gabouri’s casting as Azucena seemed a perfect fit, given her powerful vocals and the strength with which she played her character. <img src="https://oversixtydev.blob.core.windows.net/media/2022/07/trovatore-cast.jpg" alt="" width="1280" height="720" /> Yonghoon Lee (left) and Elena Gabouri (right) shine as Manrico and Azucena, and their chemistry as mother and son is electric. Aniskin’s cold and menacing portrayal of the Count came through particularly in the second act, while Crocetto’s incredible range helped her shine as the leading lady Leonora. The orchestra, led by Andrea Battistoni, were exceptional throughout in capturing the highs, lows, and intricacies of Verdi’s music. As a first-time opera goer, the need to look at the surtitles above the stage made it difficult to stay immersed, particularly as they seemed to translate the essence of what was being sung rather than the literal lyrics. Even so, Opera Australia’s rendition of Il Trovatore is engaging in its fusion of tradition and tech, and its stellar cast breathe life into a story that is just as relevant today as it was when it was first written. Il Trovatore will be performed at the Sydney Opera House on select dates until July 30, with tickets available to purchase <a href="https://opera.org.au/productions/il-trovatore-sydney/" target="_blank" rel="noopener">here</a>. Images: Keith Saunders

Domestic Travel

The Sydney Opera House unveils historic upgrades

After being closed for two-and-a-half years of extensive renovations, the Sydney Opera House’s Concert Hall is finally ready to reopen to the public. Since closing in 2020, the venue has seen hundreds of construction workers, acousticians, and experts in architecture and heritage help deliver one of the biggest upgrades in nearly 50 years. “We’re thrilled to be welcoming the community back to the renewed Concert Hall,” Louise Herron AM, the CEO of Sydney Opera House, said in a <a href="https://www.sydneyoperahouse.com/content/Non-Indexed/media/newsroom/media-release-soh-unveils-historic-concert-hall-upgrade.html" target="_blank" rel="noopener">statement</a>. “Artists and audiences are set to experience world-class acoustics in a venue that is more accessible, safer and better equipped to present the full breadth of 21st century performance.” With more $190 million invested into the renewal project, improving acoustics and accessibility have been two major priorities. The old acrylic ‘donuts’ hanging above the stage have been replaced with magenta ‘acoustic petals’ - matching the Concert Hall seats - while a new lift and passageway now allows for wheelchair users and people with limited mobility to access all levels, including the Northern Foyer and its stunning harbour views. A state-of-the-art sound system and acoustic diffusion panels have also been installed throughout the venue, along with automated stage risers and other technology to make putting on a performance - whether it be an orchestra or musical - that much easier. Its reopening marks the final project in the Opera House’s Decade of Renewal, which has seen the World Heritage-listed building fitted with a range of improvements and new venues, all without interfering with the original concrete and structures. The venue will reopen to the public from July 20, marked by the return of the <a href="https://www.sydneyoperahouse.com/events/whats-on/sydney-symphony-orchestra/2022/simone-young-conducts-mahler-2.html" target="_blank" rel="noopener">Sydney Symphony Orchestra</a> performing Mahler’s Second Symphony. Images: Lisa Maree Williams (Getty Images), Daniel Boud, Anna Kucera

