text:
Mission Members Partners
School Programs Guest Artists Participating Schools
Weddings Performances Corporate Events come to my school
Donate Join the team Sponsorship levels
About Mission Members Partners Programs School Programs Guest Artists Participating Schools Events Media Videos Gallery Hire Us Weddings Performances Corporate Events come to my school storeContact
Support Donate Join the team Sponsorship levels
Denver Jazz Festival
Friday, September 13, 2019 8:30 PM 20:30
Sunday, September 15, 2019 11:30 PM 23:30
Denver Vintage Jazz Festival is THREE days of world-class music held in the Mile-High City of Denver, Colorado and expecting a record crowd of over 600 dancers and listeners.
This early-era throwback party appeal is unrivaled in Denver located in the Denver Performing Arts Complex. Our one-of-a-kind Vintage festival focuses primarily on vintage jazz and blues of the 1930's & 1940's. Each venue features a spacious dance floor, and there are swing dance classes available for all levels of dancers from internationally renowned instructors during the daytime hours through our sister event Lindy on the Rocks.
We mix in locals along with top name bands, to help bolster the local music economy, and employ/educate local musicians on playing this style of music.
Tickets now available!
This event is run concurrently with Lindy on the Rocks, and the Hot Night Fusion Weekend, two events focused on dance. An All Access Pass will include dance workshops in swing, blues, tango, and street dance. The All Access Pass ranges from $139-$239 for the full weekend and it is a Fusion Class pay-what-you-can community support system. Your All Access Pass includes all Denver Jazz Festival sessions.
The All Music and Dances Pass will include all music sessions and dances, but WILL NOT include dance classes. The All Music and Dances Pass will be $120 starting July 1st.
Buy All-Access or Music Only Passes Here!
This event is produced by Denver based non-profit CMDance.
Individual evening passes will go on sale closer to the event!
2019 Featured Bands and All-Star Artists:
Jonathan Stout & His Campus 5 ft. Hilary Alexandra
The Campus Five is the nation's premier swing dance band. Showcasing the small-group sound of the late 1930's and early 1940's, the Campus Five is the most danceable swing band anywhere. The 7-piece Campus Five captures the true sound of the Swing-era, with all the energy and excitement that inspired millions to dance. Influences include the Benny Goodman Sextet, Artie Shaw's Grammercy Five, Count Basie's Kansas City Six, and the Harlem-based small groups of Illinois Jacquet, Cootie Williams, Coleman Hawkins, and Hot Lips Page.
Both founders (Hilary and Jonathan) have been dedicated Swing dancers for over 20 years, and the relationship between Swing music and Swing dance informs all aspects of the Campus Five. Song selection, tempo, song length and feel are all chosen with danceability in mind. The Campus Five's three albums, "Jammin' the Blues", "Crazy Rhythm", and "Moppin' and Boppin'", are favorites of Swing DJs and Swing Dance Instructors all over the globe. The Campus Five have been featured at many of the premier Swing dance events around the world, and are known for their unparalleled competition music, which inspires dancers to new heights.
The Campus Five has been featured on ABC's "The Bachelorette" (2016), and on Warner Brothers TV's "Ellen" (2004).
Jonathan Stout and his Rhythm Busters
Jonathan Stout and his Rhythm Busters, featuring Hilary Alexander is the newest band from the Campus Five family, and it focuses on the rollicking sound of big bands of the early 1930's, just prior to the Swing-era. The Rhythm Busters is an 11-piece band that takes the authentic Hot Jazz sound of bands like Jimmie Lunceford, Fletcher Henderson and Chick Webb, and presents them in the most danceable way possible, without sacrificing any of the fire or excitement the Campus Five and Orchestra are known for. The Rhythm Busters were created because promoters wanted another flavor, but one that keeps the unmatched danceability and contest music of our other bands.
Candy Jackets
The Candy Jacket Jazz Band is comprised of some of the best swing practitioners in the United States. Since forming in 2016, they have successfully forged their own path through the modern day "vintage" jazz scene.The group, led by composer/arranger/drummer - Josh Collazo, prides itself on performing original compositions in a style that is reminiscent of the famous jazz & swing artists of the 1930's & 1940's. Tight arrangements, clever hooks, and a heavy dose of swing allows the bands signature sound to shine brightly through. No carbon copies here though - just solid playing filled with musicality, skill, respect, and deep knowledge of jazz history to build upon. Thanks to a loyal fan base, The Candy Jacket Jazz Band has had the pleasure of performing at many national events, such as Lindy Focus, The International Lindy Hop Championships, DCLX, and The Redwood Coast Music Festival. A few highlights include headlining at The Wiltern Theater (LA), Swingin' at the Savoy (SF), and The 2017 San Diego Jazz Festival.
Jonathan Stout Orchestra featuring Hilary Alexander
The Jonathan Stout Orchestra, featuring Hilary Alexander is the nation's premier swing dance big band. The 14-piece JSO captures the unmatched excitement and true rhythmic pulse of the Swing-era, and is the most danceable big band anywhere. The band follows the templates of Benny Goodman and Count Basie – orchestras that were aggressive and tight, and filled with all-star soloists that bring the fire on every song, regardless of tempo.
The Orchestra was founded in 2004 after promoters demanded a full big band that was as danceable and exciting as the Campus Five. Jonathan and Hilary responded with a big band that was designed from the outset to be the ultimate swing dance orchestra, and has gone on to become the gold-standard in the swing dance world.
Count Basie Tribute Big Band
Gabe Mervine, Denver local trumpet player, has brought together a special 17 piece orchestra for our festival. They will be playing classic jazz tunes with a special tribute to Count Basie. This one time show is a must see, and showcases many local Denver jazz artists.
Denver Jazz Youth All Stars
The Denver Jazz Club Youth All-Stars were created in 2009 by retired public school music educator Dr. Ed Cannava. Ed was the 22 year Director of Arapahoe High School's three time Downbeat award-winning Dry Creek Dixie Dawgs.
The All-Stars perform during breaks of the professional bands at each Denver Jazz Club monthly session. The band has been featured with many professional musicians including Bob Draga, Eddie Erickson, Duke Heitger, Dan Levinson, Kris Tokarski, Randy Sandke, Jim Fryer, Bria Skonberg, Eddie Metz, Jr., Dr. Bach and the Jazz Practitioners, the 101st Colorado Army Dixieland Band, the Summit Hot Seven, the Big Mama Sue Quartet, the Preservation Hall Jazz Band, Your Fathers Mustache Band, the Treme Brass Band, the Crescent Katz, Bob Schulz and the Frisco Jazz Band, the Au Brothers Jazz Band, the Blue Street Jazz Band, the Queen City Jazz Band, and Kristy Reed's Valley Finest.
More artists and groups are in the works, stay tuned for any updates!
Studio Loft at Ellie Caulkins Opera House
1400 Curtis St. Denver, CO 80202
The Studio Loft is an 8,000 sq ft performance, rehearsal and event space with a cathedral ceiling, exposed brick, warm-colored walls, a 3,000sf wood dance floor. The Studio Loft is located in the Ellie Caulkins Opera House in the Denver Center for the Performing Arts. Venue has ample dance space, limited seating, and a bar for you to enjoy the music each evening.
Galleria @ Denver Center for Performing Arts
11301 13th Street, Denver, CO 80202
The Denver Center for Performing Arts Complex has ample space, fine dining, and of course art and music. Afternoon sessions will be held outdoors in between the Galleria theater and the Ellie Caulkins Opera house. There will be limited seating, a dance floor, a bar, and ample jazz for your afternoon.
The Denver Jazz Festival is brought to you by Community-Minded Dance, best known in the Denver area as CMDance.
We rely on our loyal sponsors, partners and our incredible dancers from all over the world to keep our organization intact. With your support we are able to fulfill our mission of building healthy, thriving communities through world-class arts education programs that bring the global culture of both solo and partnered vernacular dancing to Colorado youth and adults.
We encourage your support of cmDance through The Denver Jazz Festival. We sincerely hope you will make a commitment to partner with us in sponsorship of this event which not only strengthens our relationship but will surely add the success of your organization.
Thank you to our loyal sponsors* for over 15 years!
Westerra Credit Union
ZoZo Group
Hawley Family Foundation
William Marcus
Carol Morris
Jeffrey Brenman
Ann Ehli
Lynn Herrington
Phelps Family Foundation
Burgess Trust
Denver Foundation
Colorado Creative Industries
100s of Colorado Gives Day Donors
*This list is not all inclusive, as we have numerous anonymous sponsors!
Schedule Subject to Change
7:30-8:30pm Drop-in Beginner Swing Lesson
8:30pm Jonathan Stout and his Rhythmbusters
8:00-8:30pm Battle on the Rocks Performance
8:30pm Jonathan Stout & His Campus 5 ft. Hilary Alexander
5:00pm Denver Jazz Youth All Stars (location - Galleria)
6:15pm Count Basie Tribute Big Band (location - Galleria)
9:00pm The Candy Jackets
Hot Night Fusion Weekend 2019
Lindy on the Rocks 2019
Email: info@cmdance.org
Site by: CMDance


