Tatts Group is active in the wagering and gaming industries with an operational footprint extending across every State and Territory of Australia. The company has three divisions: Lotteries and Gaming Solutions. Tatts Group has a near monopoly on lotteries in Australia. Tatts Lotteries is the Lotteries Operating Unit of Tatts Group and as of September 2013 the company owned or leased: Tatts Lottery, which operates lotteries in Victoria and The Northern Territory. Golden Casket, which operates lotteries in Queensland. NSW Lotteries, which operates lotteries in New South Wales and The Australian Capital Territory. SA Lotteries. Which operates lotteries in South Australia. On June 1, 2016 Tatts Group created a national lottery brand called ‘the Lott’; the brand encompasses all its jurisdictional lottery brands under this single entity. Corresponding with the change in branding, online lottery purchases were moved from Tatts.com to the new official lotteries website thelott.com. Tatts Group holds wagering licences under its subsidiary UBET in Queensland, South Australia, the Northern Territory and Tasmania.
Most of these assets were owned by UniTAB before it merged with Tattersalls Limited to form the modern Tatts Group in 2007. All of the licences entitle the company to the exclusive operation of physical betting shops which offer totalisor, fixed odds and sports wagering in their respective jurisdictions; the company operates online nationally as Ubet.com providing racing and sports wagering products. Its shops operated under several different brand names due to its string of acquisitions, including TAB, TattsBet and others. On 27 November 2014, Tatts Group announced that it would begin to unify all of its wagering properties under the new brand UBET in 2015. Comprising two companies and ByteCraft. Tatts Group both provides services for electronic gaming machines. Provides monitoring solutions and value adding services to the Australian gaming machine industry. Many Australian state governments have legislated mandatory monitoring for all gaming machines they license, this is to protect the integrity of the industry.
Under this system Monitoring Licences are granted to independent companies who operate computer networks connected to all gaming machines within a relevant jurisdiction. All machine activity is monitored to ensure that correct prizes are paid and taxes are calculated on revenue. MaxGaming holds licences for three jurisdictions, New South Wales and The Northern Territory. Queensland is the only monitoring licence that isn't exclusive, nonetheless MaxGaming still has around an 80% market share in that state. ByteCraft is an electronics specialisation company that Tatts Group Acquired to maintain gaming machines; however the company isn't limited to gaming machines as its major contract is for the maintenance of Telstra's payphone networks. Tatts Pokies operated over 13,000 gaming machines in Victoria starting from 1994; however the company's licence was not renewed. The expiration of the licence led Tatts to sue the state of Victoria for compensation under a contract government signed with them in the mid 90's.
In the contract that state government signed, Tatts Group would be entitled to compensation for the infrastructure they had to pay for to set up their Tatts Pokies operation. The government materially benefited from this infrastructure; the government argued that the contract stated that compensation would be paid if "licences" were granted to any other party from 2012, but instead they granted "entitlements" to other operators and thus alleged they didn't have to pay the compensation. On 26 June 2014 The Supreme Court of Victoria found that the "entitlements" were in effect licences under the contract government signed, awarded Tatts Group $451,157,286 Australian Dollars plus court costs and interest. Tabcorp Holdings sued The State of Victoria under a separate agreement it had made with government, however the Supreme court of Victoria said that their agreement only referred to the specific licences of the time and thus Victorian Government owed no compensation to Tabcorp. Tabcorp has since appealed this verdict.
