$5 skewers and a ‘secret' menu: Your cheat sheet to the city's latest Filipino restaurant
Eating out Just open
After success with pop-ups, an up-and-coming chef is spotlighting real-deal Filipino flavours at his new spot off Smith Street in Fitzroy. It's all about hearty brunch, snacky night menus and wallet-friendly prices.
For the last few years, Filipino chef Fhred Batalona has been sharing the food of his homeland through pop-ups (including at the now-closed Epocha) and his catering business Barangay, while working at venues including Richmond's Bar Pigalle (now-closed) and Orlo in Collingwood. In mid-April, he went bricks and mortar, opening Palay in Fitzroy.
Who's behind it?
Batalona has opened Palay with Ralph Libo-on and Michael Mabuti, who are involved with some of Melbourne's favourite Filipino venues including Askal and Kariton Sorbetes.
What should I eat?
'One thing that's happening with the Filipino [food] movement is that we're trying to fuse it so much,' says Batalona. 'But the dining culture is changing ... People are now looking for something a bit more just true and authentic.'
That's what he's aiming for at Palay.
The star of the brunch menu is arroz caldo, a nourishing Filipino chicken rice porridge that reminds Batalona of home. In place of the traditional glutinous rice, Filipino head chef John Salang uses arborio, leaning into his experience cooking Italian food. It's flavoured with a heady hit of ginger and fish sauce before the warming bowl is topped with boiled eggs, fried garlic and chives.
From 5pm, a Filipino 'tapas' menu kicks in. Sydney rock oysters are dressed with an adobo sauce that 'slaps you in the face'. Sizzling sisig combines pig's ear, cheek and belly into an unctuous dish that gets extra smoky from being fired by the grill, then the wok.
What if I'm vegan?
From sisig to lechon (suckling pig), many popular Filipino foods are meaty. But Palay has a 'secret' vegan menu to cater to plant-based fans. The above-mentioned arroz caldo uses vegan chicken stock and adobo fried tofu can be added. And instead of serving Filipino liver spread with the house-baked pandesal (quintessentially Filipino bread rolls), the vegan alternative is an umami-rich mushroom paste.
How much does it cost?
'We want people to be able to come back,' says Batalona, so currently nothing on the menu's over $30. And if you're on a budget, you could just pop in for a few skewers: the inihaw (grilled) section is priced between $5 and $7.
And to drink?
While Palay awaits its liquor licence, it's all about non-alcoholic samalamig, the kind of cold, refreshing drinks sold by street vendors across the Philippines. A rockmelon version is made by infusing the flesh into sugar syrup, then adding water and ice.
Where should I sit?
The front window is where it's at to get a sense of how the space has been brightened since it was Oko (and before that, Hell of the North). Palm-tree wallpaper wraps the bar, giving it ' White Lotus vibes', and the ceilings are all pastel hues.
What can I buy to take home?
A small retail section is stocked with locally roasted Akasya Kape coffee beans sourced from the Philippines, and imported condiments like Saint C calamansi extract. Soon, Palay's housemade banana ketchup, a staple Filipino condiment, will also be for sale.
What else should I know?
Once dine-in service hits its stride, the team will introduce takeaway coffee and Filipino baked goods, including fresh-out-the-oven pandesal in flavours like ube (purple yam).
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Perth Now
19 hours ago
- Perth Now
Hannah Waddingham 'wants people to talk about how exhausting parenthood is'
Hannah Waddingham wants more people to "talk" about "how exhausting" it is to be a parent. The Ted Lasso actress, 50, is mother to a 10-year-old daughter - who was born in 2015 during her previous relationship with Italian businessman Gianluca Cugnetto - but she has been raising her little girl alone since the couple's split and Hannah is adamant being a mother is hard work and that needs to be acknowledged. She told The Sunday Times newspaper: "Thank God she is the utter joy of my life because it is unyielding responsibility. "I feel like more people should talk about how exhausting it is. Not only physically showing up for them but being the best version of yourself, because they respond to actions far more than words." She added of her daughter: "[She's] my greatest champion and my most horrific critic." The youngster has taken an interest in acting and has been starring a school production of 'The Lion, the Witch and the Wardrobe', but Hannah wants to make her daughter away of all the hard work that went into building her own career. She said: "She feels such a sense of vitality from that [being on stage], which I love, but I just want her to know that for 22 years I would be on stage thinking: 'Am I going to make the last Tube? "I need her to be aware that I really grafted for 22 years. Life is not being picked up by a black Mercedes." Hannah added that's she proud of her career success, but she doesn't care about being famous. She explained: "I've just become more known. Being afforded the luxury of the kind of roles that I always knew I could play and, as a single mum, the luxury of being able to put my daughter in great schools. "It does give you freedom. I genuinely don't give a s*** about fame. I never have. I never will." Hannah previously admitted she battles feelings of guilt whenever she's away from her little girl for work. She told PEOPLE: "My primary function is being a single mama ... Mommy guilt is real ... But I keep saying to her that we are a team and that I have to do this. "I have to strike while the iron is hot. I'm not so conceited that I would think that I will always have this kind of focus. I've always said to her: 'Mommy must take this time while the light shines on me, because the light shines on you'."