text:
'Victoria Spurns Ontario's Offer'
17Aug 2018 25 Oct 2018
"The City of Victoria won't entertain the Ontario's government's offer to give a "new home" to the statue of Sir John A. Macdonald that was recently taken down. The tribute to Canada's first prime minister was removed from the grounds outside Victoria City Hall Saturday to help foster {one-way} 'reconciliation' with the Songhees and Esquimalt 'First Nations'…
"Victoria Mayor Lisa Helps announced the statue will be stored in a city facility until an
"appropriate way to 'recontextualize' {'trash'} Macdonald is determined."
"A plaque noting Macdonald's "complex history" as both prime minister and "leader of violence against 'Indigenous' Peoples" {?} already stands in the statue's place…
"Ontario's Government House Leader Todd Smith told Helps in a letter last week that Canada's largest province would "proudly display" the statue on government property rather than see it "collect dust", the 'Toronto Sun' reported. A statue of Macdonald is already prominently displayed on the grounds of Queen's Park.
"Helps told 'HuffPost Canada' in an email Monday that the city has "no intention of getting rid of the statue", and will have
"a continued dialogue with the 'nations' and the community as to the best place, way and context to place the statue that balances commemoration with {one-way} 'reconciliation'".
"In the Ontario legislature Monday, 'Progressive Conservative' MPP Goldie Ghamari blasted the decision to remove the monument, which sparked heated debate well beyond British Columbia's capital city.
"These attempts to erase parts of our history do nothing to educate people and are only political correctness run amok",
Ghamari said.
"In a…question, the MPP asked Tourism Minister Sylvia Jones what the Tory government would do to "preserve" Macdonald's legacy and encourage a more "fulsome teaching of history". Jones lauded Macdonald as Canada's most important founding father.
"We would not be debating here today without Sir John A. MacDonald",
she said, before noting the government's request to take ownership of the statue.
"Ghamari responded by saying
"1867 was a different time and we should not judge our founding fathers solely on the knowledge we possess today".
"There's no denying Sir John A.'s role in our history is a cause for much discussion because history is complicated, people are complicated",
Jones said…
"Federal 'Conservative' Leader Andrew Scheer weighed in on the issue last week by tweeting:
"We should not allow political correctness to erase our history".
"Scheer also made remarks on a B.C. radio show in which he suggested tearing down a monument to Macdonald, a central figure in Canada's history, was taking things too far.
"There's no one going to claim that every leading Canadian figure at any point in time was impeccable and perfect",
Scheer said.
"And I worry this can be extended down the line, and I worry for other key figures in Canadian history that could be the next target."
"Last year, the federal 'Liberal' government {foolishly} removed the name of Sir Hector-Louis Langevin, a father of Confederation who is considered the architect of residential schools, from the Ottawa building that houses the Prime Minister's Office. Langevin Block is now known as the Office of the Prime Minister and Privy Council.
"However, Prime Minister Justin Trudeau said last summer that his government had "no plans" to erase Macdonald's name from federal buildings…"
–'Ontario Government Wants To Display John A. Macdonald Statue Removed In B.C.',
Ryan Maloney, HuffPost, 08/13/2018
https://www.huffingtonpost.ca/2018/08/13/john-a-macdonald-statue-ontario-victoria_a_23501518/
Statue of Sir John A. Macdonald overlooks the Imam at Masjid Al-Iman, Ismail Mohamed Nur, Victoria, Jan. 31, 2017. (CHAD HIPOLITO – CP)
'Communists and Aboriginals Take Down Another Canadian Statue' {August 13, 2018}:
"It's part of our history I feel is being ripped right out and gutted down. I think that's just terrible. They just pushed it right through — the public wasn't allowed to have a say."
"A statue of Sir John A. Macdonald, Canada's first prime minister, has been removed from the front steps of Victoria City Hall. The monument was taken down, wrapped in foam and strapped to a flat-bed truck on Saturday morning to be placed in storage. City council voted to remove the statue as a gesture of {one-way} 'reconciliation' earlier this week…"
https://endracebasedlaw.ca/2018/08/13/communists-and-aboriginals-take-down-another-canadian-statue/
'New Mayor Snubs Canada, Gives Back Capital City' (Victoria) {December 6, 2014}:
"Victoria's new mayor, Lisa Helps, declined to swear allegiance to the Queen at her inauguration Thursday {in a B.C. city named for a Queen – and a provincial capital named to celebrate her empire}… Helps said underlying her decision was respect for 'First Nations' {aboriginal communities}.
"I have nothing against the Queen, but I do strongly support the Songhees and Esquimalt 'nations'. This is their territory and if there's anything to emphasize, it's that."
https://www.facebook.com/ENDRACEBASEDLAW/photos/a.336196793149227.59519.332982123470694/569292709839633/?type=1
Tags: Aboriginal Bullying, Anti-Canada, British Columbia, John A. Macdonald, Mayor Lisa Helps, Ontario, Removing Statues, Rewriting History, Victoria
Previous 'Finally, Some Action'
Next 'Lollipop, Lollipop'
Glen Russell says:
The Indians that demand the removal, deface spray, are our problem children and Trudeau & other politicians and people kiss their butts ! And we thought we had to be concerned about our other enemies????

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Deserializing JSON with nested List in C# how to Deserialize JSON with nested List in C#, my Activities are always null.
please help me. Not able to get where I am going wrong. Any help would be really appreciated.
I am trying to deserialize the code, but not getting Activities . My Project is:
using System;
using System.Collections.Generic;
using Newtonsoft.Json;
using System.ComponentModel.DataAnnotations;