On 8 July 2014 The State of Victoria lodged an appeal in an attempt to avoid paying Tatts Group the compensation. Tatts has stated. Operates gaming machine arcades in the United Kingdom under the brands Quicksilver and Silvers; the company operates more slot machines in the United Kingdom than any other company, with 7461 machines spread across 173 venues. Tatts Group sold the UK slot business in 2016 to Austrian gambling equipment manufacturer Novomatic Group; the history of Tattersall's can be traced back to George Adams in 1881. Adams moved to Australia from England at the age of 16 and worked in many positions including publican and baker. In 1881 Adams who worked as a publican in Sydney took bets on horses which could be considered the start of the gambling company. However, the company started a serious lottery when Adams moved to Hobart in 1895 a move supported by the Tasmanian Government, he set up his first operation there and the company grew/developed in other states. Tote Tasmania Pty Ltd was a Tasmanian state-owned company, with its shares being held by the Treasurer and Minister for Racing of Tasmania.
It had an exclusive right to conduct pari-mutuel wagering in the state of Tasmania. The company was privatised and sold to Tatts Group for AU$103 million and merged into their operations in 2012; when Tattersall's was founded, George Adams structured the company so the origin
Plaza Theatre (Sydney)
The former Plaza Theatre in Sydney, New South Wales is a heritage listed building designed as a 2000-seat cinema by Eric Heath for the Hoyts Group. It is rare surviving example central Sydney's inter-war building boom in theatre buildings, it is one of a handful of central Sydney's surviving theatre buildings. The building is located at 600 George Street, Sydney on the western half of the block bounded by Wilmot Street and Central Street to the sides and Pitt Street to the rear, it is a prominent feature of the entertainment sector's streetscape. The Plaza Theatre was built during a golden age of cinema-going in Australia and was opened on 11 April 1930. By 1950 cinema attendance had declined and this was further affected by the introduction of television in 1956. Many suburban cinemas closed down and in the city a number of theatres were demolished for redevelopment. In 1977 the Plaza was closed as a cinema and the foyer was converted to a McDonald's and the auditorium was converted to a skating rink, concert venue and restaurant.
A Heritage order prevented its demolition until 1995. That area is now a licensed bar; the theatre's organ was built circa 1923 by the Rudolph Wurlitzer Company of North Tonawanda, New York and was installed at the Plaza in 1937 from the Wintergarden Theatre, Brisbane. It was removed around 1968 and the console was relocated to a private residence in Harris Park, New South Wales; the building is of historic significance at a State level due to its ability to reflect the inter-war boom period of picture palace buildings in Sydney and for its contribution to the development of Sydney's George Street cinema precinct. It is aesthetically significant as a fine example of the Spanish Mission style and is notable for its external Baroque detailing, it is listed on the Heritage Register of New South Wales as well as the Register of the National Estate. The building was constructed in the years 1929 and 1930 by the building firm James Porter & Sons and to a design by Eric Heath; the brickwork facade is rendered in a rough cast stucco giving an exaggerated texture.
The raised decorative detailing is in precast concrete. There are five floors including a basement and the three storey facade above the awning is symmetrical, it is dominated by a three window four Corinthian column loggia. The columns are supported on pedimented brackets and finish in an entablature incorporating spiral s; the individual windows are topped by decoration and the north-west corner is chamfered. The majority of the interior detailing has been lost since the building's demise as a cinema although fine remnants remain in the McDonald's restaurant, now in sections of the original foyer; these include sections of the beamed ceiling, typical Spanish motifs and superbly coloured and stencilled floral motifs on the ceiling. Sections of the polychrome stencilled ceilings in the auditorium remain. Building June 1930
Sydney Opera House
The Sydney Opera House is a multi-venue performing arts centre at Sydney Harbour in Sydney, New South Wales, Australia. It is one of the 20th century's most distinctive buildings. Designed by Danish architect Jørn Utzon, the building was formally opened on 20 October 1973 after a gestation beginning with Utzon's 1957 selection as winner of an international design competition; the Government of New South Wales, led by the premier, Joseph Cahill, authorised work to begin in 1958 with Utzon directing construction. The government's decision to build Utzon's design is overshadowed by circumstances that followed, including cost and scheduling overruns as well as the architect's ultimate resignation; the building and its surrounds occupy the whole of Bennelong Point on Sydney Harbour, between Sydney Cove and Farm Cove, adjacent to the Sydney central business district and the Royal Botanic Gardens, close by the Sydney Harbour Bridge. Though its name suggests a single venue, the building comprises multiple performance venues which together host well over 1,500 performances annually, attended by more than 1.2 million people.
