The State I’m in!

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Or how I love old cinemas, eccentric architecture and overwrought decor.

Shame on you 1960s through to 1980s in Sydney. Just tore down old buildings willynilly to ‘modernise’ the city. And as the bricks tumbled, down came more than 20 old-style, elegant cinemas in Sydney including the Roma, Lido, Lyceum, Regent, Palace and sadly on and on the list goes.

The remaining cinemas are the State Theatre and the Capital Theatre.

And the State Theatre is here because its history spanned so many economic changes in the city that plans made to demolish, reinvigorate, turn into an office block and more, never got past the drawing board – and lucky it had history on its side.

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It opened to grand fanfare in the social heyday of Sydney in 1929. It was the “Palace of Dreams’. Amazing architecture for the time and innovative structure behind the gothic, Italianate French and Jacobean crazy decor and foyer, theatre seating and private rooms design, made this extraordinary addition to the prominence of development in Sydney.

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I recently took a two-hour tour of my fave theatre and discovered so much about it. I went as a child to the State when it was a movie theatre. And as television stole the movie-going public away from the theatres it became a live venue – as it had originally started out – with vaudeville acts and showy musicals.

I’ve seen artists from Bette Midler, through to Bob Dylan perform here and am off to see Catherine Tate soon.

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There are many facts that are fascinating about the theatre which include:

  • Standing in the 2000 seat auditorium beautifully framed by 13 hand-cut crystal chandeliers
  • Observing the eclectic elements of the Theatre’s Gothic, Italian and Art deco design
  • Discovering the State’s famous Character Lounges including the exotic Butterfly Room (the ladies loo), the Pioneer Room, College Room and more
  • Be mesmerised by the world’s second largest hand-cut crystal chandelier, the
    Koh-i-Nor. This is the second largest hand-cut chandelier in the world – the first is the divine chandelier that hangs in the Hapsburg Palace in Vienna, Austria.

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  • Admire prize-winning artworks by famous Australian artists including William Dobell, Mary Edwards, Charles Wheeler and Raymond Lindsay. Stories of people trying to steal these paintings are shocking. In fact the theatre has so many stories of vandalism and what has been stolen over the decades makes you realise that Sydney is a den of thieves.
  • Delve into the depths of the Theatre to discover engineering marvels and mechanical masterpieces.

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The ladies toilets (powder rooms) were designed to be hidden away discreetly because way back in the 1920s it was unseemly that a ‘lady’ would go to the toilet. Women would not eat or drink during the show until they arrived at home – and they ‘went’ before going out for the night.

Also there were private smoking rooms throughout the theatre (smoking wasn’t permitted in the foyer or inside the theatre) and these were for men only – ladies didn’t smoke!

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The beautiful brass filigree doors to the seating were going to be melted down in the 1950s and the metal would have been worth around $130 but now and still standing (or opening and shutting) and are worth $17000.

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When the American servicemen were in Sydney on R&R during WWII, smoking was allowed in all public areas. And 40 years later when the entire interior of the foyer and staircase areas was cleaned there was so much nicotine clinging to the walls that the decoration had disappeared.

The Theatre is still available for special films and recently held the premier of Ladies in Black. The annual Sydney Film Festival is held here and always begins with a silent film.

The State’s famous Wurlitzer organ that entertained the masses for many years is almost finished being restored. It will be back in action with its glorious makeover in 2019 when the State Theatre celebrates its 90th birthday. (The organ has to be played once a week to keep it in good working order.)

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If you enjoy ‘old Sydney’ and the charm of the eccentric, try for a tour, it’s interesting, nostalgic as you learn the character and traits of this magnificent and special building of majestic elegance.

Architectural purists may scoff, but remember this is a Palace of Dreams, am amusement park.

Visit: http://www.statetheatre.com.au to book tickets for a tour $25 – mad if you don’t.

Writer Bev Malzard was pashed in this cinema when she was 17. And on another note, she grew up in the Sydney suburb of Earlwood that supported two cinemas – the Chelsea (now a bottle shop) and the Mayfair (now three small shops). She likes to visit the last of the grand old girls in Sydney – The Randwick Ritz and the  Cremorne Orpheum.

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Snce its opening in 1929, The State Theatre Sydney has captivated the hearts and minds of patrons with its majestic elegance. Join in a guided tour of this magnificent and unique building and discover why it’s known as the Palace of Dreams.
During a fascinating 2 hour tour, you will:

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Vienna – can I have this dance?

Vienna – can I have this dance?

A museum of the waltz king

Johann Strauss-Denkmal, Stadtpark

Only Vienna could do a museum like this justice. The Johann Strauss Dynasty Museum in the ninth district is the first museum in the world to focus on the history and artistic output of the entire Strauss clan: from Johann Strauss the Elder and the waltz king Johann Strauss the Younger to his two brothers Josef and Eduard. Visitors can also look forward to an impressive range of pictures and documents that bring Biedermeier-era Vienna to life. Audio stations dotted throughout the museum give fans a chance to listen to popular and less well known pieces from the family canon as often as they like, without interruption.

Tanzszene in Dommayers Casino

Johann Strauss (1825-1899), known to family and friends as Schani, his father Johann and his brothers Josef and Eduard took the world by storm with their music. With 1,500 works between them, from Die Fledermaus and The Radetzky March to the Blue Danube Waltz,  they embody Viennese music like no others. Their waltz and operetta melodies can be heard in the capital’s concert halls throughout the year as well as at the traditional New Year’s Concert which is broadcast all over the world from the Golden Hall of the Musikverein.

Strauss, Karikatur Josef und seine Brüder

It goes without saying that there is a Johann Strauss monument in Vienna. This golden statue of the waltz king playing his violin can be found in the Stadtpark, a short distance from the Kursalon. The Vienna Philharmonic played at its unveiling in 1921 and today it is one of the most photographed sights in the city. Johann Strauss II composed Vienna’s unofficial anthem The Blue Danube in an apartment at Praterstrasse 54 in the second district in 1867 where he lived with his first wife Jetty from 1863-1870. In addition to original furnishings and period instruments, exhibits include everyday objects from the great musician’s estate as well as portraits, photos, and documents on his life and work. The waltz king was laid to rest at Vienna’s legendary Central Cemetery, near the graves of Beethoven, Schubert, Brahms and Johann Strauss the Elder.

Hofball-Musikdirektor Johann Strauss mit seiner Kapelle

Visit: www.austria.info

 

First steps

The waltz began as a dance of rebellion, embraced by teens and sneered at by conservative parents. When the dance first whirled through the ballrooms of Vienna, it caused an outrage and marked a decisive shift in European social customs.

The dance’s origins are probably humble. Its name comes from walzen— “to turn” in German—and may have developed out of the folk music of Austria’s western Tyrol region (although some authors associate its choreography with the volta, a 16th-century couples dance). Whatever its exact origin, by the late 1700s the waltz spread throughout Europe. The dance craze was particularly popular among young people from the wealthy middle classes, the perfect expression of a new, confident bourgeoisie, who were discarding the aristocratic customs of their elders.

A scene from 1774 novel The Sorrows of Young Werther, by J. W. von Goethe, describes a ball that begins with stuffy minuets until a new tune is struck: “When the waltz commenced, and the dancers whirled around each other in the giddy maze . . . Never did I dance more lightly. I felt myself more than mortal, holding this loveliest of creatures in my arms, flying, with her as rapidly as the wind, till I lost sight of every other object.”

In 1833 a British manual of good manners recommended only married women should dance it, as it was too immoral for the unwed.