public class Program
{
    public static void Main()
    {
        string json = @"
            {
  ""Title"": ""test"",
  ""Id"": ""SR21576"",
  ""CreatedDate"": ""2016-12-10T09:21:06+03:30"",
  ""DisplayName"": ""SR21576 : test"",
  ""Description"": ""10"",
  ""AlternateContactMethod"": null,
  ""AffectedUser"": null,
  ""AssignedToUser"": ""XXX\\BB Team"",
  ""CustomerCode"": ""00000000-0000-0000-0000-000000000000"",
  ""CustomerName"": null,
  ""ContractId"": ""00000000-0000-0000-0000-000000000000"",
  ""ContractTitle"": null,
  ""ContractDetailsId"": ""00000000-0000-0000-0000-000000000000"",
  ""ContractDetailsTitle"": null,
  ""CRMLink"": null,
  ""LeadId"": ""00000000-0000-0000-0000-000000000000"",
  ""LeadTitle"": null,
  ""Urgency"": ""b02d9277-a9fe-86f1-e95e-0ba8cd4fd075"",
  ""Priority"": ""1e070214-693f-4a19-82bb-b88ee6362d98"",
  ""Source"": ""57e11419-ac27-a6fa-97f1-0ec2a9722807"",
  ""Area"": ""3c5e6037-b057-5745-4d89-e95f67d3236b"",
  ""SupportGroup"": ""ae536997-8124-85e7-496e-225b7991a450"",
  ""Attachments"": [ ],
  ""Activities"": [
    {
      ""<Id>k__BackingField"": ""ffe60a69-f3c8-adbe-9bbd-4050d766cc81"",
      ""<ActivityID>k__BackingField"": ""MA21578"",
      ""<Title>k__BackingField"": ""a"",
      ""<Status>k__BackingField"": ""Ready"",
      ""<TypeOfActivity>k__BackingField"": 1
    },
    {
      ""<Id>k__BackingField"": ""91286e74-6a39-964f-040f-5daf99e84792"",
      ""<ActivityID>k__BackingField"": ""RA21579"",
      ""<Title>k__BackingField"": ""b"",
      ""<Status>k__BackingField"": ""Ready"",
      ""<TypeOfActivity>k__BackingField"": 0
    },
    {
      ""<Id>k__BackingField"": ""9754f1a1-d37b-265a-087a-f6688808dbeb"",
      ""<ActivityID>k__BackingField"": ""MA21577"",
      ""<Title>k__BackingField"": ""c"",
      ""<Status>k__BackingField"": ""Active"",
      ""<TypeOfActivity>k__BackingField"": 1
    },
    {
      ""<Id>k__BackingField"": ""d959cac5-cb78-a3fb-09e2-76da1b5381b2"",
      ""<ActivityID>k__BackingField"": ""MA21580"",
      ""<Title>k__BackingField"": ""d"",
      ""<Status>k__BackingField"": ""Ready"",
      ""<TypeOfActivity>k__BackingField"": 1
    }
  ],
  ""Status"": ""InProgress""
}";

        ServiceRequest items = JsonConvert.DeserializeObject<ServiceRequest>(json);

        Console.WriteLine("Area: " + items.Area);
        Console.WriteLine("CRMLink: " + items.CRMLink);

        Console.WriteLine("Number of Activities: " + items.Activities.Count);

        int i = 0;
        //Activities are null why???????
        foreach (var type in items.Activities)
        {
            i++;
            Console.WriteLine("Activities item number " + i);
            Console.WriteLine("ActivityID: " + type.ActivityID);
            Console.WriteLine("Id: " + type.Id);
            Console.WriteLine("Status: " + type.Status);
            Console.WriteLine("Title: " + type.Title);
            Console.WriteLine("TypeOfActivity: " + type.TypeOfActivity);
            Console.WriteLine();
        }
    }
}

[Serializable]
public class Activity
{
    public Guid Id { get; set; }
    public String ActivityID { get; set; }
    public String Title { get; set; }
    public String Status { get; set; }

    public ActivityType TypeOfActivity { get; set; }
}

[Serializable]
public enum ActivityType
{
    ReviewActvity,
    ManualActivity
}

[Serializable]
public class Attachment
{
    [Required]
    public string FileName { get; set; }
    [Required]
    public string ServerFileName { get; set; }
    public bool ToRemove { get; set; }
    [Required]
    public string AttachedByUser { get; set; }

}

[Serializable]
public class ServiceRequest
{
    [Required]
    public string Title { get; set; }
    public String Id { get; set; }
    public DateTime CreatedDate { get; set; }
    public string DisplayName { get; set; }
    [Required]
    public string Description { get; set; }
    public string AlternateContactMethod { get; set; }
    public string AffectedUser { get; set; }
    public string AssignedToUser { get; set; }
    public Guid CustomerCode { get; set; }
    public string CustomerName { get; set; }
    public Guid ContractId { get; set; }
    public string ContractTitle { get; set; }
    public Guid ContractDetailsId { get; set; }
    public string ContractDetailsTitle { get; set; }
    public string CRMLink { get; set; }
    public Guid LeadId { get; set; }
    public string LeadTitle { get; set; }
    public Guid Urgency { get; set; }
    public Guid Priority { get; set; }
    public Guid Source { get; set; }
    public Guid Area { get; set; }
    public Guid SupportGroup { get; set; }
    public List<Attachment> Attachments { get; set; }
    public List<Activity> Activities { get; set; }
    public string Status { get; set; }
}

A: Whoever originally generated the JSON for your Activities collection chose to serialize the fields of the objects.  And since the class consists entirely of auto-implemented properties, you're getting the secret backing fields.
To force Json.NET to deserialize the public and private fields of Activity rather than its properties, mark the type with [JsonObject(MemberSerialization.Fields)]:
[Serializable]
[JsonObject(MemberSerialization.Fields)]
public class Activity
{
    public Guid Id { get; set; }
    public String ActivityID { get; set; }
    public String Title { get; set; }
    public String Status { get; set; }

    public ActivityType TypeOfActivity { get; set; }
}

Or, fix the code that originally generated the JSON to serialize the properties in preference to the fields.   This seems to have been a conscious choice since the root type ServiceRequest has its properties serialized, not its fields.
Sample fiddle.

A: Method 1: remove the [Serializable] attribute from the Activity class.
If not strictly necessary, the removal will prevent the default DataContractJsonSerializer from generating the extra markers.
Method 2: Configure the serializer to ignore the [Serializable] attribute:
config.Formatters.JsonFormatter.SerializerSettings.ContractResolver =
new DefaultContractResolver { IgnoreSerializableAttribute = true };

Reference.