Performances are presented by numerous performing artists, including three resident companies: Opera Australia, the Sydney Theatre Company and the Sydney Symphony Orchestra. As one of the most popular visitor attractions in Australia, the site is visited by more than eight million people annually, 350,000 visitors take a guided tour of the building each year; the building is managed by the Sydney Opera House Trust, an agency of the New South Wales State Government. On 28 June 2007, the Sydney Opera House became a UNESCO World Heritage Site, having been listed on the Register of the National Estate since 1980, the National Trust of Australia register since 1983, the City of Sydney Heritage Inventory since 2000, the New South Wales State Heritage Register since 2003, the Australian National Heritage List since 2005; the facility features a modern expressionist design, with a series of large precast concrete "shells", each composed of sections of a sphere of 75.2 metres radius, forming the roofs of the structure, set on a monumental podium.
The building is 183 m long and 120 m wide at its widest point. It is supported on 588 concrete piers sunk as much as 25 m below sea level. Although the roof structures are referred to as "shells", they are precast concrete panels supported by precast concrete ribs, not shells in a structural sense. Though the shells appear uniformly white from a distance, they feature a subtle chevron pattern composed of 1,056,006 tiles in two colours: glossy white and matte cream; the tiles were manufactured by the Swedish company Höganäs AB which produced stoneware tiles for the paper-mill industry. Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's exterior is clad with aggregate panels composed of pink granite quarried at Tarana. Significant interior surface treatments include off-form concrete, Australian white birch plywood supplied from Wauchope in northern New South Wales, brush box glulam. Of the two larger spaces, the Concert Hall is in the western group of shells, the Joan Sutherland Theatre in the eastern group.
The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas up to the high stage towers. The smaller venues are beneath the Concert Hall. A smaller group of shells set to the western side of the Monumental Steps houses the Bennelong Restaurant; the podium is surrounded by substantial open public spaces, the large stone-paved forecourt area with the adjacent monumental steps is used as a performance space. The Sydney Opera House includes a number of performance venues: Concert Hall: With 2,679 seats, the home of the Sydney Symphony Orchestra and used by a large number of other concert presenters, it contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world, with over 10,000 pipes. Joan Sutherland Theatre: A proscenium theatre with 1,507 seats, the Sydney home of Opera Australia and The Australian Ballet; until 17 October 2012 it was known as the Opera Theatre. Drama Theatre: A proscenium theatre with 544 seats, used by the Sydney Theatre Company and other dance and theatrical presenters.
Playhouse: A non-proscenium end-stage theatre with 398 seats. Studio: A flexible space with 280 permanent seats and a maximum capacity of 400, depending on configuration. Utzon Room: A small multi-purpose venue for parties, corporate functions and small productions. Recording Studio Outdoor Forecourt: A flexible open-air venue with a wide range of configuration options, including the possibility of utilising the Monumental Steps as audience seating, used for a range of community events and major outdoor performances. Other areas are used for performances on an occasional basis. Venues are used for conferences and social functions; the building houses a recording studio, restaurants and retail outlets. Guided tours are available, including a frequent tour of the front-of-house spaces, a daily backstage tour that takes visitors backstage to see areas reserved for performers and crew members. Planning began in the late 1940s, when Eugene Goossens, the Director of the NSW State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions.