Domestic Travel

Three operas you won’t want to miss at the Sydney Opera House

The onset of short days and chilly nights might have put a damper on plans for heading outside, but that doesn’t mean you have to stay home all winter. Whether you’re an operatic expert or a first-time visitor, Opera Australia’s winter season at the Sydney Opera House offers a trio of top quality operas to entice and delight. From dystopian re-imaginations to digital productions, here’s what’s in-store at the Opera House’s intimate Joan Sutherland Theatre this month. Madama Butterfly (June 29-July 30) The iconic opera from Giacomo Puccini has been reimagined as a futuristic dystopia by director Graeme Murphy, boasting striking costume designs and towering robotic servants against a backdrop of dynamic, seven-metre tall LED screens. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/syd-opera-butterfly.jpg" alt="" width="1280" height="720" /> Sae-Kyung Rim as Cio-Cio-San and the Opera Australia Chorus in Opera Australia’s 2022 production of Madama Butterfly at the Sydney Opera House. Image: Guy Davies Starring South Korean soprano Sae-Kyung Rim as Cio-Cio-San, a 15-year-old girl who is set to marry US naval officer Pinkerton (Diego Torre), who intends to leave her when he finds a proper American wife. The story of <a href="https://www.sydneyoperahouse.com/events/whats-on/opera-australia/2022/madama-butterfly.html" target="_blank" rel="noopener">Madama Butterfly</a>, the same as the musical Miss Saigon, promises to be a story of love and heartbreak accompanied by Opera Australia’s Chorus and Orchestra. La Traviata (July 2-29) La Traviata’s love story, which inspired Moulin Rouge and Pretty Woman, will star homegrown talent Stacey Alleaume, reprising her role as a free-spirited courtesan Violetta, alongside a cast of Opera Australia’s talented singers that bring the music of Giuseppe Verdi to life. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/syd-opera-traviata.jpg" alt="" width="1280" height="720" /> Agnes Sarkis as Flora Bervoix, Andrew Moran as Marquis D’Obigny and the Opera Australia Chorus in Opera Australia’s 2022 production of La Traviata at Arts Centre Melbourne. Image: Jeff Busby With lavish sets and costumes, recognisable aria ‘Sempre libera’ and drinking song ‘Brindisi’, <a href="https://www.sydneyoperahouse.com/events/whats-on/opera-australia/2022/la-traviata.html" target="_blank" rel="noopener">La Traviata</a> is a fan-favourite and perfect performance for first-time opera goers. Il Trovatore (July 15-30) Another Verdi opera, director Davide Livermore’s digital production of <a href="https://www.sydneyoperahouse.com/events/whats-on/opera-australia/2022/il-trovatore.html" target="_blank" rel="noopener">Il Trovatore</a> will be making its premiere at the Sydney Opera House this July. It will also mark the first time Opera Australia has performed the opera in almost a decade, starring South Korean tenor Yonghoon Lee as Manrico, Belarusian baritone Maxim Aniskin as Count di Luna, and American soprano Leah Crocetto as Leonora. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/syd-opera-trovatore.jpg" alt="" width="1280" height="720" /> Yonghoon Lee stars as Manrico in the digital production of ‘Il Trovatore’. Image: Opera Australia 2022 The highly dramatic tale, filled with a love triangle, a quest for revenge, and sacrifices made for love, is enhanced by digital stagecraft. Livermore’s production promises to explore jealousy, obsession, witchcraft and what it means to curse and be cursed. Tickets for all three operas cost $79 for adults (plus a $9.80 booking fee) and can be purchased <a href="https://www.opera.org.au/" target="_blank" rel="noopener">here</a>. Image: Opera Australia 2022