redpajama_set_name: RedPajamaStackExchange


text:
Slotkin Letter
Theatre Artists Branching Out: Sara Schwartz Geller
by Lynn on December 21, 2020
in The Passionate Playgoer
Two hardy soups and two containers of hummus
Sara Schwartz Geller is a producing dynamo. She has produced theatre and film internationally. Perhaps her most ambitious theatre experience was co-producing The Curious Voyage with Arkady Spivak, Artistic Producer of Talk is Free Theatre, in Barrie, Ont. Over three days a group of hardy participants followed clues and participated in site-specific adventures beginning in Barrie, Ont. and ending in London, England, culminating in a musical that exemplified everything the group experienced on the voyage.
I was on the first voyage (there were several after that) and got a first hand look at how efficient, fearless and committed Geller was to serving her audience and making them feel comfortable, certainly on this wild theatre adventure. It was clear late in the evening of the first day that there was a concerning issue. Arkady Spivak was set to depart by plane from Toronto to London, England that evening (11:30 pm) and be in England the next day, ready to welcome that first group of voyagers when they landed in England. Spivak was e-mailed of the difficulty as the plane was about to depart. He e-mailed Geller immediately. The next morning, at 5:00 am the group was to be picked up by limo in Barrie, Ont., driven to Pearson International Airport in Toronto where we would take the 9:00 am flight to England where we would land at 9 pm that same day.
That morning, at 5:00 am Sara Schwartz Geller was in Barrie to assure us the problem had been resolved completely and no further issues would arise. She wished us a bon voyage. She lives in Toronto, but at 5:00 am she was in Barrie to tell us all was ok and to have a great trip. I want this woman on my side if I get into trouble.
During the pandemic there is no in-person theatre. She had productions ready to go that were cancelled. This did not stopped the 'producer' in Sara Schwartz Geller. Instead of producing theatre she began producing soup. She formed a soup company called The Toronto Soup Co. which produces and sells soup out of her newly created store called Soul Provisions (571 Vaughn Road; 647-654-5065). And in keeping with her care and consideration of people, she donates soup to people in need with every container of soup she sells.
There are vegan, vegetarian and meat choices of soup. I've had all three variations and they are hardy, substantial and delicious. The hummus is the creamiest I have ever tasted. There are grain salads and other healthy meal choices. This summer she created an ice-lolly using the best fruit juices and if chocolate was involved it was Ghirardelli. Woow. The menu changes every month and you can order on line or go to the store where there is more choice. Delivery is free. If you are lucky Johnny will deliver your soup, a courtly, gracious, charming man.
Geller employs artists/theatre people to work in the store. She pays everybody very well. She displays and sells their art. Sara Schwartz Geller is a woman who is grateful for her good fortune and works to give back to the community and play it forward. She is an example to us all of how to live a good, conscientious life. The soup is delish. Try the hummus as well.
https://www.torontosoupco.com
Heads up for the week of Dec. 21-27.
There will be two more spotlights on Theatre Artists branching out.
There will be one last review with the Red Face of Fury, a fitting way to end this lousy year.
There will be a remembrance of a person who meant a lot to me.
The Tootsie Awards will be revealed.
Review of pen/man/ship
Streamed until Jan. 4, 2021
Written by Christina Anderson
Directed by Lucie Tiberghien
Set by Lina Younes
Costumes by Ari Fulton
Cast: Crystal Lucas
Kevin Mambo
Jared McNeill
Postell Pringle
Another terrific production from Molière in the Park briming with ideas and lots to think about.
The Story. pen/man/ship by Christina Anderson is a parable of a maritime story involving violence, racism, religious oppression and rebellion. One might think of the Rime of the Ancient Mariner but Christina Anderson has fashioned a play that is all her own.
"It's 1896 and Charles Boyd and his son Jacob board a ship in America heading for Liberia, Africa on a mysterious mission. Also with them is Ruby Heard an opinionated young woman who is a friend of Jacob.
On the open sea, an unexpected detour resurrects family secrets and reveals true intentions, fundamentally changing the course of their journey and their lives forever."
We soon see that Charles Boyd is a bible thumping bully to his son and the men of the crew. He is not happy that Ruby, a woman, is on the voyage. Charles has hired the crew and the captain and says that "I am the ideal man for this journey." He is going to survey land in Liberia. We are told the dastardly reason in the play. Charles has contempt for everybody, including the crew and keeps away from them as much as possible, except for one crew-member named Cecil. Cecil played the 'squeeze-box" and amused Charles. Most of the time Charles spends his time writing in his journal, drinking a bottle of gin and getting more and more paranoid.
Ruby is leaving America because she was treated badly as a Black woman. She has a stunning line that references Jim Crow and "peculiar fruit that hangs in our trees." A line that echoes Billie Holiday's song "Strange Fruit" and leaves you breathless. The crew and the captain are Black and so are Charles and Jacob.
Playwright Christina Anderson is writing about racism from a white point of view in the case of Ruby. But mainly she's writing about the racism within the race when you listen to the arrogance of Charles towards people he feels are beneath him—such as Ruby, the crew and his own son. I found that fascinating.
The Production. The title is a wonderful play on words because the words 'pen' 'man' and 'ship' are written as if 'penmanship' is broken up into syllable. And once you hear the story of the play the three words: pen, man, ship give a clever sketch of what the play is about.
Initially the production it looks like a zoom call. Each actor has his/her own square/location from where they are talking. But director Lucie Tiberghien is creative. The cast does interact. One might look sideways as if looking at a person to their left or right. The character who is looked at returns the gaze. Objects are passed from one character's square to another who reaches out to receive it.
In one scene the Ruby (Crystal Lucas) is talking to Jacob (Jared McNeill). She is looking out to us but behind her, hanging on a wall to her right is a small mirror and reflected in it is Jacob's face as if he is in the room with her talking to her with his back to us. It's one of many creative touches that raises the quality of this digital production above many others.
Sometimes the placement of a square with a person talking changes the dynamic. For example at times the square with Ruby is between that of Jacob and his father, Charles (Kevin Mambo), with Ruby being a bit above them both, showing a superiority she actually has on that ship. The men trust her and not Charles Boyd. She talks to them with interest. Crystal Lucas, as Ruby has a calm grace about her. She is an intelligent woman who is not intimidated by Charles Boyd. She's delt with many overbearing, bullying men like Charles and she is armed with the smarts and wit to outsmart him. Charles does not interact with them because he holds them in contempt. Kevin Mambo as Charles seems to have a permanent sneer on his face. Mr. Mambo is ever mindful of that arrogant line that Charles feels he is the only man who could have planned the voyage. I have news—Ruby could have done it in a snap, with delicacy. Mr. Mambo illuminates Charles' demons who haunt him at every turn. He's impassioned, paranoid, imperious, and volatile. He is overbearing with his son. He must have the last and first word. You get a sense of the kind of marriage he had regardless of the rosy picture he tries to paint. As Jacob, Jaret McNeill tries to stand up to his father when he isn't trying to please him. Jacob is a man trying to stand on his own two feet and be confident. Perhaps he can get that from Ruby. He won't get it from his father. Finally, Postell Pringle as Cecil, is an easy going man but with a sense of who he is. He's rather puzzled about what Charles sees in him as good company.
Lina Younes has designed a smart set. There is a model of a four masted schooner and it looks like it's rolling on something resembling blue water with curled waves that move the ship along. In fact the waves are made of clay shapes that are overlayed and filmed again and again to look like waves with the schooner on the waves. Ari Fulton's costumes are of the time of 1896—rich material, form-fitting for Jacob, Ruby and Charles, and tatters for Cecil. To suggest the whole crew we see silhouette figures on the ship's deck. Terrific production.
Comment. This is Molière In the Park's first contemporary play. I think it's a beauty. I've only discovered this wonderful company on line. What a powerhouse organization. They usually do productions of Molière's plays.Because they believe in serving the multi-ethnic, diverse people of Brooklyn's Prospect Park they do their production in open spaces (parks for example), and they offer them for free. In this time of Covid, the company explores the many opportunities to use technology to bring theatre to a wider digital audience. And they have adapted beautifully to this pandemic world.
