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Writing on dance, musical theatre, theatre and opera in Sydney … mostly
DJ's Diary
Tag Archives: Hugo Weaving
Posted on January 6, 2014 by deborahjones2012
And coming up in 2014 …
LAST year it was easy to point to the events in dance one thought would be unmissable (not so very many) and theatre (vast amounts). Mostly performances and productions delivered pretty much what one thought they would and moments of transcendence were few, but I guess they always are. Sydney Theatre Company's Waiting for Godot, Griffin Theatre Company's The Floating World and Nature Theatre of Oklahoma's Life and Times (for the Melbourne Festival) are among the shining few, and opera offered tremendous occasions in Opera Australia's Ring cycle and Pinchgut's Giasone.
This year is a bit harder to read, particularly in theatre. There's a handful of sure things – well, likely sure things, if that makes any sense at all – alongside some more intriguing propositions. Note that I'm only talking about Sydney theatre because that's where I see most in this art form. Otherwise I get around a bit.
The events are in chronological order – which incidentally reveals a few unfortunate clashes for the dedicated dance fan – American Ballet Theatre's Swan Lake (Brisbane) and The Australian Ballet's La Bayadere (Melbourne) open August 28; West Australian Ballet's La fille mal gardee (Perth) and ABT's Three Masterpieces triple bill opens September 5. Akram Khan's DESH opens in Brisbane on September 6.
Dance:
Dido & Aeneas, Sasha Waltz & Guests. From January 16, Sydney Festival. Purcell, the Akademie fur Alte Musik, singers, dancers and a huge tank of water.
Patyegarang, Bangarra Dance Theatre. From June 13 in Sydney, then Canberra, Perth, Brisbane, Melbourne. Stephen Page's new work on the meeting of minds between Lieutenant William Dawes and Patyegarang, a young indigenous woman, in colonial Sydney.
Romeo and Juliet, Queensland Ballet. From June 27, Brisbane. Kenneth MacMillan's version (the best in my opinion) and guest stars Carlos Acosta, Tamara Rojo, Steven McRae and Daniel Gaudiello.
The Red Shoes, Expressions Dance Company, from July 18, Brisbane. Choreographer Natalie Weir tackles this much-loved, influential – albeit rather creepy – story of obsession in the ballet world. Intriguing.
American Ballet Theatre, from August 28, Brisbane only. First up is Kevin Mackenzie's Swan Lake, but I'm more interested in the triple bill, which includes Twyla Tharp's Bach Partita, which was recently revived by ABT after a 28-year hiatus. From September 5.
La Bayadere, The Australian Ballet, from August 28 in Melbourne, then Sydney. Choreographer Stanton Welch promises Bollywood colour and energy and a clearer, speedier version than usual. The beloved Kingdom of the Shades scene will, of course, be as expected.
La Fille mal gardee, West Australian Ballet, from September 5. This sweet and sunny ballet, updated to 1950s rural France, is seen in Perth and then will go to Queensland Ballet in 2015. QB's Coppelia, choreographed by ballet master Greg Horsman (opening April 24 this year), goes to WAB next year in a sensible sharing of resources.
DESH, Akram Khan, from September 6, Brisbane Festival. I have longed to see this since its premiere and missed it at the Melbourne Festival in 2012. This is one occasion on which I won't rail against the tendency of arts festivals to program work from a fairly small (admittedly stellar) group of dance artists.
Noises Off, Sydney Theatre Company, from February 17. I first saw Michael Frayn's brilliant farce about 30 years ago and laughed like a loon. The memories are vivid; let's hope they can be matched – surpassed even! – by this new production.
Ganesh versus the Third Reich, Back to Back Theatre, Carriageworks, from March 12. At long last Sydney gets to see this hugely admired work.
Hedda Gabler, Belvoir, from June 28. Ash Flanders will star. And yes, he's a bloke who often performs in female guise. Flagrant nicking of a role a woman should have or a revelation? We shall see.
Macbeth, Sydney Theatre Company, from July 21. STC is giving over the auditorium of the Sydney Theatre to the actors and putting the audience on the stage. Hugo Weaving stars. Sounds promising, no?
Emerald City, Griffin Theatre Company, from October 17. David Williamson never really went away, despite the protestations of retirement, but he's having quite the resurgence these days (Travelling North gets things moving at STC from January 9).
Opera and musical theatre:
Madama Butterfly, Handa Opera on Sydney Harbour, Opera Australia, from March 21. No explanation required.
Strictly Ballroom the Musical, from March 25, Sydney. No explanation required.
The King and I, Opera Australia and John Frost, Brisbane, from April 15, then Melbourne and Sydney. I saw this lovely production when it premiered in 1991, directed by Christopher Renshaw, designed by Brian Thomson and with frocks by Roger Kirk that got their own applause. There's no reason to think it won't be a winner again, particularly with Lisa McCune rather than Hayley Mills as Anna.
Into the Woods, Victorian Opera, Melbourne, from July 19. Stephen Sondheim. Say no more.
The Riders, Victorian Opera, Melbourne, from September 23. New Australian opera from Iain Grandage with libretto by Alison Croggon, based on Tim Winton's book.
Posted in Dance, Musical theatre, Opera, Theatre	| Tagged Alison Croggon, American Ballet Theatre, Ash Flanders, Bach Partita, Back to Back Theatre, Bangarra Dance Theatre, Belvoir, Brian Thomson, Brisbane Festival, Carlos Acosta, Christopher Renshaw, Daniel Gaudiello, David Williamson, DESH, Expressions Dance Company, Ganesh versus the Third Reich, Greg Horsman, Handa Opera on Sydney Harbour, Hedda Gabler, Hugo Weaving, Iain Grandage, John Frost, Kevin McKenzie, La Fille mal gardee, Lisa McCune, Michael Frayn, Natalie Weir, Opera Australia, Queensland Ballet, Roger Kirk, Sasha Waltz, Stanton Welch, Stephen Page, Stephen Sondheim, Steven McRae, Strictly Ballroom the Musical, Sydney Theatre Company, Tamara Rojo, Tim Winton, Twyla Tharp, Victorian Opera, West Australian Ballet	| Leave a reply
2013: a retrospective
Posted on December 20, 2013 by deborahjones2012
Here's my take on the year's high points. As many have noted before me, "best" is a useless word when applied to the cornucopia available in the arts. Here are the people and productions that most inspired me.
Showgirls usher the gods to Valhalla in Opera Australia's Das Rheingold. Photo: Jeff Busby
"A SHORT show is a good show," we all carol (me and my fellow critics) as we enter the auditorium for yet another 70- to 90-minute piece of theatre, but put a 10-hour marathon before us and we can't get enough. So I have lists for big things, small things, individuals, a few words on musical theatre and a couple of miscellaneous thoughts.
It was a strong year, particularly in Sydney theatre, so it was hard to keep the lists tight. Please don't take anything I say here as an indication of who has taken out honours in the Sydney Theatre Awards, of which I am but one judge on a panel of nine. Argument was fierce and the passions diverse, let me tell you! But here goes from me, in alphabetical order …
Angels in America, Parts One and Two, Belvoir, Sydney: I've said it before and I'll say it again. This is the best play to have been written in English in my lifetime. Belvoir's production was very fine.
Cinderella, The Australian Ballet, choreography by Alexei Ratmansky. The amazing Surrealist-inspired set looked waaaay better in Melbourne than in Sydney, but this version of the beloved fairytale to the bittersweet music of Prokofiev as choreographed by the world's leading classicist is a keeper. (Also wonderful to see Ratmansky's The Bright Stream with the Bolshoi in Brisbane mid-year – amazing how that company managed to block out the hideous backstage dramas that still dog it.)
Life and Times, Nature Theater of Oklahoma, Melbourne Festival: The ums, ahs and pauses of an ordinary life rendered first as a dippy musical, then as a drawing-room mystery. You had to be there (for 10 hours indeed). Sublime, transcendent.
Royal Concertgebouw Orchestra of Amsterdam: Scintillating Stravinsky Firebird suite and glorious Tchaikovsky fifth symphony. Magic.
The Ring, Opera Australia, Melbourne: not a flawless production, but one that felt right for this place and this time. Director Neil Armfield's strength is finding the humanity in situations where it may seem to be missing in action and he did it here. Under last-minute mini-maestro Pietari Inkinen (only 33!!) the Melbourne Ring Orchestra put in a blinder. Bravi.
The Threepenny Opera, Berliner Ensemble, Perth International Arts Festival: Not a huge company, but a Robert Wilson production simply cannot be put into any category other than outsized. Stupendously performed, gorgeous to the eye, a knockout band in the pit, witty, sardonic … you get the idea.
The Floating World, Griffin, Sydney: A devastating production (Sam Strong directed) of John Romeril's devastating play. I saw the last scene with tears pouring down my face. A rare occurrence.
Giasone, Pinchgut Opera: Apparently the most popular opera of 1649. Worked pretty damn well in 2013.
Independent theatre x 3: I have to mention this trio of splendid plays and productions thereof. I was thrilled to have been able to see Jez Butterworth's brilliant Jerusalem in Sydney, and done so persuasively by the New Theatre. Workhorse Theatre Company's The Motherf**ker with the Hat was hold-on-to-your-hats exhilarating, and is getting a re-run in 2014 at the new Eternity Playhouse. Hooray. And in Siren Theatre Company's Penelope (by Enda Walsh), all sorts of trouble arises when Odysseus's arrival back home is imminent. As with Workhorse, Siren did a superb job in the tiny confines of the theatre at TAP Gallery.
Owen Wingrave, Sydney Chamber Opera: This young, tiny outfit did Benjamin Britten proud in his centenary year. Really memorable music-making.
Sydney Chamber Opera's Owen Wingrave
The Rite of Spring, Fabulous Beast Dance Theatre, Brisbane and Melbourne festivals: In the Rite of Spring centenary year, Michael Keegan-Dolan's setting in a harsh, cold village was, not surprisingly, dark and threatening. His ending, however, stressed the renewal and healing that is to come. The score was played in Stravinsky's four-hand version (on one piano); earlier in the year, in Sacre – The Rite of Spring (Raimund Hoghe for the Sydney Festival), we heard the score also played ravishingly by four hands, but on two pianos. Sacre was a difficult dance work for many; I admired it greatly.
School Dance, Windmill Theatre (seen at Sydney Theatre Company in association with the Sydney Festival): loved, loved, loved.
Jonathon Oxlade, Luke Smiles and Matthew Whittet in School Dance. Photo: Lisa Tomasetti
Super Discount, Back to Back Theatre: Deeply provocative on all sorts of levels. Can't wait for Ganesh versus the Third Reich to come to Sydney – finally – next year.
Waiting for Godot, Sydney Theatre Company: Luke Mullins, Philip Quast, Richard Roxburgh and Hugo Weaving were an immaculate quartet of players in one of the year's most heart-piercing productions.
Individuals (performers):
David Hallberg (American Ballet Theatre and Bolshoi Ballet principal): Luminous in Alexei Ratmansky's Cinderella for The Australian Ballet in Sydney. Prince of princes.
Peter Kowitz: Les in The Floating World (see above).
Ewen Leslie: A huge year on the Sydney stage as a desolate Brick in Belvoir's contentious Australian-accented Cat on a Hot Tin Roof, The Player in Sydney Theatre Company's terrific Rosencrantz and Guildenstern are Dead, and most powerfully – and impressively – as Hamlet for Belvoir, stepping in at short notice when original Dane Toby Schmitz was called overseas for filming duty. A rare change to compare and contrast in one of the roles by which men are judged. Closely.
Catherine McClements, Phedre, Bell Shakespeare: A scarifying performance in a production that was, in my opinion, sorely underrated. Not by me though.
Catherine McClements and Edmund Lembke-Hogan in Phedre. Photo: Rush
Amber McMahon: Harper in Angels in America for Belvoir, various roles in School Dance for Windmill, special in everything.
Sharon Millerchip, Bombshells, Ensemble Theatre: Dazzling in Joanna Murray-Smith's ode to the many faces of womanhood.
Tim Minchin: Lucky old us to see him not once but twice on stage, as a show-stealing Judas in the arena Jesus Christ Superstar and Rosencrantz in Rosencrantz and Guildenstern and Dead. Or is that Guildenstern? Don't ask Claudius or Gertrude to help you out.
Luke Mullins: Prior Walter in Angels in America, the quiet centre of Kit Brookman's Small and Tired, Lucky in Waiting for Godot. Fantastic in all of them. What a year!
Bojana Novakovic, The Blind Date Project, Sydney Festival: I adored this little improvised show. Wish I could have seen Novakovic with many more of her blind dates.
Myriam Ould-Braham, Paris Opera Ballet: Made her debut as Giselle in Sydney in February, making us here the envy of many a Paris balletomane. She was divine, as was fellow etoile Dorothee Gilbert. Both were partnered by the supremely elegant Mathieu Ganio. A joy to see the company here again.