The normal venue for such productions, the Sydney Town Hall, was not considered
Criterion Theatre (Sydney)
The Criterion Theatre for a former theatre in Sydney, Australia, built in 1886 by architect George R Johnson on the south east corner of Pitt and Park streets. The Criterion Theatre, or'Cri', was Sydney's most famous intimate playhouse at the time. With a Neo-Renaissance exterior and a capacity of 991 seats, the Criterion was used for drama performances for 50 years. Closing in 1934, it was demolished to facilitate the widening of Park Street; the Criterion Hotel was built on the narrow strip of land remaining, a legacy of one of Sydney's earliest theatres. Ailsa McPherson. "Criterion Theatre". Dictionary of Sydney. Dictionary of Sydney Trust. Retrieved 9 October 2015
George Adams (businessman)
George Adams was an Australian publican and lottery promoter best known as the founder of Tattersall's. Adams was born in Redhill in the parish of Sandon, England, he was the fourth son of William Adams, farm labourer, his wife Martha, née Gilbey. The family emigrated to Australia and arrived on 28 May 1855. Adams started as a gold miner in Kanoona, Queensland before working on sheep stations in New South Wales and setting up a stock dealer and butcher in Goulburn. In 1875, he swapped the trade of meat to the trade of liquor and purchased the licence to the Steam Packet Hotel in Kiama on the New South Wales south coast, he frequented the Tattersall's Club in Sydney and was a good mixer and'a man with friends'. Three of his friends, Bill Archer, George Hill and George Loseby, purchased the O'Brien Hotel, the home of the Tattersall's Club and told Adams to'pay when you can'. Within ten years, Adams was a wealthy man with the'Tin Bar' replaced by the'Marble Bar' at the O'Brien Hotel for £32,000 pounds.
Tattersall's Club members subscribed to sweepstakes run on race meetings throughout Australia and Adams began to include his hotel regulars and in 1881 he ran the first public Tattersall's sweep on the Sydney Cup. During his time in Sydney he married Fanny Franklin in 1858. In 1886, he married Norah Louie Jones. Norah died in Hobart in 1913. Adams had no children with either wife. Religious groups opposed this form of gambling and in 1892 convinced the New South Wales state government to pass laws prohibiting the delivery of letters containing sweeps, he moved to Queensland, which soon introduced similar legislation, so in 1895 he moved his business to Tasmania. Six months the Tasmanian Government passed the Suppression of Public Betting and Gaming Act prohibiting betting shops but legalising certain lotteries; this allowed Adams to find a home for the Tattersall's lotteries for the next fifty-eight years. Adams made Hobart home for the rest of his life; when the Bank of Van Diemen's Land Ltd. Hobart, went into liquidation in 1893, the directors decided to raffle the bank's assets.
George Adams conducted the first in Tasmania, with 300,000 tickets at £ 1 each. The first prize was the bank building itself and the land on which it was built on Miller's Corner, Hobart. Second prize was Hadley's Orient Hotel, owned by the bank. All the other prizes consisted of a long list of bank properties in various places. Tickets were not taken up, though reported diffently on. "In spite of the interest shown, this first lottery had not been successful. Only fifty thousand tickets were sold and Hadley's had been withdrawn as the first prize". Hence, the initial drawing of the Grand Lottery had about 50,000 marbles placed in the drawing drum, equalling the number of tickets sold. A flyer, dated December 1895, announces the "Grand Lottery. Second Distribution of Prizes" with 200,000 tickets at 5/ each. Hadley's Orient Hotel is again set out as First Prize, with 223 more prizes formed by bank premises, cottages, building lots, etc; this 2nd lottery was not taken up, the prizes allocated "pro rata" as laid out in the terms and consitions.
Hadley's Hotel was again withdrawn from the prizes to be handed over, remained in Hadley's hands. George Adams had started running public "sweeps" from his property, Tattersall's Hotel, Pitt St. Sydney, in 1881, he moved to Hobart in 1896, after "Tattersall's Consulations" had been forced out of NSW in 1893, facing a similar fate in QLD during 1895. He was looking for a new home for his enterprise, however facing low prospect throughout Australia, he contemplated moving his business to New Caledonia. It came handy to him when was invited by the Government of Tasmania to evaluate a plan on how to reconcile the 1891 failure of the VDL Bank with focus on how to generate cash for the TAS government, he drew up the adopted plan of selling lottery tickets to imburse cash, whilst handing out real estate items owned by the VDL bank, or serving as security for credits handed out by the VDL Bank. Adams denied being paid for his efforts regarding the Grand Lottery. Instead, he asked premier Braddon to support his plea for his Tattersall's Consultations being licensed.
