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Long term readers may recall one of my first gigs for Scenestr magazine was reviewing a performance of the classic Australian play Cosi by the Beenleigh Theatre Group in 2017. This was followed by reviewing Anything Goes and Lord of the Flies and interviewing the latter’s director Bradley Chapman. Sadly I haven’t been to back to Beenleigh for a while, but over the weekend a last chance opportunity came up to attend High Fidelity on assignment with Weekend Notes.

We saw a Sunday afternoon performance which was in contrast to earlier Friday night attendance but I was pleased to see the cast give it their all and the audience really enjoy themselves. I do have some criticisms about the musical which had a brief run on Broadway but has found a second life in community theatre groups of the world.

I have not read the beloved book by Nick Hornby which spoke to a whole generation and still remains a classic. My best mate Mike recommended the film adaptation from 2000 as one of the year’s best starring John Cusack. I was pretty excited about this since his recommendation for the previous year was the excellent American History X. I am sad to report I was not as impressed but it may be time for a re-look. For me in a lot of ways the musical made certain improvements over the film and I was very charmed by the cast and the spirit of the piece.

You can read my review here

Weekend Notes are a growing online magazine with a wealth of contributors based out of several cities across the United Kingdom, Australia and New York. Articles are leisure related and can include a wide variety of subjects from rainforest hikes to cultural festivals, from what hot new play is on at your underground theatre to a ultra trendy eatery. Writers are paid for their work based partly on how many views their articles get so please feel free to stop by and show some love.

-Lloyd Marken



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I was back at MELT: Festival of Queer Arts and Culture last week to see Giantess on Thursday night at the Turbine Studio, Brisbane Powerhouse on assignment for Scenestr. Written and performed by transgender stand-up Cassie Workman, it has won numerous awards since its debut. Following Trade by Impromafia, a show I deeply enjoyed and felt privileged to attend, this was a quieter performance that proved touching with its message and the demure but steely presence of Cassie herself. What a wonderful thing it is live in a city where such a festival provides an outlet for artists and attraction for audiences.

You can read my review here


We took in our surroundings a bit more with the ice-block float hanging from the ceiling as part of the MELT festivities at the iconic Brisbane Powerhouse. We also grabbed the beloved bar snack menu pizzas – pepperoni for me and tomato and basil (margherita according to others) for Karen. While enjoying our pizzas outside on the balcony our possum came by to see if we’d let some scraps come our way. Unfortunately nobody told him/her how seriously Karen and I take our pizza eating.

Produced by Eyeball Media Enterprises Scenestr is an online national magazine with local offices around Australia. Having started in 1993 they’ve excelled at moving into the digital realm but they remain at heart from the streets. They still publish magazines in print for Western Australia, South Australia, New South Wales, Victoria and Queensland every month.

-Lloyd Marken



I am proud to announce that I was published in the very first print issue of Frooty magazine. Frooty was founded as an online magazine in 2017 by the Arts/Comedy Editor for Scenestr Jesse Chaffey.

Jesse edits the bulk of my published pieces for Scenestr as well as so many others. He’s rescued me a few times, regularly made my pieces look better, taken on board anything I thought was important to keep and it is a fragment of what he does as an editor working long hours relentlessly. Like all members of staff at Scenestr, he’s talented, hard working and passionate about what he does. The fact he created Frooty the same year he as a recent graduate started as the Arts/Comedy editor for Scenestr speaks volumes and let’s not forget Scenestr has also grown in the same time frame moving into print in Western Australia and Melbourne.

My contribution to Frooty Issue 1 is a review I wrote on page 17 for Rocketman that was originally published online at Scenestr.

You can read a digital version of the print issue here


Started in 2017 and produced by Eyeball Media Enterprises, Frooty is an online national magazine that covers news and entertainment with a queer perspective. They have just done their first print issue with more to come.

-Lloyd Marken


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It has been a delight to attend MELT: Festival of Queer Arts and Culture for the first time this year on assignment for Scenestr magazine.

There is a fantastic roster of shows, talks and displays so it was great to attend the latest show from the ever reliable and hilarious ImproMafia.

However this show was a little different from others I have attended and I feel that there was something special in the air that night at the Visy Theatre, Brisbane Powerhouse.


You can read my review here

Produced by Eyeball Media Enterprises Scenestr is an online national magazine with local offices around Australia. Having started in 1993 they’ve excelled at moving into the digital realm but they remain at heart from the streets. They still publish magazines in print for Western Australia, South Australia, New South Wales, Victoria and Queensland every month.