Steve Rodgers: Rodgers has long been one of my favourite actors – so simpatico, even when taking on a difficult subject matter in Griffin's Dreams in White. And especially in Gideon Obarzanek's Dance Better at Parties for STC.
Individuals (behind the scenes):
Rafael Bonachela, artistic director, Sydney Dance Company: He's here, he's there, he's everywhere. Bonachela sees everything and is bringing lots of strong artistic collaborations back for his astoundingly beautiful dancers.
Li Cunxin, artistic director, Queensland Ballet: He's taken the company back to the classics and people have voted with their wallets. All shows have been sold out and all shows have been extended. I think Brisbane likes him.
Lyndon Terracini, Opera Australia: Got the Ring up. Respect.
Musical theatre:
It was an exceptionally patchy year for musical theatre in Sydney, although Dirty Rotten Scoundrels was really, really entertaining and super-well cast, and the arena version of Jesus Christ Superstar was a blast. The new consortium of music-theatre people, Independent Music Theatre, holds out promise for better things next year, and the feisty little Squabbalogic Independent Music Theatre continues to impress.
Best new (only new) theatre in Sydney in 2013: Best is a word that certainly applies here. All hail Sydney City Council for getting the Eternity Playhouse happening. It is a truly beautiful 200-seat house, and an adornment to the city.
Best seat in the house: A11 at Belvoir. The lucky incumbent – male or female, it didn't matter- got a kiss from Toby Schmitz or Ewen Leslie during Hamlet. Alas I was not one of them.
Clearest indication that critics don't matter much: Dirty Rotten Scoundrels, which got the kind of reviews cast members' mothers would write, did poor business in Sydney. Those of us who wrote about it adored it. We had very little effect.
Doesn't stop us though.
Posted in Dance, Opera, Theatre	| Tagged Alexei Ratmansky, Amber McMahon, Angels in America, Back to Back Theatre, Bell Shakespeare, Belvoir, Benjamin Britten, Berliner Ensemble, Bojana Novakovic, Bolshoi Ballet, Bombshells, Brisbane Festival, Cat on a Hot Tin Roof, Catherine McClements, Cinderella, Dance Better at Parties, David Hallberg, Dirty Rotten Scoundrels, Dorothee Gilbert, Dreams in White, Enda Walsh, Ensemble Theatre, Eternity Playhouse, Ewen Leslie, Fabulous Beast Dance Theatre, Ganesh versus the Third Reich, Gideon Obarzanek, Griffin Theatre Company, Hugo Weaving, Independent Music Theatre, Jesus Christ Superstar, Jez Butterworth, Joanna Murray Smith, John Romeril, Kit Brookman, Li Cunxin, Life and Times, Luke Mullins, Lyndon Terracini, Mathieu Ganio, Melbourne Festival, Michael Keegan-Dolan, Myriam Ould-Braham, Nature Theater of Oklahoma, Neil Armfield, New Theatre, Opera Australia, Owen Wingrave, Paris Opera Ballet, Perth International Arts Festival, Peter Kowitz, Phedre, Philip Quast, Pietari Inkinen, Queensland Ballet, Rafael Bonachela, Raimund Hoghe, Richard Roxburgh, Robert Wilson, Rosencrantz and Guildenstern are Dead, Royal Concertgebouw Orchestra, Sacre – The Rite of Spring, Sam Strong, School Dance, Sharon Millerchip, Siren Theatre Company, Small and Tired, Squabbalogic Independent Music Theatre, Steve Rodgers, Super Discount, Sydney Chamber Opera, Sydney Dance Company, Sydney Festival, Sydney Theatre Company, The Australian Ballet, The Blind Date Project, The Bright Stream, The Floating World, The Motherf**ker with the Hat, The Threepenny Opera, Tim Minchin, Toby Schmitz, Waiting for Godot, Windmill Theatre, Workhorse Theatre Company	| 1 Reply
Goodnight, sweet prince
Posted on November 29, 2013 by deborahjones2012
Hamlet, change of cast, Belvoir, Sydney, November 26
THEATRE critics don't often revisit a production. They go to the opening, write, and move on. They must. Other plays, other companies relentlessly crowd the diary and then the season is over and the chance disappears. The critic has to make judgments swiftly, and very possibly on a performance that is not as good as it will become. But that's the way it works. The review is a snapshot of that one occasion.
Toby Schmitz and Robyn Nevin in Belvoir's Hamlet. Photo: Brett Boardman
By and large that's fine. Few productions, within the four to six weeks of their run, will alter so fundamentally that another viewing will change critical opinion. It also must be remembered that critical opinion isn't a singular, unified beast. It's a collection of disparate views, often wildly differing.
Only infrequently, therefore, does a production make an ironclad case for being seen again. Simon Stone's Hamlet for Belvoir came into this category through chance. The production opened on October 12 with Toby Schmitz playing the prince of Denmark, but he was released when shooting on a US TV series, Black Sails, in which he is involved, was brought forward. (Black Sails is described as a prequel of sorts to Robert Louis Stevenson's Treasure Island.) Series one doesn't premiere until January 25 but early buzz was so good a second series was commissioned by cable channel Starz and it started filming this month.
One can't help thinking of when Geoffrey Rush withdrew from Belvoir's 2003 50th anniversary production of Waiting for Godot to take a role in some pirate film. Yes, that would be Pirates of the Caribbean. That went pretty well for Rush. You wouldn't want to stand in the way of an opportunity like that. But Godot hadn't yet opened and John Gaden nobly stepped into the breach.
In the case of Hamlet Schmitz would need to leave two weeks before the scheduled closing date.
Quite a challenging situation, you would think, having to replace such a charismatic leading man, and in Hamlet to boot. Belvoir, however, hit the jackpot with the availability and willingness of Ewen Leslie to step in. Not only is Leslie one of the finest stage actors of his generation, he had played Hamlet in Melbourne in 2011, although this assignment was a very different one. Leslie would have to forget huge swaths of text and come to grips with a re-ordering of that which remained.
Stone's Hamlet isn't one for everyone, particularly those who don't know the play, and while I would suggest this production isn't one for the ages, its explosive energy and intensity of purpose make riveting theatre. Hamlet has been ruthlessly pared back – take out the interval and there's not much more than two hours of drama – and is presented in black and white. This is literally so in design terms, with the first half set (such as it is; a wall of curtains and row of bog-standard chairs) a study in black and the second act performed in a bright white box in which only the grand piano from Act I remains. The first setting acts as a visual equivalent to the dark deeds that unhinge Hamlet and the second provides a bright canvas for all that blood. Grief and death are Stone's preoccupations and he goes at them pell-mell.
Samuel Taylor Coleridge famously said of Edmund Kean that seeing him act was "like reading Shakespeare by flashes of lightning". It wasn't entirely the compliment it sounds. The meaning, it seems, is that with Kean you didn't get the whole picture. Nevertheless, that wonderful phrase conveys the crackle and electricity of performance and could justifiably be used to describe this Hamlet and its strictly limited palette. The wonderful Nathan Lovejoy gets to be both Rosencrantz and Guildenstern; Anthony Phelan is the ghost of Hamlet's father, and in one of the production's most touching moments is assigned Horatio's beautiful words, "Goodnight, sweet prince"; an audacious puppet show economically replaces the travelling players; and so on.
All these things were immediately legible on a first viewing. The second viewing brought into sharper focus the production's intimacy and complicity with its audience. The auditorium lights are often high and several times Hamlet crosses the invisible barrier between stage and seating. Even if not physically doing that, he makes searching eye contact. The idea of a soliloquy as ideas spoken aloud is transformed into a feeling of being inside Hamlet's head as he tries to think things through. Leslie is particularly direct and powerful in this. At the performance I saw, when he demanded, "Am I a coward?", you could feel people restraining themselves from answering. Thus, when the final scene is filled with blood-soaked characters, some of them are, strictly speaking, not yet dead. But as the duel scene rapidly unfolds, it is not unreasonable to apprehend these last moments as flickers of Hamlet's dying thoughts. He sees dead people and so do we.
Stone's production is not in essence changed by the change of cast, but naturally there are differences between Schmitz and Leslie. Schmitz was witty and unpredictable, wearing his rage and grief like banners of war in high-definition colours. Even when he was wracked with sobs there was the sense he was very aware of his effect and of how events may unfold. Leslie's torment is no less overtly expressed yet feels more private. Deep thinking and even deeper desolation are his lot.
While on the subject of spellbinding performances, the weekend brings not only the last chance to see Hamlet, but also Marshall Napier in All My Sons at the new Eternity Playhouse for Darlinghurst Theatre Company. Napier is towering in a very fine, absolutely traditional staging of Arthur Miller's domestic tragedy. There's happily a little more time to see Paul Blackwell in John Doyle's Vere (Faith) for Sydney Theatre Company. Blackwell is devastating as a physicist falling into the black hole of dementia.
Marshal Napier and Toni Scanlan in All My Sons. Photo: Brett Boardman
Waiting for Godot runs until December 21, with as thrilling a quartet of performances as you could find anywhere from Richard Roxburgh, Hugo Weaving, Philip Quast and Luke Mullins. In the bewilderingly under-appreciated Dirty Rotten Scoundrels – by audiences, that is; the crits were the kind you'd write for yourself but houses have been small – Tony Sheldon and Matt Hetherington are a riot.
What of roles for women, we ask? Things are a bit thin on the ground at the moment, although Harriet Dyer is harrowing in Machinal at Sydney Theatre Company and Toni Scanlan magnificent as Kate Keller in All My Sons.
Like Hamlet, All My Sons had a key cast change during the run when Meredith Penman could do only a couple of performances as Anne due to another commitment. I didn't see the well-reviewed Penman but her replacement, Anna Houston, was superb.
Remember how a couple of years ago there was a hoo-ha about lack of opportunities for female directors in theatre? That situation seems to have shifted appreciably, which is good. But what about towering roles for women. Well, this year we've had The Maids for Cate Blanchett and Isabelle Huppert, and Joanna Murray-Smith's Fury for Sarah Peirse, and newcomer Taylor Ferguson was given the title role in Miss Julie, although I found the production misbegotten.
I thought the unforgettable women of The Baulkham Hills African Ladies Troupe were quite right when they made a joke about how they should have been in Belvoir's Upstairs theatre instead of the tiny Downstairs space. But they weren't.
As for next year, well, Sydney will see a man playing Hedda Gabler – Ash Flanders at Belvoir. But he will be directed by a woman, Adena Jacobs.
Hamlet and All My Sons end December 1. Vere (Faith) and Machinal end December 7. Dirty Rotten Scoundrels closes December 8. Waiting for Godot ends December 21.
Posted in Theatre	| Tagged Adena Jacobs, All My Sons, Anna Houston, Anthony Phelan, Ash Flanders, Baulkham Hills African Ladies Troupe, Belvoir, Cate Blanchett, Darlinghurst Theatre Company, Dirty Rotten Scoundrels, Ewen Leslie, Geoffrey Rush, Hamlet, Harriet Dyer, Hugo Weaving, Isabelle huppert, Joanna Murray Smith, John Doyle, John Gaden, Luke Mullins, Machinal, Marshall Napier, Matt Hetherington, Meredith Penman, Nathan Lovejoy, Paul Blackwell, Philip Quast, Richard Roxburgh, Simon Stone, Sydney Theatre Company, Taylor Ferguson, The Maids, Toby Schmitz, Toni Scanlan, Tony Sheldon, Vere (Faith), Waiting for Godot	| Leave a reply
Sydney Theatre Company, Sydney Theatre, November16
SYDNEY Theatre Company's Waiting for Godot offers, above all, the grace of tenderness and the gift of generosity. There are few qualities more touching in any circumstances; in Godot they temper and illuminate one of the harshest and most unforgiving dramas of the 20th century. Life is envisioned as a cruel paradox. We can have hopes for the future but can possess no knowledge of it. This is for the best, of course. If we had the power of foresight all hope may well be extinguished and with it the desire to go on. No matter how unendurable the present is, it will be endured. Memory – the only way in which we can know ourselves – may possibly sustain us, but is deeply unreliable.
Hugo Weaving (Vladimir) and Richard Roxburgh (Estragon). Photo: Lisa Tomasetti