Domestic Travel

Review: Feel like a tourist in your own city at Sydney’s Opera House Tours

Sydney’s harbour wouldn’t be complete without it, but the history and interiors of the Sydney Opera House aren’t as well known - which is where the Sydney Opera House Tours and Sunset at the House tours come in. Throughout June, Sunset at the House gives you a chance to explore and witness the stunning harbour views during the golden hour. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/20220616_163853-scaled.jpg" alt="" /> Image: Author The tour is limited to a maximum of 30 people, making for an intimate experience as you make your way from the steps outside all the way to the Joan Sutherland Theatre near the building’s peak, then back down again to the Western Foyers and Colonnade, taking in the history of the Opera House along the way. But before you step inside, the tour’s first stop is on the steps outside, where you can view the iconic sails and the Aztec-inspired stairs designed to represent stepping away from the hustle and bustle of everyday life and into something more spiritual (at least, that’s what our tour guide said). Once inside, you’ll be treated to an immersive digital experience projected onto the ceiling above you, showcasing some of the highlights of the Concert Hall’s past performances. The tour couldn’t be any more timely either, with the Concert Hall preparing to open its doors in July after being closed for two years of renewal works. If art, architecture, history, or even acoustics technology intrigues you, you’ll be sure to find the tour to be a fascinating insight into the Opera House’s story and the work that goes into putting on its calendar of shows and performances, made all the more compelling by the engaging tour guides. <img src="https://oversixtydev.blob.core.windows.net/media/2022/06/20220616_171614-scaled.jpg" alt="" width="2560" height="1920" /> Image: Author Rounding out the tour with some nibbles and a glass of bubbles next to Portside Sydney, one of the Opera House’s harbourside eateries, is a nice touch that gives you the chance to enjoy views of the Harbour Bridge and its surrounds as day turns to night. Though tickets for Sunset at the House have already sold out, the Opera House will be running daily tours - without the canapes and sunset drinks - at 11.30am, 12pm, 1.30pm, 2pm, 3pm and 3.30pm until August 31. From September, tours will depart at 10.30am, 12pm and 2pm Sunday to Friday, with three tours on Saturdays at 9am, 10.30am and 12.30pm. The hour-long tours are free for children under five, with adult tickets costing $43 and $33 for conession holders. To book your tickets, head to the Opera House <a href="https://www.sydneyoperahouse.com/visit-us/tours-and-experiences/english-tour.html" target="_blank" rel="noopener">website</a>. Image: Sydney Opera House

Domestic Travel

Neighbours star furious over Logies snub

Ryan Moloney – who has played Jarrod “Toadie” Rebecchi on Neighbours since 1995 – held nothing back as he blasted the treatment of the cast from the long-running show at the recent Logie Awards. Taking to 2Day FM’s Hughesy, Ed and Erin breakfasts’ show, Moloney ripped into the awards ceremony’s efforts in acknowledging Neighbours is about to come to an end. He argued those in the "In Memoriam" segment got a better run than they did. Moloney launched a hearty rant against the award show organisers for seating the team “behind the cameras” on Sunday night, and having former cast members Daniel MacPherson and Natalie Bassingthwaighte represent the cast on stage, rather than actors who have been part of the show for decades. “We turned up, and we did our mandatory three-hour talking to people on the red carpet... When we got in the room we ended up being split up and stuck on two different tables, it was horrible!” Moloney said on air. “Our table was actually even stuck behind the cameras, we couldn’t even see the stage... So we figured we weren’t going to get a gig then,” he added. Moloney said he found the package of snippets from the show that played during the ceremony “incredibly disappointing.” Elsewhere, he suggested having Bassingthwaighte and MacPherson represent the cast on stage was an affront to the show’s veteran stars, given they were both only part of the cast for four years. “Daniel and Nat are just absolutely gorgeous people and absolutely nothing against them, but we’ve got people who have been on TV for nearly 30 years each, and I think probably the least they could do is get us to say something … I mean we’re in the bloody Hall of Fame, that’s not how you treat a show that’s in the Hall of Fame. I mean good luck to the Logies really,” he fumed. His rampage didn’t stop there: “If it’s any indication, the In Memoriam section … I mean half the people in that have worked on Neighbours … They got a better guernsey than we did.” He said that actors from the show’s rival Channel 7 soap, Home and Away, even noticed the snub, approaching the table to offer their sympathy later in the night. “The cast of Home and Away came up afterwards and said how sorry they were that we got (snubbed),” he said. In March, it was announced to devastated fans that Neighbours was coming to an end. The soap drew around 1.5 million UK viewers daily and up to 170,000 metro viewers in Australia. The finale, which will feature special guest appearances from <a href="https://www.oversixty.com.au/entertainment/tv/another-neighbours-alum-to-return-for-final-episode" target="_blank" rel="noopener">Guy Pearce</a>, <a href="https://www.oversixty.com.au/news/news/kylie-minogue-and-jason-donovan-return-to-neighbours" target="_blank" rel="noopener"> Jason Donovan and Kylie Minogue</a>, is expected to air in August, truly marking the end of an era.