Despite of his dream not yet being accomplished, he relocated to Tasmania at the end of 1895. The first home to his enterprise became Fysh's Building, Elizabeth ST. Hobart, where a first sweep was conducted on the Anniversary Handicap, run at Randwick, 26 Jan 1896. "On 1 June 1897, the Tasmanian Government granted Tattersall's Consultations an exclusive License to conduct lotteries under The Suppression of Public Betting and Gaming Act, 1896. The license cost the proprietor George Adams £10,000, permanently wedded the fortunes of the Government with the financial success of Tattersall's Consultations.". This first year in Hobart 1897 gave work to 50 employees. 1899 he relocated within Hobart to newly constructed offices at Hobart. He used the economic depression to erect numerous buildings. "He built the Tasmanian Brewery at the corner of Warwick and Elizabeth Streets, Tattersall's Offices, Fitzgerald's Warehouse at Collins Street, Wellington Chambers, Beattie's Property, a terrace in Melville Street and three hotels, Highfield Hall, the Theatre Royal, the Old Commodore.
He partly rebuilt or put into repair a large number of properties which he bought". This building boom helped Tasmania to recover from former troubles. George Adams died in Hobart and was buried in Cornelian Bay cemetery under a h
The Genesian Theatre is an amateur theatre company based in Sydney, named in honour of Saint Genesius, patron saint of actors. Formed in 1944 by members of the Sydney Catholic Youth Organisation, it has since evolved into a community theatre in the heart of the Sydney central business district; the Genesian Theatre has been operating from historic St John The Evangelist Church in Kent Street since January 1954. St John's Church dates from 1868, it has served as both a church and a poor school until 1932 when it became the Kursaal Theatre, housing the Sydney Repertory Company. In 1938 it became the first Matthew Talbot Hostel. Alumni of the theatre include John Bell, Bryan Brown, Baz Luhrmann, Coral Lansbury, Judi Farr, Nick Enright, Angela Punch and Peter Carroll. Membership is open to any members of the community that are over the age of 18. Members are invited to participate in all aspects of theatre production, including acting, back-stage work and administration; the Genesian Theatre produces six main stage productions each year as well as running classes and many other activities.
In September 2017, the Catholic Church advised Genesian that they had sold the building to a developer for over $6 million and that the theatre company would be required to vacate by November 2018. The church is heritage listed. Official website Genesian Theatre on Facebook
Capitol Theatre, Sydney
The Capitol Theatre is a heritage-listed theatre located at 3-15 Campbell Street, Haymarket, in the Sydney central business district, in the City of Sydney local government area of New South Wales, Australia. It was designed by Henry White and John Eberson and built from 1893 to 1928; the property was added to the New South Wales State Heritage Register on 2 April 1999. The former circus venue, atmospheric theatre and market venue in owned by Capitol Theatre Management Pty Limited, a wholly owned subsidiary of Foundation Theatres Pty Limited. Foundation Theatres owns the Sydney Capitol Theatre; the site of the Capitol Theatre has provided entertainment to the people of Sydney since the early 19th century when this piece of land was used by early settlers as a market place for produce and hay, giving this area its name "Haymarket". During the 1880s facilities for the bulk sale of fruit and vegetables came under increasing pressure. In March 1891, Sydney Council appointed a committee to recommend a new site for a major covered market.