The only questions are these: If one must go on, how is progress through space and time to be achieved? If events are out of our control, what things are within reach? If perception of the past isn't to be trusted, is the present micro-second of consciousness – the "right now" – the only sliver of time that has any value?
Essentially the manner in which we face the void comes down to character, intellect and will. The hours will pass quickly, or slowly. They will be filled with activity that gives pleasure, or not. Actions will be taken, or avoided. There will be co-operation, or subjugation. All these things will be subject to change. It's not so much what's done that is important, but how it is done.
This production, directed by Andrew Upton with Anna Lengyel as co-director, takes as read the great abyss that lies ahead and places its faith in the many small gestures of connection – touches, glances, interactions, diversions – that bind one person to another in the here and now. Being in extremis is one thing. To face it alone would be the greatest horror.
Roxburgh and Weaving. Photo: Lisa Tomasetti
This truth is encapsulated briefly in the most affecting way. The second act of Godot brings a bitter expression of despair from Pozzo, seen in Act I as a monster of brutality and self-satisfaction but now blind and diminished. For a few seconds, though, he is roused to rage and then grim summation. "They give birth astride of a grave," he says, "the light gleams an instant, then it's night once more." He has to move on with Lucky, his "menial", once more weighed down with Pozzo's belongings and attached to his master by a length of rope. But before they go Lucky, who has been so sorely abused by Pozzo, takes out a handkerchief and gently wipes his tormentor's face. Pozzo has earlier called Lucky "my good angel", and in Luke Mullins's radiant performance Godot has just that.
Weaving, Luke Mullins (Lucky), Roxburgh and Philip Quast (Pozzo). Photo: Lisa Tomasetti
For me this is the production's key image. Upton doesn't go soft on the play, as that gesture may imply. He and an unimprovable group of actors delve into the core of the matter and find a persistent spark of humanity in the midst of desolation.
Hugo Weaving's Vladimir and Richard Roxburgh's Estragon are in a constant, restless state of anxiety, that much is clear. Vladimir just manages to hide it a little better. He is the one with carrots and radishes about his person when Estragon complains of hunger. He is the one insistent on meeting the obligation to Godot as a matter of honour. His speech is carefully chosen for rhythm and ever so slightly heightened effect. "For the moment he is inert," Vladimir says of the prone Lucky. Weaving's locution is resonant and precise but his tense jaw, mobile mouth and wandering tongue give the lie to his apparent command of the situation.
Estragon is the more obviously untethered and in need of protection, although there is much sweetness in his expression and his eagerness to please. Roxburgh has a rare gift for being simultaneously heartbreaking and funny (his Vanya in 2010 was superb) and you could pick scores of examples from Godot. My favourite was the reassurance of Philip Quast's magisterially blood-and-thunder Pozzo in the first act as he trawls for compliments after some speechifying – Pozzo claims he may have weakened slightly near the end. Roxburgh's Estragon is quick to oblige, without the slightest hint of sarcasm. "I thought it was intentional," he says, keen to win favour.
Photo: Lisa Tomasetti
Despite Godot's extreme artifice Weaving and Roxburgh have a lightness of touch that borders on naturalism. This makes for a fascinatingly multi-layered production in which the poetry of the play is honoured but can sound conversational and the overt theatricality is absorbed seamlessly into an easy flow of banter and time-filling. The routine in the second act in which Vladimir and Estragon swap hats, for instance, has nothing of the presentational music-hall performance style so often seen and becomes something much less contrived. The easy rapport between the two men (as actors and characters) trumps party tricks. There are funny sad bits and sad funny ones, just as in life.
Finally, let us give credit where it is overdue. It was Irish critic Vivian Mercier who, in 1956, wrote of Waiting for Godot that "nothing happens, twice". It's hard to find a review that doesn't reference that rigorous, economical phrase, although rarely with attribution and frequently with lack of understanding.
What Mercier wrote of Beckett's play was this:
[Waiting for Godot] has achieved a theoretical impossibility – a play in which nothing happens, that yet keeps audiences glued to their seats. What's more, since the second act is a subtly different reprise of the first, he has written a play in which nothing happens, twice.
"Theoretical impossibility". Godot is the perfect expression of such a state, with its reliable unreliability of memory, the unendurable that must and will be endured, the nothing happening that takes close to three hours in the theatre to perform, and the constant tension between that which is said and that which is apprehended or done.
Vladimir: Well? Shall we go?
Estragon: Yes, let's go.
(They do not move.)
Waiting for Godot runs until December 21.
Posted in Theatre	| Tagged Andrew Upton, Anna Lengyel, Hugo Weaving, Luke Mullins, Philip Quast, Richard Roxburgh, Sydney Theatre Company, Vivian Mercier	| Leave a reply
Rosencrantz and Guildenstern are Dead
Posted on August 12, 2013 by deborahjones2012
Sydney Theatre, August 10
Have you not done tormenting me with your accursed time! It's abominable! When! When! One day, is that not enough for you, one day he went dumb, one day I went blind, one day we'll go deaf, one day we were born, one day we shall die, the same day, the same second, is that not enough for you? They give birth astride of a grave, the light gleams an instant, then it's night once more. On!
Pozzo, Waiting for Godot, Act II
I HAD forgotten to what degree Tom Stoppard's Rosencrantz and Guildenstern pays homage to Waiting for Godot while going backstage at Hamlet, as 'twere. As the court of Elsinore goes through its well known paces, shown to us only in flickers and fragments, the two courtiers are left to fretfully consider just why they have been tapped to glean what afflicts Hamlet. Like Vladimir and Estragon they puzzle and ruminate, waiting for something to happen, never entirely sure of their shifting ground. That's ground in the metaphorical sense; in the physical sense they seem rooted to the spot, unable to escape from a claustrophobic set of arches and tunnels that, disconcertingly, look fake but through which others – but not Rosencrantz and Guildenstern – come and go. The two are like actors who have lost the plot, babbling away, unable to find the right spot in the script and move on.
Ewen Leslie, centre, and the players in Sydney Theatre Company's Rosencrantz and Guildenstern are Dead. Photo: Heidrun Lohr
With Stoppard's intellect and wit on speed dial – the man was born in Czechoslovakia in 1937; naturally he sees the mordantly funny side of existential angst – one has to be in alert form to keep up on both sides of the spotlights. Simon Phillips directs with unflagging vigour and a keen sense of the absurd, rightly, I think, valuing energy and momentum over textual clarity at times. Well, there are so many words that if you miss one or two, there'll be another bunch along in a moment. (There isn't a lot missed, and to be honest a couple of the more abstruse jokes are never going to score big with an audience so best to get 'em out and move right along.)
Gabriela Tylesova's design is a marvel of cunning, and not only because it uses the Sydney Theatre stage in a way we haven't seen before. It is genuinely disconcerting as well as being playful and mysterious. What's that funnel doing hanging above the stage? At the beginning we see it extrude some bare branches – shades of Godot! – and later there's a kind of twisty, open-work ladder that trails off into the wings. All very sci-fi and theatrical. Tylesova has had great fun with the costumes too, memorably kitting out Heather Mitchell's Gertrude as a mad version of Elizabeth I. Rosencrantz and Guildenstern revels outrageously in its play-ness (more Godot!), giving a particularly juicy role to the impresario whose dogged band of mixed nuts is hired to perform for Gertrude and Claudius. "We are actors. We are the opposite of people," says the Player, impersonated with lofty self-regard by Ewen Leslie, employing the rich, thespian tones of a man exceptionally impressed with the timbre of his voice.
Heather Mitchell and Christopher Stollery. Photo: Heidrun Lohr
When it comes to words, however, Toby Schmitz's febrile Guildenstern is your man, pouring out his thoughts and fears amusingly, obsessively, manically. (Even his hair is jumpy: Schmitz's usually straight locks are hidden under a riot of curls.) Of course he has every reason to suspect all is not right. Tim Minchin's Rosencrantz, on the other hand, is not quite so aware of the abyss yawning before them – why toenails don't grow as swiftly as fingernails is more his speed – but intimations of mortality are everywhere. Schmitz and Minchin, Minchin and Schmitz. They are tremendously vivid and engaging and touching as well as being highly individual. Claudius and Gertrude keep mixing them up, to the point where the lads themselves become a tiny bit unsure about who they are. But that's because no one else is really real. They are all opening their mouths, saying stuff and playing a part.
I'd like to think it's fate that provides Sydney with the chance to see Rosencrantz and Guildenstern (Sydney Theatre Company), Hamlet (Belvoir) and Waiting for Godot (STC) in the same year. Indeed, in the same half of the year. I don't suppose STC's Andrew Upton and Belvoir's Ralph Myers cooked this up together, at least I hope they didn't. Less fun that way.
Toby Schmitz, Tim Minchin and George Kemp. Photo: Heidrun Lohr
That two of the three plays feature Schmitz is a bonus. What a shame the scheduling of Hamlet makes it impossible for Schmitz – he is the Dane – to play Lucky to Philip Quast's Pozzo while Hugo Weaving and Richard Roxburgh play Vladimir and Estragon. Or is it Estragon and Vladimir?
What brilliant casts we're seeing in Sydney this year.
Postscript: The supporting cast for Rosencrantz and Guildenstern is a knockout, and includes, along with Heather Mitchell, John Gaden as Polonius and Christopher Stollery as Claudius. And a special nod to George Kemp as the player Alfred, put upon in more ways than one.
Rosencrantz and Guildenstern continues at the Sydney Theatre until September 14.
Posted in Theatre	| Tagged Andrew Upton, Belvoir, Christopher Stollery, Ewen Leslie, Gabriela Tylesova, George Kemp, Hamlet, Heather Mitchell, Hugo Weaving, John Gaden, Philip Quast, Ralph Myers, Richard Roxburgh, Rosencrantz and Guildenstern are Dead, Simon Phillips, Sydney Theatre Company, Tim Minchin, Toby Schmitz, Tom Stoppard, Waiting for Godot	| Leave a reply
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This was the reaction from several of my friends when, in October 2012, I announced that I had signed the "Yes Declaration" and nailed my colours to the mast of the independence campaign.
THE Scottish Government must end help-to-buy subsidies which feeds astonishing corporate greed, the Common Weal think-tank has argued.
The call comes after the publication of housebuilder Persimmon's annual accounts, revealing the details of an astonishing rise in annual remuneration for the executive team, including a 2,100% increase for the CEO Jeff Fairburn.
A NATIONAL INFRASTRUCTURE COMPANY could provide a new model for delivering public infrastructure and replace private-finance with 'public-public partnerships', Common Weal has argued ahead of a debate in the Scottish Parliament on the Scottish Government's approach to financing public infrastructure.
The paper focuses on four key areas: energy infrastructure, electric vehicles, autonomous distribution and shipping.
A SCOTTISH National Energy Company should seek to emulate German and Nordic approaches by delivering not-for-profit renewable energy with strong municipal control, a new Common Weal paper argues.
THE Scottish Government should change Planning laws so that the public-sector captures the uplift in land value that is derived from public investment in the land to finance a new generation of public housebuilding in Scotland, Common Weal has argued.
'Public Land Value Capture: A new model for housing development in Scotland' can be accessed in full here.
AN independent Scotland should have a 'triple-lock' on going to war, a new paper on defence and security after independence has argued.
'Towards a Defence & Security Strategy for an independent Scotland' can be read in full here.
Ben Wray: "The Scottish Government appear to be reliant on the lobbyist for evidence to justify policy which its most wealthy members benefit from directly"
THE Common Weal think-tank has argued that the Scottish Government has to answer a number of questions about its closeness to the property developer lobby in Scotland, after new revelations by the investigatory journalist group The Ferret.