-Lloyd Marken


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The 25th of April is a sacred day in Australia. It is in remembrance of Australian and New Zealand soldiers lost in war, a reminder to help and honour all veterans, those of them still with us, and their families and to remember always that there is no glory in war –  Only loss. The day is borne out of the first day of the Gallipoli landings in 1915, appropriately the beginning of a failed military campaign, just one part of the Great War that forever marked a generation and left repercussions that have been felt down throughout the 20th century. It is a day of significance and remembrance to be spent solemnly.

The next day is the 26th of April and it holds significance too. On that day another generation would be called to sacrifice themselves in a huge undertaking that if it did not kill them outright would forever leave its mark. Thousands who through their efforts saved thousands more – maybe millions. In the Ukraine, in Russia, in greater Europe, throughout the rest of the world how much do we stop and think of the Heroes of Chernobyl?

What really grabbed me and held me were the incredible stories of the human beings who lived through it, and who suffered and sacrificed to save the people that they loved, to save their countrymen and to save a continent, and continued to do so, against odds that were startling and kept getting worse. I was so moved by it. It was like I had discovered a war that people just hadn’t really depicted, and I became obsessed.” -Craig Mazin

The five part mini-series from HBO and Sky UK, written by Craig Mazin a graduate of Princeton and the writer of the Hangover sequels may not be a perfectly written series. Despite strong critical notices and ratings, there have been dissenters no doubt put off by the slow pacing and the stories of some characters. It can be a bit of a slog at times, composite characters standing in for the nuanced reality of multiple individuals, and thematic points hammered home in the dialogue.

Yet the story of Chernobyl is remarkable and Mazin has articulated a fascination he had about two things. Firstly the power dynamics of a communist society that allows for such a disaster to take place and is not well placed to react quickly to it. Secondly, the communal and bitterly stoic nature of the people of the Soviet Union. As Mazin has pointed out in interviews, maybe only the Soviet people could have dealt with such a disaster this way. The two world wars, Stalin and Chernobyl. It was a hard century for the Soviet Union and the Ukraine took more than its fair share. Mazin knows this and knows it well.

The lesson of Chernobyl isn’t that modern nuclear power is dangerous. The lesson is that lying, arrogance, and suppression of criticism are dangerous.” –Craig Mazin

The series starts off in the morning of the 26th of April, 1986 when all hell broke loose except people didn’t quite react like it had. The first episode is about that first morning, reactor workers scrambling around their damaged facility not wanting to believe what is really happening, firemen arriving on site with no protective gear and locals gathered on a bridge looking at the impressive blue light in the sky.

Subsequent episodes spread out the timeframe and show the longer ongoing implications and developments. I was reminded of Tom Clancy and his everyman hero Jack Ryan in the situation faced by Valery Legasov as played by Jared Harris. A mid-level civil servant with some intelligence forced to communicate what is really going on during a crisis to foolhardy men of power. The character of Emily Watson’s Ulana Khomyuk gets similar scenes but isn’t flown in to Chernobyl via helicopter which is more akin to a Jack Ryan tale. There are a lot of stories and characters in Chernobyl; some may resonate more than others. Liquidators cleaning up the countryside afterwards, workers volunteering or “volunteering” for dangerous tasks, soldiers drinking their vodka straight, scientists and politicians smoking cigarettes in dimly lit rooms debating what is the next solution before it’s too late, wives relying on their wits and courage to be reunited with their radiation stricken husbands only to…

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Some subplots may resonate more than others but the tragedy of Chernobyl reveals the character of a people that are long overdue for some recognition in facing the greatest man-made catastrophe in human history. The relationship at the heart of the story is the one between the pragmatic party man Boris Shcherbina in charge of the whole operation and played by Stellan Skarsgard and Harris’s scientist Legasov who is just trying to do the right thing. Their growing respect and understanding of the other and what they do is the best relationship depicted in the series. Emily Watson gives another great performance and as does the rest of the cast, in episode four she delivers a line about Chernobyl that kind of breaks your heart.

The filmmakers seem invested in practicality as much as possible, including shooting in Lithuania at the Ignalina Nuclear Power Plant which resembled very much the appearance of Chernobyl itself. As a child of the 1980s I was enthralled by how much the lighting and colour grading of the series resembles film form that period.

Barring two significant sequences too, it feels very much like the shot composition and editing is very similar to that time period as well so that any variation from it has an impact and is in service to the story being told. One is a drone aerial shot that would have been done via helicopter or crane back in the day to reveal the evacuation of Pripyat. By making that choice it reminds that time has passed on and allows to move out from close ups in a way not possible when being done any other way. The second involves a 90 second sequence shot in real time that will not be spoiled here. All episodes are directed by Johan Renck who made his bones on several prestige television series and music videos; Chernobyl suggests more big things to come.

The series will not be for everyone, not least of which are due to some harrowing hospital scenes but if Chernobyl touches you it definitely leaves its mark.