pen/man/ship is a beautifully written play about racism in unusual places, greed, escape, and freedom. I'll be looking out for more work from Christina Anderson and this wonderful company.
pen/man/ship is available on the Molière in the Park YouTube channel until Jan. 4, 2021:
https://www.youtube.com/moliereinthepark
An Appreciation of Something Rich & Strange.
Streamed until June 1, 2021 from Koerner Hall
Conductor, David Fallis
Director, Marshall Pynkoski
Choreographer (Something Rich & Strange), Jeannette Lajeunesse Zingg
Set designer/Art director, Gerard Gauci
Lighting designer, Michelle Ramsay
Filmaker, (The Eye and Eye's Delight), Marcell Canzona
Composer/performer for The Eye and Eye's Delight and Inception, Edwin Huizinga
Contemporary Choreographer/Dancer Inception, Tyler Gledhill
Cast: Colin Ainsworth
Measha Brueggergosman
Christopher Ennis
Edwin Huizinga
Danielle MacMillan
Cynthia Smithers
Artists of Atelier Ballet
Tafelmusic musicians.
Exquisite in every way.
Note: As always I am not 'reviewing' the singing or dancing of the piece because they have a different vocabulary that I would not presume to comment on with any justice. So consider this as an appreciation of the artistic gifts of director Marshall Pynkoski and choreographer Jeannette Lajeunesse Zingg and their creation.
Co-Artistic Directors, Marshall Pynkoski and Jeannette Lajeunesse Zingg had planned to produce Mozart's The Magic Flute and Purcell's Dido and Aeneas to celebrate their 35th Anniversary Season this year. A pandemic put a stop to that. They explain: "But Opera Atelier remains committed to creating beautiful theatre—even in the face of adversity! In fact, the challenges inherent in producing under Ontario's health and safety guidelines have proven to be exciting challenges, and a genuine catalyst for creativity." It's such resilience and tenacity along with an unwavering esthetic that has brought Pynkoski and Zingg to the 35th anniversary of this wonderful company.
In Something Rich & Strange, their first offering of their 2020/21 Season of Visions and Dreams,they have created a program of music and dance from such works and composers as: Purcell's "Music for a While" from Oedipus, Handel's "Mi Lusinga il dolce affetto" from Aldina, Lully's "Transformation" from Armide, Rameau's "Entrance of Mercury" from Platée Locke's "Curtain Tune" from The Tempest and a new work from Edwin Huizinga entitled The Eye and Eye's Delight.
While each piece is distinct and separate, Marshall Pynkoski and Jeannette Lajeunesse Zingg and their creators have fashioned the evening so that it seems a cohesive piece in which each segment focuses on dreams, secrets, desires and visions and seamlessly blends into one another.
They offer a synopsis: "The evening opens with the appearance of an Angel (the luminous, majestic Measha Brueggergosman), who is herself recounting a dream-like experience. A doe in the wood catches the eye of the Virgin as she passes by, and as a result, magically gives birth to the Unicorn.
The Angel, in turn, bends her face so close to that of the Virgin, that the encounter instills something beyond ecstasy—the Angel's encounter with perfection engenders terror—a terror that becomes the catalyst for song.
Tonight we are reaching towards perfection—a beauty so extra-ordinary we can only approach it through the safety of sleep.
Morpheus, The God of Sleep, appears and sends the entire cast into a deep, protective slumber, from which each singer and dancer emerges to recount their encounter with perfection.
Some encounters result in fear, some in anxiety and confusion, and others in joy. For every performer, the encounter is cleansing and cathartic—exactly what we wish for our audience tonight."
Gerard Gauci's simple, exquisite set adds to the beautiful esthetic. A screen suspended at the back over the stage projects a different image that conveys the change in the segment. Gauci's stunning star-like design for the floor offers filmmaker Marcel Canzona beautiful over-head shots of dancers gracefully negotiating the space.
Both Marshall Pynkoski and Jeannette Lajeunesse Zingg bring their fascination with the music, dance and theatre of the 17th and 18th centuries to the stage. Their productions look like exquisite paintings come to life. Zingg's work as choreographer with her careful placement of the hands and arms of the dancers, make me look harder to appreciate this vocabulary that creates ballet.
Even the staging of their star singers: Colin Ainsworth, Mireille Asselin, Measha Brueggergosman, Christopher Enns, Danielle MacMillan and Cynthia Smithers, make them look as a piece with the dancers. There is no jarring movement that takes away from the grace of 'the line'.
Tyler Gledhill is the contemporary choreographer for the evening and a dancer in Inception. There is a muscularity and sensitivity in his dance.
While this is a staged production that was filmed in Koerner Hall it does not look like a film. It does look like a beautiful theatrical production come to life through technology. Kudos to Michelle Ramsay for her shimmering lighting that illuminates every artist.
I started going to Opera Atelier productions years ago. It was a company I had heard of but was not familiar with at the time and thought I should open my horizons to other art forms. It's been an exquisite (that word again) education, in art, dance, music, opera, singing, painting, sculpture and what perfection looks like. I don't ever get the sense that co-artistic directors, Marshall Pynkoski and Jeannette Lajeunesse Zingg ever user the word "compromise". Their audiences are the better for it.
Available for streaming until June 1, 2021.
https://www.operaatelier.com/season-and-tickets/2020-2021-season/something-rich-and-strange-opera-atelier
Mon. Dec. 14, 2020 at 7:30 pm
Live streamed benefit reading.
A King and No King
By Beaumont and Fletcher
From the wonderful Red Bull Theatre.
Absolute power corrupts absolutely in this delicious Jacobean tragicomedy. Arbaces, the King of Iberia, conquers Tigranes, King of Armenia, and offers him noble treatment – and his sister for a wife. But it's been awhile since Arbaces has seen his sister. When he does, he is seized with incestuous passion. Arbaces resists this forbidden love with all his might – until she professes she loves him too! But now, what to do about Tigranes? Alongside the natural pleasures of a surprisingly funny tragedy, A King and No King also offers some particularly piquant allegory for this time of transition from one administration to the next. Find out more.
Directed by José Zayas, this livestream benefit reading will feature Rajesh Bose, Robert Cuccioli, Edmund Donovan, Franchelle Stewart Dorn, Topher Embrey, Chukwudi Iwuji, Teresa Avia Lim, Cara Ricketts, Socorro Santiago, Reagan Tankersley, Craig Wallace, and CJ Wilson.
(Note that Cara Ricketts is involved—she's done great work in Canada)
This is a LIVE EVENT. This exceptional cast will come together to present the play LIVE from their homes––anything can happen. It will premiere at 7:30 PM EST on Monday, December 14. A recording of the broadcast will be available until 7:00 PM EST on Friday, December 18 – then it disappears. GET DETAILS
GET FREE TICKETS
Thurs. Dec. 17, 2020 beginning at 6:30 pm
Live streamed.
All the Sonnets of Shakespeare
Professor Sir Stanley Wells and Dr. Paul Edmondson, of the Shakespeare Birthplace Trust, launch their new book on the celebrated lyric poems that have prompted so much speculation over the centuries. Their discussion of the discoveries they made by freeing the sonnets from the order in which they were printed in 1609, and complementing them with passages from the plays, is accompanied by readings by Ijeoma Emesowum and Geraint Wyn Davies.
If you are not familiar with Sir Stanley Wells and Dr. Paul Edmondson are, you are in for a treat. They are rock stars in the world of Shakespeare. And the readings by Ijeoma Emesowum and Geraint Wyn Davies are a wonderful bonus too.
Leer Estates created and performed by Dan Chameroy is a hoot about the zany goings on by the rich, bored and wanting to be famous.
Details: https://www.stratfordfestival.ca/AtHome
Fri. Dec. 18, 2020 at 7:30 pm
Live streamed reading
Produced by Studio 180 from their "In Development" Series
By Ali Joy Richardson.
Directed by Ann-Marie Kerr
Starring: Courtney Ch'ng Lancaster, Thomas Olajide & David Storch
"Roy, a revered theatre school teacher, falls from grace after his behaviour with a student comes to light. Mark, his past student (now colleague), has to make him understand. Vic, Roy's daughter, desperately needs her Dad to do the right thing. Nobody's giving up without a fight. Dad asks us: What does true atonement look like? What comes after the fall? And can we ever learn the hardest things?
After the reading, join playwright, Ali Joy Richardson, and director, Ann-Marie Kerr, to ask questions about the creative process and dive into the themes of the play in breakout discussion groups."
I think Ali Joy Richardson is one of the up-and-coming writers to watch. From past productions I've seen of hers, her story-telling is compelling and her dialogue dazzles with invention.