text:
Opinion: Why Vermont is different once again
May 21, 2020 | Op/Ed
By Stephen C. Terry
As Vermonters, we are used to seeing ourselves compared to other states or regions of the country. Some positive, other negative, assessments.
We are usually associated with California as one of the bluest states in the union when talking about politics. Recent surveys list Vermont as one of the healthiest states in the nation. By contrast, national rankings also list Vermont as one of the most expensive states to live in based on our state and local tax policies and cost of living.
Nevertheless, Vermonters have tended to take pride in our history of being either the first in the nation or the last.
We were the first in the nation for any citizen to receive a Social Security check. That honor went to Ida May Fuller of Ludlow who got her first-in-the nation monthly check on Jan. 31, 1940 in the amount of $22.54. She had retired at age 65 as a legal secretary and lived to be 100 years old at her death in 1975.
As another example, Vermont and New Hampshire share the distinction of being the last two states in the country to elect a governor to a two-year term, with no term limit. In Vermont, at least, any effort to change the two-year term to a four-year term, which is the norm, appears dead on arrival based on repeated, failed, attempts.
Allow me to propose yet a new Vermont experience that may push Vermont, once again, into the limelight as a leading example for the nation as compared to the daily fare emanating from the current White House in our nation's capital.
I am talking about how Vermont reporters are covering the COVID-19 crisis in Vermont and their interaction with Vt. Gov. Phil Scott, and how this compares to the White House and reporters covering the virus from a national perspective. The differing relationships provides stark contrasts for scholars to ponder in the future.
As John Dillon of VPR recently reported, the "last seven weeks have transformed Phil Scott's job. In addition to managing an unprecedented health and economic crisis, the soft-spoken governor has become Vermont's communicator-in-chief." Scott has emerged into this role holding three-times a week press conferences for Vermont reporters. Most of them call-in from around the state, reporters asking questions of the governor and his top administration officials. The press conference is live for Vermonters who care to watch on-line on WCAX-TV or to listen to it on either VPR or WDEV radio, as well as Orca Media, a community television station in central Vermont.
I have watched most of the Vermont conferences and have been very impressed by the fact that reporters from all corners of the state actively participate online in the questioning, including many of the small community papers. The conferences, held on Monday, Wednesday, and Friday at 11 a.m., provide up-to-date information on all aspects of the impact of the COVID-19 pandemic in Vermont.
Scott serves as the moderator and answers all the questions he can, but he is very quick to call to the podium key state experts to provide more detailed answers. Often these sessions last almost two hours, or a "marathon" as Scott described them. Recently, there were 26 reporters lined up for questions, often with a two-part question, or with a follow-up. Through Vermont reporters' questions, we are given a valuable and broad perspective of the concerns of their readers or viewers. On other occasions, the reporters push the Scott administration to provide more transparency into the daily numbers coming from the health department. Veteran reporter Mike Donoghue has been a stalwart in pushing for more hard virus numbers for individual communities.
That said, I have yet to see Scott or his team display any irritation or anger at being prodded and pushed by the press to give out more information. If there is no immediate answer, the appropriate administration official will promise to get back with the data.
Scott has been consistent on one essential theme. He and his team will base all decisions on current facts and data, and not emotion or politics. Scott, a moderate, centrist Republican in a solidly Democratic state, says he is ready to take the heat for whether he has been too fast or too slow in his decisions.
Health Commissioner, Dr. Mark Levine, has emerged as a leading figure during these pandemic press conferences. His role is to just give the facts. It is to Gov. Scott's credit that he consistently defers to him. The Governor says he makes every effort "to check his ego at the door" and is not to be viewed as the expert on all matters.
Vermont reporters are appreciative of the efforts by the administration to provide them with more detailed information, and they are not bashful is saying so. I don't recall ever hearing so many "thank you's" from the Vermont press for an administration as I have in the last few weeks.
Clearly, the Vermont picture described is in sharp contrast to the daily scene we observe coming from Washington. The Trump-led events are often more like campaign rallies then serious efforts to impart essential, and factual, information regarding the national pandemic. Unlike Republican Scott, the GOP President likes portraying the media as the "enemy of the people." Trump is convinced this play well with his loyal supporters.
Unlike Scott, Trump is constantly trying to use his conferences to brag about himself or to berate and settle scores with the media at any opportunity during his staged virus briefings. Usually, any reporter asking the President a question he does not like, such as to whether he should take any responsibility for the pandemic virus disaster that is now the scourge of the country with no end in sight, is at best ignored, or more typically scorned.
By contrast, Scott has learned the value of and praises the media for its essential role in helping to inform Vermonters. As a result, he has stated that he intends to continue the practice of taking reporter's questions from around Vermont at future press conferences.
In Vermont, the pandemic, so far, has not become an overly partisan issue, even though this is an election year. Recent surveys have shown, that by large margins, Vermonters approve the job being done by the Scott team. By contrast, in Washington, the political divide is so very evident, even to the point that many Republican lawmakers will not even wear protective masks as it provides a clear reminder of how bad Trump has mishandled the virus.
Unlike Washington with its polarized politics, Vermont is a civil place. Respecting its citizenry, by putting the common good of the state and community cooperation ahead of personal advantage, is still valued and practiced.
This civility is exemplified three times a week as Vermont reporters and the state's current political establishment soberly deal with this devastating crisis. It is worth taking note.
The pandemic is altering our lives in substantive and potentially enduring ways. Hopefully, to some extent in Vermont, some good will result.
Stephen C. Terry is former managing editor of the Rutland Herald and a Middlebury resident.
Stephen C. Terry, Vermont, opinion
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You can file and fight your own case in a consumer court without a lawyer. The Consumer Protection Act 2019, (earlier CPA 1986 is repealed), is a central government act applicable in all states of India, to provide for the protection of the interests of consumers (including investors). If there is any deficiency in services by any service provider in any sectors like manufacturing, hotels, transport, telephone department, electricity department, hospitals, banks, educational institution etc, then you can approach consumer courts for speedy resolving of matters.
A Consumer does not include a person who obtains any goods or service for resale. Also, consumer courts cannot entertain issues of rates or fees charged by a provider.
1. Basic points:
Do not make an emotional decision to go to the consumer court, as it could be a time consuming process, requiring a lot of patience and determination.
Please consider filing a complaint online with the government portal http://nationalconsumerhelpline.in/ or call the national toll-free complaint number 1-800-11-4000. SMS can also be sent to +918130009809.
Try to approach a consumer organization (as listed below) to complaint on your behalf, before deciding to a consumer Commission.
Before opting to file a case in the consumer court, please read prior judgements.
Send a notice to the opposite party, before filing a petition, thus giving them a chance to rectify their mistake.
A complaint can be filed within the period of two years from the date on which the cause of action has arisen. However, a complaint may be entertained after the period of two years, if the complainant satisfies the Commission that he has sufficient cause for not filing the complaint within such period and the Commission records its reasons for condoning such delay.
The Consumer Protection Act says that a complainant can either personally appear or be represented by an authorized agent or an advocate, by giving such a person the necessary authority on a Rs 100 stamp paper.
The burden of proof of defense of a false or misleading warranty or guarantee shall lie on the opposite party.
The first duty of a consumer is to get a receipt whenever he buys something, either goods or services, as proof that he has paid. In a judgment favourable to the consumers, the National Commission ruled (IV (2005) CPJ 207 (NC)) that terms and conditions on the receipt are binding only if they are signed by the customer. The National Commission has also held that contractual terms (even if consumer has signed) which have not been individually negotiated shall be regarded as unfair (and hence null and void) if, contrary to the requirements of good faith, they cause a significant imbalance in the rights and obligations arising under the contract.
The Department of Consumer Affairs in Delhi has issued a D.O. No. 11(11)99- CPU/1647 dated 22-12-1999 prohibiting the printing of the condition "Goods once sold will not be taken back" on receipts. Unfortunately, a large number of businesses are still flouting the D.O. and many consumers who are not aware of the law are being cheated. If you are dissatisfied with any merchandise you have purchased, you can return it and get a refund of your money even though the receipt says that goods once sold will not be taken back. If the shop refuses to take it back, file a complaint before the consumer Commission and you will get your money back.