-Lloyd Marken

P.S. I would recommend the podcast by Craig Mazin and Peter Sagal as well. The first episode can be found here.



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On the 13th of May I was lucky enough to be on assignment for X-Press Magazine to attend a preview screening of Red Joan. This was my first assignment for X-Press in 2019 followed by checking out John Wick Chapter 3: Parabellum.

Red Joan in some ways was a refreshing take on the way we approach spy thrillers but a real slow burn of a film. I can’t say I was riveted by say the quiet but visually dynamic and stylish Tinker Tailor Soldier Spy. By the way are they going to do a sequel to that or not? Still I think there is  a lot to recommend in Red Joan not least of which are the performances of the cast led by Sophie Cookson and Dame Judi Dench.

You can read my review here

X-Press Magazine was established in 1985 and at one point was Australia’s highest circulating free weekly entertainment publication with over 40,000 copies reaching 1,0000 outlets every week.  On the 24th May, 2016 Issue 1527 hit stands. Like many publications of its ilk X-Press Magazine is now foremost an online magazine engaged globally and making the most of the possibilities that new digital technology offers. It’s roots though are tied to its home city, love of local artists and productions and music which it supports wholeheartedly. Perth a capital city most isolated from all the other capitals is continuing to grow and develop culturally and artistically with its own identity and talent. X-Press has always been there to capture this growth and will continue to do so.

-Lloyd Marken


The night of my first assignment for Scenestr magazine 21MAR207. Copyright Karen Marken.

Last Friday I reached a milestone with Scenestr magazine, I have now had 100 posts published with them online or in their printed copies on the street. This all started with a review I submitted to them of Hidden Figures that Karen had won tickets to see. The review was published 23 February, 2017.

Within a couple of months I realised if I wanted to make the most of my opportunities there I would have to put my hand up to do interviews. Despite having done this in the past at university I was still quite nervous when I did my first interview with the stars of Grease: The Arena Spectacular Meghan O’Shea and Drew Weston almost two years ago. Knowing it scared me made me confident it would be truly rewarding and that turned out to be true.

In 2018 there were 50 posts published online of my work, it is doubtful I will match that output moving forward, there are things I am currently pursuing away from Scenestr but I am grateful to continue my work for the biggest street press magazine in the country.

The opportunity Scenestr gives writers and how that flows onto the rest of the print industry is extraordinary. I hope to be working for them for a long time yet.

Of the 100 posts published, 10% were reviews of stand-up comedians and their shows, 29% were theatre reviews, 28% were film reviews, 32% were interviews and 1% were reviews of Cher concerts.

Allow me to indulge in pointing out some personal highlights such as interviewing DeAnne Smith, Ali McGregor, Palace Cinemas CEO Benjamin Zeccola, Gravity and Other Myths circus performer Jascha Boyce, theatre director Row Blackshaw, Cassie George, talking to director Clare Watson about Our Town, an interview with comedian Sammy J, and my cover story with SNL star Michael Che.

Going to the Young Australian Filmmakers Programme at Byron Bay Film Festival and talking to young director Cody-Cameron Brown about Don Ritchie, OAM, introducing my wife to the cast of Aladdin backstage, a dinner with Lauren Weisberger where my friend Karen B was also in attendance at the Brisbane Writers Festival, slugging back premium blended whisky and sliders at the Kingsman: The Golden Circle preview screening, attending the opening nights of the 2017 Cine Latino Film Festival, the 2018 Italian Film Festival, Brisbane International Film Festival 2018, taking Karen to see Cher last year in concert, having stand-up Tom Gleeson share my review of his show on Facebook.

Some of the best shows I saw were Circa’s Humans, seeing Love/Hate Actually debut at Wonderland 2017England by Tim Crouch at Metro Arts, seeing The Duke by Shon Dale-Jones, Randy Writes A Novel by Randy Feltface, Tim Ferguson’s A Fast Life On Wheels and my first assignment with Scenestr reviewing Queensland Ballet’s Raw.

If you’re been along with me for part of the journey I hope you have enjoyed the ride, I thank you for your support and I hope to continue with you by my side. Two years ago this milestone seemed very distant if even possible and it has been one of the great joys of my life to have had this happen to me at 36 when I was feeling that life was kind of passing me by. I feel very grateful to my editors for their support and knowledge and to all our readers. Thank you from the bottom of my heart.

Produced by Eyeball Media Enterprises Scenestr is an online national magazine with local offices around Australia. Having started in 1993 they’ve excelled at moving into the digital realm but they remain at heart from the streets. They still publish magazines in print for Western Australia, South Australia, New South Wales, Victoria and Queensland every month.

-Lloyd Marken