Perth Now
2 days ago
- Perth Now
The old Leederville restaurant that deserves more attention
Duende has been around the block. Launched by local luminary Nic Trimboli, Perth's first Spanish tapas restaurant took over the space on an isthmus between Newcastle Street and Carr Place in Leederville previously occupied by Eminem — the much-lauded Turkish eatery, not the Detroit rapper — waaaaay back in 2003. That's so long ago the current crop of Perth food influencers were still blogging in their nappies or hitting child care for free canapes and bubbly milk when Duende served its first pimientos de padron and patatas bravas. Once considered among Perth's hottest restaurants, this joint has seen some action, and it shows. The decor is dated, menus arrive on clipboards, and the booths need new upholstery. A small fan rattled away on the bar, while daggy dance-pop blared away. Duende is Spanish for 'passion and inspiration'. At first glance, both seemed to be sorely lacking when my wife and I made a long overdue return to this Leederville mainstay for dinner on a Thursday evening. Duende tapas bar, Leederville. Credit: Supplied Duende tapas bar, Leederville Credit: Simon Collins When we walked past the chalkboards and into Duende, we were the only customers. Ay, no! By the time we left at about 8pm, only two other tables were occupied. Double ay, no! If this review achieves one thing, I hope it helps Duende return to the top of the pops. The food is banging — like, Ricky Martin's Livin' La Vida Loca banging — and the wine list has some mic-drop-worthy Spanish drops at prices that don't seem to have moved since Duende opened. Credit for the fantastic, mostly authentic, tapas goes to Indian-born chef Remya Geminiani, who grew up in Modena, Italy. The 'Italian pocket rocket', as she is described on the venue's socials, started a chef's apprenticeship when she was 14 years old, and was ducking flying frying pans in four-star hotel restaurants at 18. Chicken and chorizo paella at Duende tapas bar in Leederville. Credit: Supplied Geminiani trained and worked in kitchens across the Canary Islands, focusing on traditional techniques and Mediterranean flavours for five years before following her heart Down Under in 2016. She worked as head chef at a Melbourne cafe for four years before moving to Margaret River for a stint at Voyager Estate, where she refined her skills and built know-how around fermentation, smoking, and seasonal WA produce. While she only joined Duende in April, Geminiani has already had an impact. She's clearly a gem, and Phil Crocker, who bought the Leederville diner in 2013, did well to recruit her. Service was sharp. A lovely glass of cava and sangria, full to the brim, lobbed on the table within minutes of us plonking down on a table for four. (We had plenty of room, the waiter said.) Later we shared a brilliant bottle of Spanish wine, a Murcia-style blending monastrell and cabernet sauvignon grapes that was on special for $40. What year is it again? The padron peppers at Leederville tapas bar Duende. Credit: Supplied Duende also has signature cocktails with an Iberian twist, plus gin and tonics, spirits, and a decent roster of sherries. I remembered why I never drive home from this place. Speaking of specials, we decided to start with the chorizo de vino tino ($26), a flame-grilled fancy mini-snagger from Northbridge's Torre Butchers in red wine reduction served with charred bread. The chorizo was rich, quite gamey, and delicious. The champinones ($22), or mushrooms marinated in Pedro Ximenez sherry, were served with blue cheese and candied walnuts. A champion dish, you could really taste the PX in the mushies, which were served warm in a ceramic ramekin. A must-have dish. Gambas ajillo ($26), or prawns cooked in garlic, chilli and white wine, at Duende. Credit: Supplied Padron peppers are a staple of tapas for a good reason, and the pimiento de padron ($22) at Duende is excellent. Perhaps they could've been scorched more for that blackened, blistered skin but they were juicy and rested on a fresh herb mayonnaise with snow pea tendrils and oil — and radishes. Chef Geminiani has a thing for radishes. Where other Perth chefs overuse fried shallots, Duende's head chef popped thinly sliced radishes on almost everything bar the dessert, my sangria, and the bill. Clearly, Big Radish has got to her. After those three small