Download a sample Notice to opposite party; consumer court petition; Affidavit and Authorization.
2. The District Commission details:
A Consumer Disputes Redressal Commission to be known as the District Commission was established by the State Government with the prior approval of the Central Government in each district of the state. The District Commission shall have jurisdiction to entertain complaints where the value of the goods or services and the compensation, if any, claimed is less than Rupees One crore. The District Commission consist of one president (District judge) and two other members (one of whom is to be a woman).
The specific fee for filing the case, should be in the form of crossed demand draft or crossed Indian postal order addressed to "President, District consumer dispute Redressal Commission".
Procedure to file a petition:
Jurisdiction is territorial and monetary i.e. either the office of the respondent or address of the complainant can be used. One must try to find out at which commission office the backlog is less and file accordingly, as per our convenience.
Petition must ideally be in English
Full name & address of the complainant
Full name & address of the opponent (respondent)
Information about when and where cause of the complaint arose.
Detailed particulars and nature of complaint
Prayer of reliefs sought including monetary claims, compensations; and its total value.
Certified true copies all relevant documents on which complaint is based and to be attached as Exhibits (in TRIPLICATE keeping one copy for your record with one extra full set for each of the opponent/s).
The complaint can be submitted by hand delivery or Registered AD or Speed post to the office of the District Commission. Do not forget to take receipt of acknowledgement of your copy.
For Mumbai city (Colaba to Sion)
Bombay District Consumer Disputes Redressal Commission
Plot CS No 4 /296, Administrative building
1st Floor, SS Rao Road, Near Mahatma Gandhi Hospital, Parel East, Mumbai 400012
Tel.: 022-24171360
For Mumbai suburbs (Bandra to Dahisar and Chunabhatti or Kurla to Mulund)
Bombay Suburban District Consumer Disputes Redressal Commission
New Administrative Building
3rd Floor, Bandra (East), Mumbai 400051.
Tel.: 26551625
Thane District Consumer Disputes Redressal Commission
The Collector Office Building
1st Floor, Thane, Dist. Thane.
Tel.: 25345042 or 25344069 or Konkan Bhavan at CBD Belapur Navi Mumbai 27574074.
3. Findings of the District Commission:
Rules framed by different State Governments lay down different time limits it is generally 90 days from the date of the first hearing. Every proceeding before the district Commission shall be deemed to be a judicial proceeding and shall have the same powers as are vested in a Civil Court for the summoning of any defendant or witness; production of any document producible as evidence; the reception of evidence on affidavits; the requisitioning of the report of the concerned analysis or test from the appropriate laboratory or from any other relevant source.
If the District Commission is satisfied that the goods complained against suffer from any of the defects specified in the complaint or that any of the allegations contained in the complaint about the services are approved, it shall issue an order to the opposite party directing him to take one or more of the following things, namely:
to remove the defect pointed out by the appropriate laboratory from the goods in question;
to replace the goods with new goods of similar description which shall be free from any defect;
to return to the complaint the price, or, as the case may be, the charges paid by the complaint; to pay such amount as may be awarded by it as compensation the consumer for any loss or injury suffered by the consumer due to negligence of the opposite party.
Section 10(1) of the CP Act can make the respondent produce relevant records of the matter pertaining to other similar consumers, thus converting the matter into a class-action suit.
4. How the orders of Commission are enforced?
If the interim order of a Commission is not complied with, the relevant Commission may order for attachment of the property of the person concerned, which shall remain force for three months, and if the non-compliance continues, the property so attached may be sold and out of the proceeds thereof the damages may be awarded to the complainant and the balance amount paid to the parties entitled thereto. Further, if any amount becomes due to any person under the orders of a Commission, he can make an application to such Commission for issuance of a recovery certificate to the collector of the district to recover the same as arrears of land revenue. Further, if any person fails or omits to comply with the order of a Commission, he may be punished with imprisonment up to three years or with fine of Rs. 2,000, which may extend to Rs. 10,000 or both.
5. First appeal (State Commission):
State Commission can hear the cases involving the amount more than Rupees twenty lakhs and up to Rupees one crore. It has also jurisdiction to hear appeal against the orders of District Commission of that particular State, within a period of 45 days from the date of the order. The State Commission consists of a president (ex-High court judge) and 4 members one of whom is to be a woman.
Send four sets of the appeal petition and the accompanying papers when making an appeal to the State commission. The number of copies should be increased correspondingly in case there is more than one opposite party.
If there is a delay in filing, an application for the condoning of delay must be made along with the appeal and supported by an affidavit setting out adequate reasons for the delay and accompanied by necessary evidence. There is not limitation period for filing a revision petition under the CPA but it appears that such a revision petition can be filed within 90 days.
If the applicant has to pay any compensation as per the order of the District Commission, then the State Commission will entertain the appeal only if the appellant deposits 50 percent of that amount.
Appeal papers can be sent by Registered AD Post or in person.
The payment should be through a Nationalized Bank Demand Draft duly crossed, drawn in favour of "Registrar, State Consumer Disputes Redressal Commission, Maharashtra State".
Maharashtra State Consumer Disputes Redressal Commission
Old Administrative Staff College,
Room No. 102, Behind Capital Cinema,
Waudby Road, Mumbai 400001
Tel.: 22852097.
The State Commission and the National Commission can declare any terms of contract as null and void, if they feel is unfair to the consumer [section 49(2) and 59(2) of the CPA].
6. Second appeal (National Commission):
A National Consumer Disputes Redressal Commission can hear cases against orders of the state commission, as long as they are filed within 30 days of the order. NCDRC was established by the Central Government consists of a president (ex- Supreme court judge), and four other members (one of whom is to be a woman). It has all India jurisdiction, and is for matters above Rs. 10 crores.
If a person wants to appeal against the order of the State Commission to the National Commission and he is the party who has to pay the compensation, then the appellant will have to deposit 50 percent of the amount or Rs. 35,000, whichever is less with the National Commission.
If the respondent has lost has appealed against the order of the state commission, then the appellant would be summoned only if they find merit in the case.
The appellant must enclose the original copy of the order against which an appeal is made along with the main set of the appeal and copies of the appeal.
The petition of appeal should also be accompanied by such other documents which an appellant would require to support his grounds of objection mentioned in the appeal.
While filing an appeal, a memorandum of grounds has to be set out. The appeal petition should be presented in a paper-book form typed on one side of the paper with double spacing. The grounds of appeal should be set forth concisely under distinct heads which should be numbered consecutively. Give an index of the documents attached to the petition on the first page and paging should be done to all papers filed.
The appeal should be signed by the appellant or by authorized person (along with the authority letter of appellant). The person having an authority in this behalf may sign it and indicate the reasons as to why the appellant himself is not able to sign the appeal. As for example when the appellant is out of India.
Send six sets of the appeal papers including the additional documents when appealing to the National Commission. The number of copies should be increased correspondingly in case there is more than one opposite party.
The payment should be through a Nationalized Bank Demand Draft duly crossed, drawn in favour of "Registrar, National Consumer Disputes Redressal Commission".
The President – National Consumer Disputes Redressal Commission
A-Wing, 5th Floor,
Janpath Bhavan, New Delhi 110001.
Another appeal can be filed with the National Commission [section 51(3) of the CPA].
7. Procedure to appeal to the Supreme Court:
An appeal can be preferred against the order of the national commission to the Supreme Court.
Send seven sets of the appeal papers along with the documents if the appeal is to be filed in the Supreme Court. The number of copies should be increased correspondingly in case there is more than one opposite party.
While filing an appeal from the National Commission to the Supreme Court, there is a court fee payable.
Helpful consumer organizations and other resources:
1. Mumbai Grahak Peth Panchayat (MGP)
Grahak Bhavan, (JVPD Market)
Sant Dhyaneshwar Marg, Juhu Vile Parle Scheme,
Juhu (W), Mumbai 400056
Tel.: 26209319/ 32
2. International Consumer Rights Protection Council
B-9/55, Vijay Nagari,
P.O. Kasarvadavali,
Thane (West) 400615
3. Consumer Guidance Society of India (CGSI)
A Block, Mahapalika Marg,
Opposite Cama Hospital, Mumbai 400001
Tel.: 22621612/ 23814787
4. Council For Fair Business Practices (CFBP)
Great Western Building
130/132, Shahid Bhagat Singh Marg,
Opposite Lion Gate, Fort, Mumbai 400039
5. Consumer Complaints Cell (Mohan Siroya)
6. Consumer Daddy
7. Consumer Connect
8. Association for Consumers Action on Safety and Health
Lawyers Chambers, Room 21,
RS Sapre Marg, Mumbai 400002
Tel.: 23886556/ 7354
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Počepice  est une commune du district de Příbram, dans la région de Bohême-Centrale, en République tchèque. Sa population s'élevait à  habitants en 2020.