https://studio180theatre.us11.list-manage.com/track/click?u=35c6ce77f7e9c153ebfb30451&id=35746178b7&e=faf15d4fd9
Sat. Dec. 19 and Sun. Dec. 20, 2020
There's No Place Like Home for the Holidays
Produced by Ross Petty Productions.
Streamed digitally Sat. Dec. 19 and Sun. Dec. 20 between 10:00 am and 9:00 pm
No global pandemic will stop Ross Petty from producing his zany holiday family musical. And while we can't gather in a theatre proper, we can enjoy the show in the comfort of our own homes. Cheering our favourite characters and booing the villain is very encouraged, the louder the better. It's the show we need for a laugh, a smile and to get us through these difficult times.
After 24 years of producing cherished holiday family musicals on Canadian theatre stages, Ross Petty is putting his magical touch on the first-ever virtual pantomime show for national broadcast as narrator. In a surprising twist of events, There's No Place Like Home For The Holidays picks up from the iconic heel click in Wizard of Oz and follows Dorothy on her journey home meeting new friends and encountering many entertaining moments along the way.
There's No Place Like Home For The Holidays, a hilariously entertaining and interactive virtual family show that will deliver holiday spirit across the country in support of Kids Help Phone. There's no Place like Home For The Holidays is an accessible, safe and fun way for all families in Canada to experience the magic of a Ross Petty Productions family musical. The show will be available for viewing from the comfort of Canadian homes on Saturday December 19 or Sunday December 20, 2020.
"We think families in Canada will be delighted to meet our hilarious cast of characters as played by musical theatre stars Dan (Plumbum) Chameroy, AJ Bridel, Eddie Glen, Camille Eanga-Selenge, Sara-Jeanne Hosie and Alex Wierzbicki. We've taken our beloved family winter holiday tradition at Toronto's Elgin Theatre and reconfigured it to bring its silliness and joy into homes across Canada." said Ross Petty of Ross Petty Productions. "It's been such a pleasure putting this show together. Matt Murray has written a brand new script featuring the fun of being together, dealing with adversity, and feeling excited about the holidays."
ROBERTA BATTAGLIA, CANADA'S BELOVED 10 YEAR OLD STAR AND FAMED "GOLDEN BUZZER" WINNER ON NBC-TV'S 'AMERICA'S GOT TALENT' IS SET TO PERFORM IN "HOME FOR THE HOLIDAYS."
A PORTION OF SALES PROCEEDS FROM 'HOME FOR THE HOLIDAYS' WILL BE DONATED TO KIDS HELP PHONE, CANADA'S ONLY 24/7 E-MENTAL HEALTH SOLUTION OFFERING FREE, CONFIDENTIAL SUPPORT IN ENGLISH AND FRENCH TO YOUNG PEOPLE.
· Tickets are $35.00 per household
· Tickets available for viewing on Sat. Dec. 19 or Sun. Dec. 20 between 10 am and 9 pm
· Tickets are available for purchase at www.rosspetty.com.
· A portion of each ticket sale goes to Kids Help Phone
Reviews of two stunners: The Flying Lovers of Vitebsk and Ohio State Murders
Streaming on demand until Dec. 18, 2020.
Written by Daniel Jamieson
Directed by Emma Rice
Composer & Musical Director, Ian Ross
Set and Costumes Designed by Sophia Clist
Lighting by Malcolm Rippeth
Sound and Broadcast Designer, Simon Baker
Co-choreographers, Etta Murfitt and Emma Rice
Cast: Marc Antolin
Audrey Brisson
Musicians: James Gow
A tender, moving play about the love story of Marc Chagall and his wife Bella Chagall, given an exquisite production directed by Emma Rice.
The Story and Comment. The Flying Lovers of Vitebsk was written by Daniel Jamieson and it's directed brilliantly by Emma Rice. It's produced by the powerhouse theatre company called Wise Children (Emma Rice is the founder and Artistic Director of the company), in collaboration with the Bristol Old Vic and Kneehigh theatre company.
Interestingly the play was originally entitled Birthday when it was first done in 1992. The two people playing Marc and Bella in that original production were Daniel Jamieson and Emma Rice.
It's a two-character play with musicians now and it's the story of artist Marc Chagall, his obsession with art, his focus on colour and wild imagery and how he was besotted with Bella the first time he saw her.
He was born to a poor Jewish family in Vitebsk, Russia in an area that is now Belarus. She came from a wealthier Jewish family in the same town. He was awkward and shy around her, but also bold. She was confident and almost amused by this young man but she did love him. Just as quickly as they fell in love, he left for four years for Paris to paint, learn about art etc. make contacts. She was a bit miffed he was away so long and didn't write often. He tried to explain that he had a showing in Berlin so painting occupied his time. But he also decided that when he got home he'd marry Bella.
The title of the show, The Flying Lovers of Vitebsk says everything about this charming, moving show. They were lovers and they were from Vitebsk, so that's easy. But the flying part references Chagall's work. He was noted for wild oversized characters, often suspended in air. And he was also known for his bold colours used in an extravagant way.
In one painting there is a large, exaggerated man playing a violin in the air with one foot on the roof of a very small house. (yes, this is where the idea of a Fiddler on the Roof came from). In the painting "The Promenade", Chagall painted himself and Bella euphoric in love. He's on the ground smiling, they are holding hands but she is also smiling and is totally in the air, as if floating side-ways on a breeze.
It was a life full of uncertainty and difficulty. They endured: pogroms, being unsafe in Russia because they were Jewish, antisemitism, and displacement until they finally found themselves safe and accepted in New York. And through it all Chagall painted and was celebrated for his work. The only time he stopped painting was after Bella died of an infection. It was WWII and there was not enough medicine available to fight the infection. But hardship comes into every love story.
The Production and Comment. The live production of The Flying Lovers of Vitebsk was filmed live in an "empty theatre"—the Bristol Old Vic—and Emma Rice used actors with whom she's worked before. There actually was an audience. Emma Rice noted the two masked people over there in a side box who usually worked in the box office for the Bristol Old Vic. She noted the technicians, lighting designer etc, around the space and the person filming her while she talked to us watching from home. I found that whole introduction to the 'empty theatre' and the ones watching there to be very moving.
The streaming has been held over from today Dec. 11 to Dec. 18. What people will be seeing is the recorded show, not live. It doesn't matter—it's all magical.
Emma Rice directs this production with her usual flair, blazing imagination and inventiveness. Sophie Clist's set of leaning poles is quirky and seems off kilter. Poles tilt and meet at odd angles and could be considered several lopsided frames for paintings. Often Marc Antolin as Marc Chagall would lean out to Audrey Brisson as Bella as if assuming a pose in a painting or perhaps leaning into space and air. He wears make-up, a dusting of white on his face to look ghostly, otherworldly or just appropriately of the world of Chagall. She looks gamin. Together they are charming. Antolin assumes an expression of constant amazement at the images he sees and envisions. He is always curiosity, focused on creating his art, almost oblivious to the cruel world around him. Brisson is matter of fact, delicate, sensible, sometimes exasperated by him but loving just the same.
At one point a friend comes to see Bella and she notes that the friend had a very red face. Emma Rice represents the friend as a red balloon on the end of a long string. Then I realize that Emma Rice is directing the production as if it was a Marc Chagall painting. She stages her actors as if they are often floating—all that tilting and reaching out. She uses images (the balloon) as Chagall would use images that seem odd or out of place. I thought it all was stunning. I urge people to see this wonderful production directed by this gifted director. If you can't see an Emma Rice production in the flesh, this is the next best thing. It gives a wonderful sense of her tremendous creativity.
Be mindful of the five-hour time difference from the U.K and Canada. The times given when you order tickets are for the time in the U.K.
The Flying Lovers of Vitebsk streams digitally until Dec. 18.
For tickets please go to:
https://www.wisechildrendigital.com/book-tickets
Ohio State Murders
Streamed for digital viewing.
Written by Adrienne Kennedy
Directed by Valerie Curtis-Newton
Lighting by Sherrice Mojgani
Sound by Larry Fowler
Visual Effects by Kelly Colburn
Cast: Rex Daugherty
Yao Dogbe
Heather A. Gibson
Lynda Gravátt
Billie Krishawn
Andrea Harris Smith
Note: Ohio State Murders by Adrienne Kennedy is the third play of an on line four part festival of her work. I've already reviewed the first two plays of that festival.
The Story and Comment. Ohio State Murders was originally produced in 1992.
Suzanne Alexander is a writer who is invited to Ohio State University to talk about her work explain why it has such violent imagery. (Suzanne Alexander is a character who often appears in Adrienne Kennedy's work. Is she a stand in for the playwright? In some plays it does seem so).