plates, we ordered the chicken and chorizo paella ($22) and gambas ajillo ($26) — six delicious, well-charred prawns cooked in garlic, chilli and white wine. Another tasty winner, the small paella had as much chook and chorizo as rice. I like a bit of spice in my rice, so I asked for a hot sauce. Maybe Tabasco, if they had it. The chef whipped up a chilli sauce that was bang-on, and nearly lifted my head off. Luckily, I had some red plonk to calm my palate. The chocolate mousse at Leederville tapas bar Duende. Credit: Supplied The chocolate mousse with vanilla ice-cream and berry coulis was rich and sticky. Blackberries hid inside the smooth choccy, while more PX syrup made this a grown-up dessert. We shared a sherry drier than Hacks comedy diva Deborah Vance to really kick this home, while my wife commandeered the spoon. Daggy decor, bad dance music . . . who cares? The food rocked my socks off. I may never wear shoes again. Duende isn't the only tapas joint in Perth. It's not even the only one in Leederville. But it might be the best. To quote Eminem, the Detroit rapper, not the Turkish eatery, 'guess who's back'. Duende 662 Newcastle Street, Leederville OPEN Wednesday-Sunday, noon-late. CONTACT 9228 0123, BOOKINGS Yes THE VERDICT Hola! Plot a return to Perth's original tapas joint. New head chef Remya Geminiani has it back on track and banging with superb small dishes and great-value wines. Don't drive. 16.5/20
The Advertiser
3 days ago
- The Advertiser
Iconic Australian migrant story returns to the stage
Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people." Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people." Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people." Stephen Nicolazzo felt like throwing away his culture as a kid but is now using it to bring an Aussie classic to the national stage. Born of Melina Marchetta's iconic 1992 book and award-winning film starring Pia Miranda, Looking for Alibrandi the stage show has embarked on a first national tour. The story follows feisty protagonist Josie Alibrandi as she navigates her final year at a prestigious Catholic girls' school in Sydney. Along the way she finds her father, falls in love and grapples with her identity as a third-generation Italian growing up in Australia. It's an experience Nicolazzo shared as the grandson of Italian migrants. In primary school, the now 38-year-old was embarrassed to pronounce Italian words his classmates struggled with. "You want to throw away your culture and your ethnicity when you're younger because of all of the pressures of being discriminated against," he told AAP. "That's a really strange feeling because you lock away a part of yourself as a result of the pressures of expectation." The lived experience of young Australians from Italian cultures has improved over the past 30 years. "But there are many other migrants who have come to this country since the book was written," Nicolazzo said. "They're experiencing the same discrimination and tensions that Josie faced." The production highlights important issues of acceptance and tolerance, and is relatable to a wide audience. Nicolazzo points to the story's universal recognition of concepts like having to deal with over-bearing family members or being spoken to in a certain way. "The people that watch it are sobbing and laughing because there's a familiarity to it that goes beyond nostalgia," he said. The show first graced Sydney and Melbourne stages in 2022 and has since undergone script changes to enrich one of Jose's love interests, John Barton. "The audience is getting the best version of the show, which is five years in the making," Nicolazzo said. Three new cast members have also joined the fold, including 23-year-old graduate Riley Warner, who plays Josie's knockabout boyfriend Jacob Cootes. The rising star is debuting in his first stage show, having met Nicolazzo as a student. "There's something about him that feels like a national audience needs to see him right away," Nicolazzo said. The show next appears in Sydney on June 11 before heading across NSW, Victoria and South Australia. Nicolazzo hopes audience members take one key message from his production. "It's about finding freedom from the shackles of a culture that doesn't want you to be a part of It," he said. "That's a hard thing to do but we can only do it by making art and talking to people."