Géographie
Počepice est située dans la vallée du ruisseau éponyme au pied de la montagne de Počepice (), sur la route menant de Sedlčany à Petrovice.

Počepice se trouve à  au sud-sud-ouest de Sedlčany, à  à l'est-sud-est de Příbram et à  au sud de Prague.

La commune est limitée par Vysoký Chlumec au nord-ouest et au nord, par Nedrahovice à l'est, par Nechvalice au sud, et par Petrovice au sud-ouest.

Histoire

La première mention écrite du village date de l'an 1219, mais il est probable qu'il ait été fondé dans le courant du . Le nom du village vient du mot cigogne (čáp) ; l'oiseau fait partie du blason des seigneurs du lieu.

Autour de l'an 1300, est élevée l'église Saint-Jean Baptiste. En 1790 elle est reconstruite dans le style baroque. C'est une construction simple, la sacristie est sur le côté nord. La tour carrée massive avec sa coupole à bulbe en est la caractéristique. Sur le chemin de Vysoký Chlumec se dresse les statues baroques de saint Adalbert et de saint Jean Népomucène.

Population

Administration
La commune se compose de cinq quartiers :
 Počepice
 Oukřtalov
 Rovina
 Skuhrov
 Vitín

Randonnées
A vélo :
 Route 8139 : Vápenice - Rovina - Nechvalice - Obděnice - Petrovice
 Route 8144 : Veselíčko - Počepice - Skoupý.

Randonnée pédestre – le village mène :
 vers le sentier touristique signalé en rouge : Sedlčany - Vysoký Chlumec - Počepice - Petrovice - Milevsko
 vers le sentier touristique signalé en jaune : Smrčí - Bláhova Lhota - Počepice - Skuhrov Nové Dvory.

Transports
Par la route, Počepice se trouve à  de Sedlčany, à  de Příbram et à  de Prague.

Légende locale
La légende se lit grâce aux statues qui se dressent sur la route de Počepice à Vysoký Chlumec. Il s'agit de celles de saint Jean Népomucène et de saint Adalbert qui ont été élevées en gage de remerciement et de gratitude.

Dans les temps anciens, ces régions de marais grouillaient de feux follets dangereux, qui, dans le brouillard, firent perdre leur chemin à un seigneur à cheval.
Parvenu sans aucun repère dans ces lieux, il lâcha son cheval et le laissa aller selon son instinct. Soudain le cheval effrayé trébucha, surpris par un oiseau qui s'envolait. Le cavalier tomba et se mit à patauger seul, ne sachant jamais s'il allait dans la bonne direction. Il se dirigea donc là, où il lui semblait voir une lueur, mais celle-ci disparaissait pour apparaître de nouveau ailleurs. Il se mit à appeler à l'aide et finit par entendre une voix, c'était celle d'un chasseur, qui le sortit de là et lui permit de passer la nuit chez lui.

Le seigneur, en guise de récompense et de remerciement pour lui avoir sauvé la vie, fit élever ces statues.

Références

Liens externes
 Données sur le village, urbanisme et statistiques municipales
 Données actuelles sur la population du village

Commune dans le district de Příbram

redpajama_set_name: RedPajamaWikipedia


Patrick J. Adams stars as Mike Ross in Suits, "Pound of Flesh."
Neal McDonough guest stars as Sean Cahill, Gabriel Macht stars as Harvey Specter, and Patrick J. Adams stars as Mike Ross in Suits, "Pound of Flesh."
Gabriel Macht stars as Harvey Specter in Suits, "Pound of Flesh."
Neal McDonough guest stars as Sean Cahill, Patrick J. Adams stars as Mike Ross, and Gabriel Macht stars as Harvey Specter in Suits, "Pound of Flesh."
Neal McDonough guest stars as Sean Cahill in Suits, "Pound of Flesh."


text:
Q: How do I get a specific form value in jquery using the parent $self click function I have a form that looks something like this
<form action="#" class="ajax_form" method="post" id="comment_form" accept-charset="utf-8">
<textarea name="comment" id="form_comment"></textarea>
<input name="another_field" value="some data" type="text" id="form_another_field" />
<input name="method" value="some_method" type="hidden" id="form_method" />
<input name="submit" value="Submit" type="submit" id="form_submit" />
</form>

and a jquery submit listener for any class named ajax_form
$(document).ready(function() {

$('.ajax_form').submit(function() {

    alert(JSON.stringify($(this).serializeObject()));
    alert($("input:form_method").val());
    return false;
});

});
The first part of the submit function serlializes the form elements and puts them into a json string for an ajax request. But I need to extract the value of id #form_method before I make the ajax request but can't seem to figure out how to do it with reference to using $this. I tried getting the form children of $this but failed doing that as well.

A: You're missing the # in your selector. This should do the trick:
$("#form_method").val();

A: You should try $("input#form_method").val() instead of $("input:form_method").val()
In fact only $("#form_method").val() should perfectly do the job.
Eventually you may put specify the context of your search with $("#form_method",this).val() if you have multiple ajax_form on the page, but in such case you should reconsider using multiple time the same id as an id has to be unique

redpajama_set_name: RedPajamaStackExchange


At Sung Wing Chun we teach a martial art that prioritises the efficient use of the human body. We believe that the internal method of wing chun kung fu offers the window of opportunity to use your mind and body to its potential, and our aim is to provide a training environment where you can explore and develop the method at your own pace.
Wing Chun itself is a Chinese martial art (kung fu), made famous by Bruce Lee and his teacher Ip Man. Unlike Karate, kick boxing or other forms of external martial arts, Wing Chun can be practised by practitioners of any age, no matter the level of fitness and flexibility.
The decisive factor in any fight is power, and what makes the Sung approach to Wing Chun unique is how that power is generated. Instead of muscular contraction, practitioners learn to relax their bodies, release their joints, unifying mind and power to unleash their whole body mass when striking. A relaxed state allows a practitioner to move quicker, be more sensitive and train longer.
Our internal approach to wing chun was passed onto us by Grandmaster Chu Shong Tin, emphasising relaxation and body awareness as the key ingredients for development. Indeed, 'sung' is Cantonese for relax which we have used in the name for our school to describe our style of wing chun. We have highly experienced instructors who can guide students, tailoring teaching to their individual needs, so progress is rapid and rewarding.
Training takes place in twice weekly in Sheffield in a friendly, open environment. Most students are local, but we have a growing band of visiting students from throughout Yorkshire and further afield. Sharing of knowledge, experience and giving feedback to training partners is encouraged, and as such it is a great way to meet people and start friendships. Our aim is to provide a training environment where the development of the art of wing chun can thrive and you are welcome to join our group.
January is over, but we always welcome new students, if you want to find out about wing chun come along and join us any class on Tuesdays and Thursday evenings.
The first lesson will show you how the system works and let you ask any questions you may have. The first session costs £7 and last approx an hour and 15 mins. Let us know if you want to attend by emailing sungwingchun@gmail.com or call/text one of the numbers below.


text:
Saturday 22nd Feb 2020
O'Hooley and Tidow @ The Lyceum Theatre, Crewe
Much loved Yorkshire folk duo Belinda O'Hooley and Heidi Tidow have suddenly been propelled into newfound fame for penning the theme tune for Sally Wainwright's hit BBC1/HBO drama 'Gentleman Jack', earning them global admiration, appearances on TV, Radio 4 Woman's Hour and concerts that sell out months in advance.
Belinda and Heidi's boundless songwriting has been described by The Guardian as 'exceptional' and The Independent as 'defiant, robust, northern, poetical, political folk music for the times we live in.' From an emotionally charged song about an elephant orphanage in Nairobi, to a joyous celebration of the Leeds cycling champion Beryl Burton, they explore, consider and connect subjects and stories in a distinctive, inventive and memorable way.
Having the originality and skill to invite comparison with the most celebrated harmony duos, from early Simon and Garfunkel to the iconic Kate and Anna McGarrigle, 6 Music's Tom Robinson says 'They sing together in the way families do. Normally, you only get that closeness in the voices with family bands like The Coppers or The Watersons.'
'I have just listened to your track, 'Beryl', with tears in my eyes! It's beautiful and brilliant.' Maxine Peake
Nominated four times for BBC Radio 2 Folk Awards 'Best Duo'.
England's answer to the McGarrigles. - * * * * * The Guardian
Brave, beautiful and full of love. - Martin Simpson


text:
/*
 * To change this template, choose Tools | Templates
 * and open the template in the editor.
 */

package mil.navy.med.dzreg.model;

import java.io.Serializable;
import java.math.BigDecimal;
import java.math.BigInteger;
import java.util.Collection;
import java.util.Date;
import javax.persistence.Basic;
import javax.persistence.Column;
import javax.persistence.Entity;
import javax.persistence.FetchType;
import javax.persistence.Id;
import javax.persistence.NamedQueries;
import javax.persistence.NamedQuery;
import javax.persistence.OneToMany;
import javax.persistence.Table;
import javax.persistence.Temporal;
import javax.persistence.TemporalType;

/**
 *
 * @author kim
 */
@Entity
@Table(name = "DZ_POC")
@NamedQueries({
  @NamedQuery(name = "DzPoc.findAll", query = "SELECT d FROM DzPoc d"),
  @NamedQuery(name = "DzPoc.findByPocid", query = "SELECT d FROM DzPoc d WHERE d.pocid = :pocid"),
  @NamedQuery(name = "DzPoc.findByPoc", query = "SELECT d FROM DzPoc d WHERE d.poc = :poc")
//  @NamedQuery(name = "DzPoc.findByInsertedDt", query = "SELECT d FROM DzPoc d WHERE d.insertedDt = :insertedDt"),
//  @NamedQuery(name = "DzPoc.findByDataSource", query = "SELECT d FROM DzPoc d WHERE d.dataSource = :dataSource"),
//  @NamedQuery(name = "DzPoc.findByHospitalLocationInactiveDt", query = "SELECT d FROM DzPoc d WHERE d.hospitalLocationInactiveDt = :hospitalLocationInactiveDt"),
//  @NamedQuery(name = "DzPoc.findByDivisionId", query = "SELECT d FROM DzPoc d WHERE d.divisionId = :divisionId"),
//  @NamedQuery(name = "DzPoc.findByDivisionDmis", query = "SELECT d FROM DzPoc d WHERE d.divisionDmis = :divisionDmis"),
//  @NamedQuery(name = "DzPoc.findByFlag", query = "SELECT d FROM DzPoc d WHERE d.flag = :flag")
})
public class DzPoc implements Serializable {
  private static final long serialVersionUID = 1L;
  @Id
  @Basic(optional = false)
  @Column(name = "POCID")
  private Long pocid;
  @Column(name = "POC")
  private String poc;
  @Column(name = "INSERTED_DT")
  @Temporal(TemporalType.DATE)
  private Date insertedDt;
  @Basic(optional = false)
  @Column(name = "DATA_SOURCE")
  private String dataSource;
  @Column(name = "HOSPITAL_LOCATION_INACTIVE_DT")
  @Temporal(TemporalType.DATE)
  private Date hospitalLocationInactiveDt;
  @Column(name = "DIVISION_ID")
  private Integer divisionId;
  @Column(name = "DIVISION_DMIS")
  private String divisionDmis;
  @Column(name = "FLAG")
  private Integer flag;
  //@OneToMany(mappedBy = "pocid", fetch = FetchType.EAGER)
  //private Collection<DzAppt> dzApptCollection;
  //@OneToMany(mappedBy = "pocid", fetch = FetchType.EAGER)
  //private Collection<DzPatients> dzPatientsCollection;