Suzanne Alexander begins her 'lecture' by talking about the life of her younger self. She was in fact an undergraduate student at Ohio State in 1949. She was diligent, hard-working, shy. Attentive. She took an English course with Professor Robert Hampshire. They were studying "Tess of the d'Urbervilles" by Thomas Hardy, about a good woman who was wronged by class, position in society, people who took advantage of her.
Young Suzanne Alexander wrote an essay for the class and the professor called her into his office. "Did you write this essay?" he asks, implying she couldn't have. Should I say here that Suzanne is Black and the professor is white. Suzanne is slightly offended that her integrity would be called into question. She was able to comments on it her essay and the novel as proof that the work was hers.
Professor Hampshire says quietly that the essay and the analysis is brilliant. A relationship develops between Suzanne and Hampshire. When the young Suzanne speaks to the audience she refers to someone named Bobbie. She says she's pregnant. We realize that Bobbie is Robert Hampshire, the professor. When she tells him she's pregnant, he says that she can't be pregnant because they were only 'together' twice. I guess Hampshire didn't read "Tess of the D'Urbervilles" very carefully to pick up how it only takes one time to get pregnant.
When Suzanne began her undergraduate studies, she did not declare a major. After that one year she applied to take English as her major but is denied. It is hinted she was denied because she was Black.
She gives birth to twins and there is no question she will keep them and raise them herself since Hampshire has no interest in being responsible. One day one of them is kidnapped and found drowned soon after. At first it's not clear who could have done it. Suzanne suspects Robert Hampshire did it, but the authorities don't look hard enough to prove it. The university protects Hampshire and expels Suzanne. And it goes from there.
Adrienne Kennedy is continuing with her theme of racism and class distinction as seen in He Brought Her Heart Back in a Box and Sleep Deprivation Chamber the other two plays I've seen in the series. (Etta and Ella on the Upper West Side begins streaming Dec. 12).
She establishes the systemic racism of that University. Suzanne did not find safety or sanctuary there. She was not allowed to continue as an English major because of a racist system that held Blacks back even if they were talented students like Suzanne. The university protected the white Professor. Suzanne had a champion in her aunt but they seemed alone in that world. Suzanne found the love of a good man but what she endured was astonishing.
Production and Comment. The production is presented as a partial reading and partially performed for a streaming platform and it's stunning. Lynda Gravátt plays Suzanne Alexander, the older, established writer who is narrating the story, with wonderful understatement. She is reading her script as if she is reading a paper for a lecture. She is tempered, measured and does not betray an anger or pent up emotion. Her younger self, is played by Billie Krishawn again as quiet, understated and attentive, certainly when she is in professor Hampshire's lectures.
Hampshire is played quietly by Rex Daugherty. Daugherty deliberately does not imbue Hampshire with any enthusiasm when he is reading "Tess of the D'Urbervilles" in class. I thought an odd choice in this case. Perhaps it's the conversations between Suzanne and Hampshire out of the classroom that that we don't hear, that intrigued her and drew him to her. We can appreciate that her brains and analytical acumen drew her to him.
So we get the sense from Valerie Curtis-Newton's direction that they were directed to be calm, controlled and not raging or angry in their delivery. In a way they have to come to the last line of the play that should be a wallop—as to why her work is so full of violent images. The quietness of this presentation emphasizes the violence done to Suzanne and it should leave you limp. Which it did to me.
With every play I see of Adrienne Kennedy I'm stunned and impresses anew. She's a towering presence in the American theatre. And everybody should read her work not only go get a forceful look at racism through the ages in America but also to see a playwright at the top of her powers.
Ohio State Murders streams digitally until Feb., 2021.
https://cart.roundhousetheatre.org
Review: UNTIL THE FLOOD
by Lynn on December 8, 2020
Live Streaming for Free.
Written and Performed by Dael Orlandersmith
Directed by Neel Keller
Set by Takeshi Kata
Costumes by Kaye Voyce
Lighting by Mary Louise Geiger
Sound /Composition by Justin Ellington
A shattering piece of verbatim performance theatre about the death of Michael Brown in Ferguson, Missouri. And everybody should see it. Dael Orlandersmith is stunning.
Background: In 2014 in Ferguson, Missouri Michael Brown, a black youth allegedly stole a box of cigars. The police were called and Officer Darren Wilson allegedly shot Mr. Brown several times and killed him. The details of what exactly happened were confusing. Officer Wilson said he shot in self-defence. Alleged witnesses disagreed. Officer Wilson was found innocent of any wrongdoing by a Grand Jury and was released.
Conservatory Rep Theatre of St. Louis commissioned Orlandersmith to create the piece in 2015 and also produced it.
Dael Orlandersmith is an American playwright who interviewed people in Ferguson, Missouri about their thoughts on the events. She did not interview any of the people who were witnesses or the police. She culled the interviews and we hear the words of eight of them, alternating between a Black person and then a white person. Orlandersmith plays all the parts speaking in their voices.
They are all ordinary people: a retired school teacher, a barber, two 17-year-old Black High school students, a retired police officer, a landowner and electrician, a school teacher and a minister.
In the voice of each interviewee, Orlandersmith speaks the name of the person, their general age, if they are Black or white and their job.
Takeshi Kata has designed a set with a single chair in the middle of the stage. Around it looks like a garbage strewn street or playground. Kaye Voyce has created the costumes for each character. One might wear a bomber jacket, another a scarf or shawl. It seemed as if each one wore something with a vibrant pinky-orange colour to it. That colour on some part of different costuming seemed to bind these different characters in the event, not as being shackled, but as sharing the event.
Until the Flood begins and ends with "Louisa Hemphil, Black, early 70s, retired school teacher." Louisa quietly sets the tone, concern, emotional toll, prejudice, attitudes in that town and almost as an afterthought, the effect of the killing of Michael Brown.
She says, "I'm angry at him. I'm angry in general." She laments that Michael Brown was so close to graduating high school and could have gotten out of there to a better life. She tells how she left Ferguson, Missouri to go to teacher's college in New York City. She came home to see family and recounts going into a local store run by a (white) woman she had known for years. Her family frequented the store. Ms Hemphil was greeted by the woman who chided her about leaving her town to go elsewhere for her education, as if this was a betrayal. Orlandersmith delivered these words in a measured way, not forced or full of contempt.
Hemphil continued by saying when she was younger she thought her father acquiesced to being treated badly by whites. Her mother came back at her with pointed words who set the young woman straight about what she and her father had to endure to survive there. My cheeks stung with embarrassment for the rebuke and the reason her mother had to give it.
We get the clear sense of no matter how friendly Blacks and whites were in that town, there was a sense of standing off, being apart, not melding.
Hassan was a Black 17-year-old, student, rapper-loving man who said he didn't care about dying and that he was going with the flow.
He was contrasted with Paul, also Black, also 17-years-old and a student. He knows and says that "it could have been me." It could have been him that was shot by the police, not because he had stolen anything, but because he was Black. You sense the very fine line Paul has to walk on to not get killed for no reason. He just had to graduate high school and get out. Hearing his story made you hold your breath, you so wanted him to be safe.
"Dougray Smith, white, late 30s early 40s, landowner, electrician." He scared me. As a kid he was a reader. He loved books. His father was a bully and beat him questioning his 'manhood' because he loved books. One day Dougray was reading Steinbeck and his father took the book away and threatened to burn it. The last straw for Dougray. He took a chair and hit his father with it, left the house and never went back. He was 16. He lived in shelters for a time. Finished school; got jobs and worked hard; became and electrician; married; saved his money and bought properties as investments. He bought them in the Black section of town and said that he always got his rent on time. "Blacks know not to be late with the rent to me." Orlandersmith said this quietly but with an edge, looking at the camera, a hard look.