They suggested the adjacent space of the Haymarket and this proposal was adopted in the following July. The principal contractor for the building was Alexander Allen of Summer Hill and his tender of £24,902 was approved in November 1891; the markets opened in July 1893. The New Belmore Markets as it was called was designed by George McRae; the facade presented thirty-six arched bays to the streets: eleven to Campbell and Hay and seven to Parker and Pitt streets. The New Belmore Markets was not an economic success and led Council to seek alternative uses for the building. In 1912 the New Belmore Market was leased for ten weeks to Wirth Bros for the purpose of a circus and hippodrome. Council decided to recycle the fabric of the New Belmore Market to create a theatrical circus venue. In September 1912, the Council accepted Wirth's tender for a twenty-one year lease of the proposed Hippodrome; the building functioned as a fruit and vegetable market called "Belmore Markets". The markets were built in 1891 by McRae, City Architect, the structural engineer Norman Selfe, but were commercially unsuccessful because they were located too far from Darling Harbour.
The markets relocated in 1912, after which Wirth Bros took over the lease and opened their new Wirth Bros Hippodrome in 1916. Attractions included elaborate circus acts with animals such as elephants and seals and vaudeville shows. Although performing with some success for a decade, the Hippodrome failed financially; the old site was divided up between the Manning Building, facing Pitt Street, the western half, rebuilt as a theatre in 1928. The conversion was under the control of Robert Hargreave Broderick; the facade was dismantled and re-erected above a new ground storey, in turn mounted on the old footings. The redevelopment was split into two major contracts: the eastern half now known as the Manning Building was awarded to J. M. & A. Pringle in May 1913 and the Hippodrome theatre to the west to William Maston and Thomas Yates in December the same year; the Hippodrome opened in April 1916. Despite the Hippodrome's versatility, it was not a financial success and by 1926 Wirth's had decided to seek the remodelling of the buildings as a picture palace.
Plans for the work were completed by Henry White in February 1927 for "Capitol Theatre Sydney Limited" and the same month Wirths wrote to the Sydney City Council requesting a "remodelling" of the building for its proposed new function. Henry White was a experienced theatre designer and in 1927 visited America with Stuart Doyle, the managing director of Union Theatres Ltd. to review the latest developments in theatre design. Whilst in the United State, architect John Eberson was engaged to provide White with designs for the conversion of the Hippodrome; the plans for an atmospheric auditorium were much like Eberson's Riviera at Omaha, Nebraska. The conversion involved remodelling the interior and raising the roof trusses to make room for the atmospheric ceiling and extended slope of the new gallery. In May 1927, the Sydney City Council approved Wirth's proposed alterations; the Capitol opened on 7 April 1928. In 1929 the theatre was fitted to screen talkies but by 1931-32 Greater Union was in financial difficulties with the Depression.
In November 1932 the Capitol closed its doors. It re-opened in April 1933 screening second-rate movies. Maintenance economies put machinery and lighting out of action and in 1945 all "unwanted" decoration including banners and artificial foliage was stripped from the interiors. In 1972 the theatre lease was removed from Greater Union Theatres and awarded to Harry M. Miller for the production of Jesus Christ Superstar. At that time the atmospheric and ornamental fabric was removed. During the 1990s the lease was transferred to Ipoh Garden Developments Pty Ltd. At this time the Capitol Theatre underwent a detailed restoration and reconstruction to recover the original 1928 experience, it has now been returned to its original grandeur. A brick building with stone cornices and other dressings, ornamental terracotta capitals, rosettes etc. with tiles panels and into, built an atmospheric type plaster and brick picture palace. The current theatre was designed by R. H. Broderick, it was intended as a hippodrome for arena theatre and featured stone cornices, terra-cotta capitals and tiled panels.
The architect Henry White turned the interior into a movie palace in 1927, creating the effect of an internal Italian garden or piazza. It featured an internal imitation courtyard, the only one surviving in Sydney; the building is listed on the Register of the National Estate. The Capitol Theatre was an "atmospheric" picture palace for many years, but went through a dark p