  public DzPoc() {
  }

  public DzPoc(Long pocid) {
    this.pocid = pocid;
  }

  public DzPoc(Long pocid, String dataSource) {
    this.pocid = pocid;
    this.dataSource = dataSource;
  }

  public Long getPocid() {
    return pocid;
  }

  public void setPocid(Long pocid) {
    this.pocid = pocid;
  }

  public String getPoc() {
    return poc;
  }

  public void setPoc(String poc) {
    this.poc = poc;
  }

  public Date getInsertedDt() {
    return insertedDt;
  }

  public void setInsertedDt(Date insertedDt) {
    this.insertedDt = insertedDt;
  }

  public String getDataSource() {
    return dataSource;
  }

  public void setDataSource(String dataSource) {
    this.dataSource = dataSource;
  }

  public Date getHospitalLocationInactiveDt() {
    return hospitalLocationInactiveDt;
  }

  public void setHospitalLocationInactiveDt(Date hospitalLocationInactiveDt) {
    this.hospitalLocationInactiveDt = hospitalLocationInactiveDt;
  }

  public Integer getDivisionId() {
    return divisionId;
  }

  public void setDivisionId(Integer divisionId) {
    this.divisionId = divisionId;
  }

  public String getDivisionDmis() {
    return divisionDmis;
  }

  public void setDivisionDmis(String divisionDmis) {
    this.divisionDmis = divisionDmis;
  }

  public Integer getFlag() {
    return flag;
  }

  public void setFlag(Integer flag) {
    this.flag = flag;
  }

//  public Collection<DzAppt> getDzApptCollection() {
//    return dzApptCollection;
//  }
//
//  public void setDzApptCollection(Collection<DzAppt> dzApptCollection) {
//    this.dzApptCollection = dzApptCollection;
//  }

//  public Collection<DzPatients> getDzPatientsCollection() {
//    return dzPatientsCollection;
//  }
//
//  public void setDzPatientsCollection(Collection<DzPatients> dzPatientsCollection) {
//    this.dzPatientsCollection = dzPatientsCollection;
//  }

  @Override
  public int hashCode() {
    int hash = 0;
    hash += (pocid != null ? pocid.hashCode() : 0);
    return hash;
  }

  @Override
  public boolean equals(Object object) {
    // TODO: Warning - this method won't work in the case the id fields are not set
    if (!(object instanceof DzPoc)) {
      return false;
    }
    DzPoc other = (DzPoc) object;
    if ((this.pocid == null && other.pocid != null) || (this.pocid != null && !this.pocid.equals(other.pocid))) {
      return false;
    }
    return true;
  }

  @Override
  public String toString() {
    return "mil.navy.med.dzreg.jpa.DzPoc[pocid=" + pocid + "]";
  }

}

redpajama_set_name: RedPajamaGithub


Today's Dealzmodo has the skinny on Target's upcoming video game and electronics sale in addition to all the regular deals on laptops, Blu-rays and more. Also, check out a selection of HDTV deals hand-picked by our friends at HD Guru.
• 20" Lenovo C300 All-in-one Desktop PC for $425.14 plus free shipping (normally $529.99 - use coupon code USPHOLIDAY).
• Tony Hawk Ride with Skateboard Controller (360, PS3, Wii) for $89.99 (normally $118.99).
• Adult Swim ATL Remix Mixtape MP3 Downloads for $0 (use this form).
Check out HD Guru's This Week's Hottest Deals post for links and more deals.
• $30 Target GiftCard with Nintendo Wii game console ($199.99).
• $10 Target GiftCard with Nintendo DSi handheld gaming system ($169.99).
• Kodak MD41 digital camera on sale for $95 (save over $50).
• Aiptek HD digital camcorder on sale for $79 (save over $30).
• HP digital photo frame on sale for $69 (save over $40).
• Garmin Nuvi GPS navigation system on sale for $99 (save over $50).
• TomTom GPS navigation system on sale for $99 (save over $30) and get a $20 Target GiftCard with purchase.
• Logitech V220 cordless notebook mouse on sale for $9.99 (save over $15).
• Casio lighted-key keyboard on sale for $98 (save over $30).
• Dell Vostro 220s Slim Intel Core 2 Duo 2.93GHz Desktop with 21.5" LCD for $439.00 (normally $753).
• 15.6" Dell Studio Laptop for $649 plus free shipping (normally $1,137 - use coupon code VF$1LDWF7N9MMM).
• 15.6" Dell Inspiron 15 LED Laptop for $474 plus free shipping (normally $743).
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• 15.4" Lenovo ThinkPad SL510 Laptop for $539.10 plus free shipping (normally $824 - use coupon code USPHOLIDAY).
• 14" Dell Inspiron 14 Dual Core Laptop with Win7 Premium for $429 plus free shipping (normally $688).
• 24" Synaps F93-2404 Widescreen LCD Monitor for $155 plus free shipping (normally $255).
• Get 3 23" Samsung 2333SW Widescreen LCD Monitors for $460.00 plus free shipping (normally $630).
• 2TB Cavalry CAXB3702T0 External Hard Drive for $169.99 plus free shipping (normally $215).
• Call of Duty: Modern Warfare 2 Hardened Edition Game (Xbox 360) for $59.00 (normally $79).
• Call of Duty: World at War (360, PS3, Wii) for $29.99 plus free shipping (normally $55).
• Marvel Ultimate Alliance 2 (PS3, 360, Wii) for $29.99 plus free shipping (normally $45).
• Marvel Ultimate Alliance 2 (360, PS3, Wii) for $29.99 plus free shipping (normally $44.99).
• Harry Potter and the Half Blood Prince (Wii) for $29.96 plus free shipping (normally $47).
• Band Hero featuring Taylor Swift Bundle (360, PS3) for $149.00 plus free shipping (normally $180).
• Prototype (360, PS3) for $29.99 plus free shipping (normally $48.99).
• Wolfenstein (360, PS3) for $29.99 plus free shipping (normally $42.89).
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• Fallout 3 (PS3) for $17.99 plus free shipping (normally $29.99).
• Blazing Angels: Squadrons of WWII (PS3) for $9.99 plus free shipping (normally $17).
• 55" Samsung UN55B6000 1080p, 120Hz LED-Backlit LCD HDTV for $2199.99 plus free shipping (normally $2299 - use coupon code: FTR241).
• 55" LG 55LH85 1080p 120Hz LCD HDTV for $1,699.99 plus free shipping (normally $2,150).
• 55" Vizio VF550M 1080p. 120Hz LCD HDTV, Soundbar, Wireless Sub, Blu-Ray Player for $1499.00 plus free shipping (normally $2099).
• 50" Panasonic Viera 1080p TC-P50U1 Plasma HDTV for $849.99 (normally $999).
• 47" Sharp LC-47SB57UT 1080p LCD TV for $799.00 plus free shipping (normally $1199).
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• 37" Toshiba REGZA 37CV510U 720p LCD HDTV for $499.99 plus free shipping (normally $787).
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• Nero Liquid TV For PC w/ HDTV Tuner, Tivo Remote and 1 Year TiVo Service for $34 plus free shipping (normally $199 - use coupon code:AP-QU20-Q6QJ).
• 14 Blu-ray 3-packs in genres: Action, Sci-Fi, Marvel comics, Comedy, Chick Flicks, Fantasy, Kids/Family) for $22.99 or $31.99 plus free shipping (normally $41, $44).
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• Logitech Squeezebox Network Audio Player for $179.99 plus free shipping (normally $269 - use coupon code logi_sbc_12119).
• Samsung DualView TL225 12MP Digital Camera (Black w/ Orange or Purple) for $234 plus free shipping (normally $288 - use coupon code EMCMNMM47).
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• ARCHOS 5 Internet 60GB Media Tablet for $155 plus free shipping (normally $209).
• Mach Speed Raven 2GB MP3 Player for $5 plus free shipping (normally $15 - this form).
• Zune 80GB MP3/Media Player plus Home AV kit for $129.86 (normally $170).
• HBO's Big Love "A Juniper Creek Christmas" album (8 songs MP3) for $0.
• FREE X5 Free Classical Sampler - Classical Christmas (Download) (use this form).
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• Crazy Snowboard (iPhone) for $0 (normally $2.99).
• Open Remix 7 Song Sampler (MP3) for $0 (download here).


text:
You are at:Home»Machinery»Monkton Court Farms take delivery of the next generation haith mobile grader
Monkton Court Farms take delivery of the next generation haith mobile grader
Monkton Court Farms
Monkton Court Farms has become the latest potato grower to receive Haith's next-generation mobile grading system.
Philip Smith, who grows Desiree and King Edward potatoes across 60 hectares in East Kent, took delivery of the state-of-the-art grader this month.
Mr Scott's previous grader was purchased in 1999 and had reached the end of its natural life, becoming slow and inaccurate.
Monkton Court Farms have used Haith's equipment since 2016 when a neighbour's recommendation led Philip to buy two Haith box fillers.
Mr Scott was so pleased with how the box fillers performed that he had no hesitation in talking to Ken Hollingworth at Haith when he decided to replace his grader.
"The Haith box fillers have never let me down, and I was really impressed with the way the company handled my order and has supported me ever since," says Mr Scott. "When I decided it was time to replace our mobile grader, I looked at the options available but as soon as I spoke to Ken I was confident that Haith would build a grader that would meet my requirements. On delivery I was delighted with the quality of the build. The grader is now in work and doing a great job."
As with the vast majority of Haith's machines, Mr Scott's mobile grader has been designed to his precise specifications.
The 6.6m long grader, which can handle up to 30 tonnes per hour, features a Haith Supaflow bulker that feeds a Haith Evolution Multi-Separator with six spiral shafts and clod roller scrapers to effectively remove soil, clod and haulm.
The covered inspection unit on the grader can comfortably accommodate six people, who can work at any time of the day or night thanks to the presence of energy-saving LED lights and in all conditions as the bunker, separator and inspection area are covered.
"The new generation of Haith mobile graders are our most accurate and efficient," says Mr Hollingworth. "Being mobile, they are incredibly versatile and can be used in the field or packhouse depending on what works for the grower. We were delighted to supply Philip with his box fillers back in 2016 and it is great to hear that the way those machines have worked for Monkton Court Farms gave him the confidence to buy this latest piece of equipment from us."
To find out more about Haith, its mobile grader, and other vegetable handling solutions, visit its new-look website at www.haith.co.uk, call +44 1302 831 911 or email sales@haith.co.uk.
SeedSock from Spaldings makes drill and spreader emptying so much easier
Ludlow based manufacturer, McConnel has unveiled the next generation of its acclaimed, low ground pressure, self-propelled crop sprayer, the Agribuggy2 AB30.