Take in the views this month at Sydney Opera House’s sunset tours

The sails of the Sydney Opera House are an icon in Sydney's skyline, and now you can explore the building itself - thanks to a new series or sunset tours running through June. Sunset at the House is part of the NSW government's Culture Up Late initiative, offering an intimate tour of the landmarks halls and foyer spaces. Starting at 4pm, you'll get to go behind the scenes of the World Heritage-listed site during golden hour - the prime time to snap some photos of the stunning waterside views - and round out the afternoon with canapes and a drink. “There is no better way to step inside the Opera House and learn more about how the building comes to life,” Nicola Brandon, the Sydney Opera House General Manager of Tours, Retail and Projects, said. Sunset at the House is a wonderful experience where people can enjoy the Opera House at a time when it’s buzzing with energy. Guests will be awed by the beauty of a stunning harbour sunset, with delicious canapés and drinks served to them at Portside or the Joan Sutherland Theatre’s northern balcony, two of our finest locations,” Tickets cost just $20 - half the price of a standard Opera House Tour - and are available to purchase for select dates from June 3-29 <a href="https://www.sydneyoperahouse.com/visit-us/tours-and-experiences/sunset-at-the-house.html" target="_blank" rel="noopener">here</a>. Image: Supplied

Domestic Travel

Soap star dies at 21

TV actress Chethana Raj, known for her roles in popular Indian soap operas, has passed away from unexpected complications during a fat removal surgery at a private hospital. The star was just 21 years old. According to several news outlets, she was admitted to a hospital that specialises in plastic surgery in Bengaluru, Karnataka, on Monday. It is understood that she then developed complications, with fluid starting to accumulate in her lungs. Raj later passed away after a cardiac arrest after doctors reportedly attempted CPR for 45 minutes. She was known for her work in television series including Geetha, Doresaani, and Olavina Nildana, as well as her role in the Kannada film Havayaami. Several outlets reported that Raj didn’t inform her parents about the surgery, who instead went to the hospital with her friends. When her surgery didn’t go as planned, she was rushed to another hospital for treatment. Raj’s father, K Varadaraj, told The Indian Express that she asked him for permission to have the surgery, but he “declined to give permission and told her that such a surgery was not necessary”. “But she went ahead with the surgery and died owing to negligence,” he said. “How did the centre conduct surgery without taking consent from the parents or guardians?” Raj’s father also told The Tribune he will be pursuing legal action against the hospital where the surgery was conducted. “My daughter was hale and hearty. She was absolutely fine. She had gone to hospital with her friends,” he told the publication. “Someone has suggested to her that she had more fat in the waist and without consulting any family member she had come for the surgery.” Raj’s uncle Rajappa told IndiaToday.in someone had told her “to reduce weight as she appeared fat”, prompting her to go to the hospital. “The hospital is not equipped with an ICU and the surgery was done,” Rajappa said. “After the surgery, water accumulated in her lungs. “Later, they shifted her to another hospital nearby where she was declared ‘brought dead’.” Image: Twitter

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Australia’s longest-running soap ends

Hailed as one of Australia’s longest-running TV dramas, Neighbours will come to an end after 37 years on air. The TV soap that gave national sweethearts like Kylie Minogue, Margot Robbie, Guy Pearce and Liam Hemsworth a name around the globe, ended its streak after failing to secure another UK broadcaster. In a statement on their social media, Neighbours announced the devastating news to fans. “We are so sorry to say that after nearly 37 years and almost 9000 episodes broadcast we have to confirm that Neighbours will cease production in June,” the statement read. “Following the loss of our key broadcast partner in the UK and despite an extensive search for alternative funding, we simply have no option but to rest the show.” The team thanked their loyal fans and promised to end the show on an “incredible high”. “To our amazing, loyal fans, we know this is a huge disappointment, as it is to all of us on the team. “We thank you for all your messages and support and promise to end the show on an incredible high. From here on, we are celebrating Neighbours.” The news comes just weeks after Channel 5, the British production company that aired the show in the UK since 2008, announced it won’t do so anymore. The final episodes are expected to air in September 2022. Image: Instagram

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