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<div style="background-color:White;width:260px;position:absolute;top:2px;left:345px;text-align:center;font-family:Arial;color:Black;font-size:10px;font-weight:bold;">T U E S D A Y ,
D E C E M B E R 3 , 2 0 2 4 </div>
<a id="MenuLink_Home" class="HomeLinkActive" href="#" onclick="MenuClicked('Home');" style="position:absolute;top:121px;left:10px;">Home</a>
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<div class="Reportage1Title">Inherited values</div>
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<div class="Reportage1Title">Politico piss-takes</div>
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<div class="Reportage1Title">Snail trail</div>
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<div style="text-align:left;font-size:11.5px;line-height:13px"> My essays <i>Steel Springs</i> in <a href="https://meanjin.com.au/memoir/steel-springs/" target="_blank">Meanjin</a>; <i>Opening Doors and Minds</i> in
<a href="https://limelight-arts.com.au/features/opening-doors-and-minds/" target="_blank">Limelight</a>; and <i>Letter from Dunkley</i> in
<a href="https://www.themonthly.com.au/issue/2024/march/steve-dow/letter-dunkley#mtr" target="_blank">The Monthly</a>. </div>
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<strong>On a windy Monday afternoon, actor and singer Simon Burke stands outside the home where his family lived for his first 13 years of life, a two-storey cream Victorian terrace in inner-Sydney’s once raffish Paddington. Fifty
years on, the wooden front door is unchanged.<br><br> At four, little Simon would sit on a letterbox here, pretending to play piano on this spiked wrought-iron fence. We gaze up at the jacaranda on the street, its purple spring
flowers blooming above the power lines. </strong><br><br>
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<strong>It’s time: the Wharf Revue is exiting the stage after 25 years of political piss-takes and satirical skewerings, from songs about the unceasing weaponisation of refugees since the Tampa affair to shadow puppetry spotlighting
the misogyny of the “ditch the witch” rally. Now, just like Joe Hockey celebrating a budget of health and welfare cuts with cigars, the Revue’s final satirical show will ignite memories of our greatest political nadirs.<br><br>
Beginning in the Sydney Theatre Company’s Wharf theatre in 2000, the Wharf Revue quickly became known for its annual touring show mashing Broadway belters and political assassinations. And every year they always had an abundance of
material, given neither major party ever learned from the other’s machiavellian machinations.</strong><br><br>
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<strong>Suffering abounds in Adam Elliot’s dark and deadpan films. The Melbourne animator’s claymation characters overdose and lose testicles or imbibe on an array of poisons; they are assailed by strokes and lightning strikes. These
beloved underdogs, the Oscar-winning film-maker says, are studies in human imperfection: “I’ve realised my films are about perceived flaws that often aren’t actually flaws.”<br><br> Elliot won his Oscar for the 2003 short film
<i>Harvie Krumpet</i>, introducing the world to his surprisingly whimsical style. Global attention followed, and his first feature, 2009’s <i>Mary and Max</i>, starred Toni Collette, voicing a little girl who begins a pen pal
friendship with the late Philip Seymour Hoffman’s Max, a New Yorker with Asperger syndrome.</strong><br><br>
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<div align="center" style="font-size:12px"> Follow Steve on <a href="https://twitter.com/dowsteve" target="_blank">Twitter</a>. </div>
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<td width="50%" align="left"> Written Content: <strong> Steve Dow ©2001-2024 </strong>
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<td width="50%" align="right"> Site Design: <strong>
<a href="#" style="font-family:Arial;font-size:12px;color:#666666;text-decoration:none;cursor:text">Outstanding Creations</a>
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<a onclick="ShowArticle(3308);return false;" id="hplOther1" href="javascript:__doPostBack('hplOther1','')">Elena Kats-Chernin & Adam Elliot</a>
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<a onclick="ShowArticle(3310);return false;" id="hplOther2" href="javascript:__doPostBack('hplOther2','')">Adam Elliot</a>
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<a onclick="ShowArticle(3309);return false;" id="hplOther3" href="javascript:__doPostBack('hplOther3','')">Julius Caesar, Shakespeare, Handel and Coppola</a>
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<a onclick="ShowArticle(3307);return false;" id="hplOther4" href="javascript:__doPostBack('hplOther4','')">Alice Zaslavsky</a>
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T U E S D A Y , D E C E M B E R 3 , 2 0 2 4 Home Archives Biography Contact Inherited values Politico piss-takes Snail trail My essays Steel Springs in Meanjin; Opening Doors and Minds in Limelight; and Letter from Dunkley in The Monthly. On a windy Monday afternoon, actor and singer Simon Burke stands outside the home where his family lived for his first 13 years of life, a two-storey cream Victorian terrace in inner-Sydney’s once raffish Paddington. Fifty years on, the wooden front door is unchanged. At four, little Simon would sit on a letterbox here, pretending to play piano on this spiked wrought-iron fence. We gaze up at the jacaranda on the street, its purple spring flowers blooming above the power lines. It’s time: the Wharf Revue is exiting the stage after 25 years of political piss-takes and satirical skewerings, from songs about the unceasing weaponisation of refugees since the Tampa affair to shadow puppetry spotlighting the misogyny of the “ditch the witch” rally. Now, just like Joe Hockey celebrating a budget of health and welfare cuts with cigars, the Revue’s final satirical show will ignite memories of our greatest political nadirs. Beginning in the Sydney Theatre Company’s Wharf theatre in 2000, the Wharf Revue quickly became known for its annual touring show mashing Broadway belters and political assassinations. And every year they always had an abundance of material, given neither major party ever learned from the other’s machiavellian machinations. Suffering abounds in Adam Elliot’s dark and deadpan films. The Melbourne animator’s claymation characters overdose and lose testicles or imbibe on an array of poisons; they are assailed by strokes and lightning strikes. These beloved underdogs, the Oscar-winning film-maker says, are studies in human imperfection: “I’ve realised my films are about perceived flaws that often aren’t actually flaws.” Elliot won his Oscar for the 2003 short film Harvie Krumpet, introducing the world to his surprisingly whimsical style. Global attention followed, and his first feature, 2009’s Mary and Max, starred Toni Collette, voicing a little girl who begins a pen pal friendship with the late Philip Seymour Hoffman’s Max, a New Yorker with Asperger syndrome. Follow Steve on Twitter. Written Content: Steve Dow ©2001-2024 Site Design: Outstanding Creations Elena Kats-Chernin & Adam Elliot Adam Elliot Julius Caesar, Shakespeare, Handel and Coppola Alice Zaslavsky