Hughes and Associates have worked with the Headteacher and Chair of Governors for many years creating a close working relationship to enable small and large projects to be accomplished from concept through to completion. Our role on projects has been full design and contract management to client's agent.
We co-ordinate all CDM aspects for the school projects ensuring that all parties carry out their duties.


In The Generalship of Muhammad, Russ Rodgers charts a new path by merging original sources with the latest in military theory to examine Muhammad's military strengths and weaknesses.
Provides a historical and theoretical overview of the subject from the 1940s through today. Shabout recognizes the important distinction between Arabic art and Islamic art. With 32 color plates and 40 b&w photos.
By tracing the cultural production of the Kabyle people--their songs, oral traditions, and literature--from the early 1930s to the end of the twentieth century, Fazia Aïtel shows how they have defined their own culture over time, both within Algeria and in its diaspora.
This book expands our understanding of peoples far removed from consolidated government control and provides a broad analytical lens through which to examine demographic divides across the globe.
Examining history not as it was recorded, but as it is remembered, An Incurable Past contextualizes the classist and deeply disappointing post-Nasserist period that has inspired today's Egyptian revolutionaries.
Previously published histories and primary source collections on the Iraqi experience tend to be topically focused or dedicated to presenting a top-down approach. By contrast, Stacy Holden's A Documentary History of Modern Iraq gives voice to ordinary Iraqis, clarifying the experience of the Shiites, Sunnis, Kurds, Jews, and women over the past century.
War and State Building in the Middle East addresses the strengths and weaknesses of the authoritarian-regime governments commonly found in the Middle East, particularly among oil-rich countries.


The Sunnynook Scout Hall is available for hire to the local and wider community for their events. The hall can be booked by members of the public with either a known link to the Sunnynook Scout Group or with references and a bond.
• 18m x 8m main floor area - high quality Vinyl flooring.


If you're looking for a place to get away, look no further than gmina Rusiec. Whether you're planning to stay for a night or for the week, the area around gmina Rusiec has accommodations to fit every need. Search for hotels in gmina Rusiec with Hotels.com by checking our online map. Our map displays the areas and neighborhoods around all gmina Rusiec hotels so you can see how close you are from landmarks and attractions, and then refine your search within the larger area. The best gmina Rusiec hotel deals are here with our lowest price guarantee.


Motorway madness or bucket and spades are on the agenda for the next two shows. Paignton and Bournemouth for exhibitors is one or the other, as many take their caravans or motor homes making a holiday dog showing fortnight. As I speak, this year the weather hasn't been too favourable and at Paignton we all experienced intermittent downpours. At the moment here in Cheshire it is pouring out of the heavens, where has Mr Sunshine gone? Once again the sun umbrella is gathering dust and I am going to have to look at the info to remember how to assemble, if it ever gets out of the carry bag!
Paignton is a long journey for mid Englanders and a marathon if you live even further north of the Border. Paignton for us is a long way but motorways all the way and then two miles at the exit turn off and you arrive at the venue, even a services at the exit, so all is good.
Good car parking available and for this show we are in the hall, so whatever the weather throws at you, it is not an issue. The hall is somewhat dark, maybe the black floor doesn't help give a light airy feeling but the ring is generous in size. Not a tremendous amount of trolley space around the ring or in the grooming area, we got there early at 8am but all the spaces were already taken so we headed for the benching. As long as you had a sat nav that could register benching codes I suppose finding your allotted benching would have been easy. The Papillon benching was half way up the BIS ring area, which was a considerable distance from the Papillon ring. For knee high to a grasshopper like me, as long as I stood on the benching I could sort of keep abreast of what was going on, however you didn't get the social atmosphere of the Pap ring being that distance away.
Our judge for the show was to be the well respected Mr Lee Cox of the successful Vanitonia kennel. A first time judging appointment for Papillons on this occasion and he arrived at the ring looking immaculate and ready for the day ahead. Mr Cox went over the dogs in a gentle manner making the dogs happy with their table experience. On the floor, every opportunity was given for the exhibitor to show their dogs in the best possible way, this was a noisy hall and for some dogs it took longer for them to settle. He gave clear directions and each exhibitor knew exactly what was expected of them, which is a considerable help to ensure harmony between the exhibitor and dog.
The principal winners for the day were as follows. DCC / BOB Irene & Glenn Robb's Ch Gleniren Shootin Starmaker Sunshoo. We were delighted whenTravis then went on to take a creditable TGP2 in a strong TGP line-up under Mr Frank Kane. BCC was a thrilled Mary Whitehill handling for her granddaughter Holly Bradford with Rozamie Je Ne Sais Quoi. RDCC Joe Magri & Kevin Arrowsmith's Rozamie Depeche Mode and RBCC went to Sue Victor's Lafford Kandy Floss with Caroline Lee-Slater handling. BP was a delighted Jon & Sue Caton with their import youngster Never Let Me Go Forussi at Henrix (Imp). This little one then went on to a glorious win taking TPGP1 under Mrs M Purnell-Carpenter. Congratulations to the class winners and principal winners. It was a fabulous day for the Papillons, with the Pap flag flying high.
The South of England Papillon Club held their Championship Show a few days before Paignton . This year the judge was Mr Philip Shirley (Cordonrouge) who had travelled from sunnier climes for this appointment. Unfortunately I haven't received many snippets from the show, so not a lot of information except for giving you the results; however I am sure the usual friendly hospitality of the club was on offer to everyone.
The principal winners were DCC / BIS Pat Munn's Smileline Silenzio Sunshine Garsiv, very well done Pat you must be thrilled. BCC / RBIS Irene Buckley-Water's Sempefidelis Dulcine. RDCC Taylor's Bankshill Lord of the Rings is Purepixie, RBCC Wells & Brown's Metamorphic Delivered, BPIS Sue Victor's Farleysbane Frilly Filly, BV Pat Cox's Ch Wish Upon A Star Over Tricianbri and BPHIS Sue Morrell & Thesbina Teague's Ch Temelora Forest Nymph. Miss Nadia Angharad Al Bazi judged the Special Awards and the Junior Handling. For the juniors Nadia gave the overall junior handler of the show to Eleanore Taylor.
At Welsh Kennel, Toy day being Fri, 21st Aug, Mr Ted Whitehill (Amicae) has a good entry of 91/100. Judging commences at 10 am in ring 25. Then at SKC on Sat, 29th Aug Mr Jim Ness (Chappell) has an entry of 79. Min Pins are first in the ring with 33 entries. Paps are in ring 6 in the Highland Hall and judging commences at 9 am for the Min Pins. It must have been very disappointing for the original judge Mrs Debbie Gornall who was unable to judge at this show and our thoughts go out to her, she must have been so looking forward to her first time giving cc's in Paps.
That's it for this week folks, happy motoring and enjoy your showing, that's what it is all about.


text:
Home / Articles / UFO News / A summer of extraterrestrial-themed movies
The increasing presence of UFO/extraterrestrial-themed movies will most certainly be apparent at the box office this summer.
A summer of extraterrestrial-themed movies
Posted by: Jason McClellan May 27, 2011 0
Memorial Day weekend marks the unofficial start of summer. And summer in the United States is traditionally when the biggest blockbuster films of the year appear in movie theaters. The increasing presence of UFO/extraterrestrial-themed movies will most certainly be apparent at the box office this summer, as many of the bigger pictures debuting feature this theme.
Extraterrestrial-themed movies will start the summer blockbuster season off in the month of June with such films as Super 8, Green Lantern, and Transformers: Dark of the Moon.
Super 8 is the cryptic project by J.J. Abrams and Steven Spielberg. The filmmakers have been tight-lipped about the plot, but the basic premise of the movie is that a group of young friends investigate strange things happening in their town following a train accident. Marketing for the film suggests that an extraterrestrial escapes from the crashed train. Abrams and Spielberg recently discussed the film with Empire Magazine, and when asked about the "monster" in the film, Abrams replied, "The greatest thing about working with Steven on this is that he knows every alien that has ever been put to film, and most of them that are coming to film."
Super 8 is scheduled to be released on June 10, 2011.
Green Lantern movie poster (credit: Warner Bros.)
Green Lantern is, of course, a big screen adaptation of the legendary DC Comics superhero. This film version of the comic features actor Ryan Reynolds as Hal Jordan/The Green Lantern, who receives a mysterious power ring from an extraterrestrial, making him the first human inducted into the Green Lantern Corps.
Green Lantern is scheduled for a June 17, 2011 release.
Transformers movie poster (credit: Paramount Pictures)
Transformers: Dark of the Moon is the third installment of director Michael Bay's Transformers movies. As with the previous Transformers movies, the protagonists are sentient robots from the planet Cybertron called Autobots. After learning about a mysterious spacecraft on the moon, the Autobots have to race against their adversaries, another group of alien robots known as the Decepticons, to locate the spacecraft and learn its secrets.
Transformers: Dark of the Moon will be in theaters on June 29, 2011.
These three major Hollywood movies appearing in the month of June are just a sample of the extraterrestrial-themed movies being released this summer. Be sure to watch for the August/September issue of Open Minds magazine, which will look at the growing trend of UFO/extraterrestrial themed content emerging from Hollywood.
Alien aliens box office Extraterrestrial hollywood steven spielberg UFO ufos 2011-05-27
Jason McClellan
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About Jason McClellan
Jason McClellan is a UFO journalist and the producer/co-host of the web series Spacing Out! He is also the web content manager and staff writer for OpenMinds.tv, and a co-organizer and technical producer of the International UFO Congress. As a founding member of Open Minds, Jason served as a writer and editor for the now defunct Open Minds magazine. He has appeared on Syfy, NatGeo, and, most recently, he co-starred on H2's Hangar 1: The UFO Files. ------ Follow Jason on Twitter @acecentric and subscribe to Jason's updates on Facebook.