One day Dougray was with his young son and the boy was bullied by some Black kids and came crying to his father. Dougray told his son to get right back there and beat that kid up, and Dougray suggested his son was a sissy for not doing it. The boy went back and beat the kid. His son was five years old. You suck air slowly with this complex, difficult story. The son bullied by his father becomes a bullying father to his own son. And so it continues, the anger, the racism, the divide.
There were other interviews in Until the Flood told with compassion, wit, humour, perception, and wisdom. These people were complex, multi-layered and articulate in their own way. You get such a clear idea of the lives of the Black interviewees living in white America and how they were so different from their white counterparts. Orlandersmith is brilliant in showing one's pre-conceived ideas about another's life, not only from the point of view of the characters in the play regarding each other, but also from our point of view of them. She is never judgemental. She let's her characters have their say. It's a balanced, devastating work and every single person should see it.
Until the Flood streams at https://www.centertheatregroup.org/digitalstage/digital-stage/until-the-flood-streaming-on-all-arts
Heads up for the Week of Dec. 7-13.
Heads up for the Week of Dec. 7-13, 2020.
Mon. Dec. 7, 2020. 7:00 pm
Critical Reflections (Live Panel Discussion)
Monday, December 7 at 7:00 pm ET
A live panel discussion examining the critical and academic response to Adrienne Kennedy's work, moderated by Dean of the College at Princeton University Jill Dolan and featuring Washington Post theatre critic Peter Marks, Star Tribune reporter Rohan Preston, and director and arts critic Regina Victor. Free and open to the public. View on YouTube
Tues. Dec. 8, 2020. 7:00 pm
Playwrights Canada Press book launch.
Join Playwrights Canada Press in celebrating the launch of five new amazing plays with a virtual group author reading from across the country! Featuring Christine Quintana reading from Selfie, Beth Graham reading from Pretty Goblins, Trina Davies reading from Silence: Mabel and Alexander Graham Bell, Norm Foster reading from The Writer, and Colleen Murphy and Janet Tamalik McGrath reading from The Breathing Hole | Aglu ᐊᒡᓗ
I've seen many of these plays in performance. Well worth your time to check them out.
Here is the link to register.
Caesar and Cleopatra
With Christopher Plummer and Nikki M. James. The filmed production that played at the Stratford Festival several years ago.
Part of Stratford@home as well as the zany Leer Estates, created, performed and lots of other things by Dan Chameroy.
Fri. Dec. 11-18, 2020.
Directed by Emma Rice.
It's the love story of Marc Chagall and his wife Bella. It played on line last week and will be held over from Dec. 11-18 on demand. Have you ever seen Emma Rice's work? She's brilliant.
She has directed this like a Marc Chagall painting! See it.
From the press info:
"We've had such a wonderful response from you all, and so many requests to make the show available for a bit longer, that we have added a week 'on demand' to the schedule. You can now buy a ticket to watch a recording of the show at any time from the 11th to the 18th December.
Bristol Old Vic, Kneehigh and Wise Children present
Kneehigh's The Flying Lovers of Vitebsk
With music by Ian Ross
Sat. Dec. 12, 2020. 2:00 and 7:00 pm
pen/man/ship
"Join us in admiring their fantastic work in our virtual presentation of pen/man/ship, featuring the groundbreaking new technology StreamWeaver and bringing live acting, real-time lighting and sound design, as well as live camera cuts, to your living room.
Christina Anderson writes a telling parable about violence, betrayal, faith, and freedom in this moving maritime epic."
pen/man/ship is a Molière in the Park Production
Co-Presented by French Institute Alliance Française (FIAF)
In partnership with Prospect Park Alliance and LeFrak Center at Lakeside.
French subtitles will be available. A recording of the show will be accessible until January 4th.
Sat. Dec. 12, 2020. 7:00 pm
Something Rich & Strange
Opera Atelier proudly announces the new livestream date of the highly anticipated world
premiere of Something Rich & Strange, based on the famous quote from Shakespeare's The Tempest and featuring some of Canada's finest artists, Saturday, December 12, 2020 at 7pm.
The production will be livestreamed from Koerner Hall at the TELUS Centre for Performance and Learning.
The production will feature the full corps of Artists of Atelier Ballet with choreography by Jeannette Lajeunesse Zingg C.M., stage direction by Marshall Pynkoski C.M., set design by Gerard Gauci , and musicians from Tafelmusik led by Music Director Elisa Citterio under the baton of OperaAtelier Resident Music Director David Fallis .
Something Rich & Strange features Baroque arias and dances exploring the themes of sleep, visions and dreams and will include theatre music by Handel, Lully, Locke and Purcell.
This extraordinary production will also feature a brand-new creation by Canadian violinist/composer Edwin Huizinga for Canadian Soprano Measha Brueggergosman. Huizinga's composition is based on the Symbolist poem by Rainer Maria Rilke titled Annunciation , for which Opera Atelier has commissioned a new English translation by American author and playwright Grace Andreacchi.
Something Rich & Strange will include a luminary cast of Opera Atelier audience favourites: Sopranos Measha Brueggergosman , Mireille Asselin , and Cynthia Smithers, Tenors Colin Ainsworth and Christopher Enns, Mezzo-Soprano Danielle MacMillan , and Artists of Atelier Ballet , with additional contemporary dancechoreography created by Tyler Gledhill.
Tickets and information to the livestreamed production of Something Rich & Strange :
OperaAtelier.com
Purchase livestream tickets to both Something Rich & Strange(December 12, 2020) and The Resurrection (April 1, 2021) and receive an invite to a special Zoom chat with Opera Atelier's creative team! Chats will take place on November 19, 2020 at 7PM ET and on March 21, 2021 (time TBD).
Etta and Ella on the Upper West Side |World Premiere
By Adrienne Kennedy | Directed by Timothy Douglas.
This is the last in the four-part Festival of Adrienne Kennedy's plays.
Etta and Ella Harrison are astoundingly gifted scholars, deeply connected sisters, and dangerously bitter rivals. They frequently write and teach together, and even their separate works are unnervingly similar, often sourced from their own family history. Now, after a lifetime of competition, they are on the verge of destroying each other. Set against the gothic backdrop of their academic New York world, Etta and Ella on the Upper West Side is a taut, kaleidoscopic tale of ambition and madness—brought to theatrical life for the very first time.
Buy tickets | Learn more
Reviews of two stunning plays by Adrienne Kennedy
Two plays from Adrienne Kennedy: He Brought Her Heart Back in a Box and Sleep Deprivation Chamber.
Streaming on-line from the Round House Theatre until Feb. 21 as part of a festival devoted to "The Work of Adrienne Kennedy, Inspiration and Influence."
You can book tickets to the whole festival of four of her plays (and it's a deal if you do), or you can book them individually. (Ohio State Murders streams Dec. 5 at 7:00 pm, Etta and Ella On The Upper West Side steams Dec. 12 at 7:00 pm)
NOTE: Adrienne (pronounced ADD-rienne) Kennedy might be considered one of the most accomplished, respected and honoured American playwrights you've never heard of. She is a great chronicler of the Black experience in America. Her plays are mainly autobiographical and if the two I have just seen are any indication, they are astonishing. Her language is vivid. She is poetic in her writing, often surreal, references history and grips you in the world of her plays.
He Brought Her Heart Back In A Box
Directed by Nicole A. Watson
Lighting by Sherrice Majgani
Sound by Darron L. West
Cast: Michael Sweeney Hammond
Mayo Jackson
A chilling history lesson from 1941 of Blacks in America.
Introduction to the play: The play was introduced by Jeremy O. Harris—a blazing young talent in the theatre. He wrote Slave Play while he was still a student at Yale. It played on Broadway last year.
Jeremy O. Harris said that he saw the premiere of He Brought Her Heart Back in A Box in Brooklyn in 2018. And he says of Adrienne Kennedy: "When I was a young playwright and theatre aspirant, Adrienne's work has been a North Star for me.
I've always felt that it's one of the playwright's supreme duties to look at their own histories and their own traumas and draw from that some universal truth that can't be denied no matter how dark or complex or unwieldy….
And if you are a playwright in which you decide that is the way you want to work, there is no other playwright to look at than Adrienne Kennedy."
(I love that comment—'When I was a young playwright…" Jeremy O. Harris is now 31 years old!)
The Story. He Brought Her Heart Back in a Box is set in Montefiore, Georgia in June 1941.
Chris Ahern is a young, privileged white man. His grandfather established and 'designed' the town, making sure that the Blacks and the whites were separate.
The grandfather didn't think the Blacks needed anything better than dirt roads, or needed grave markers in the cemetery, or should have mail delivery—they could go and pick up their mail and he felt they certainly should not be allowed to try on clothes at a certain department store.
Chris's own father, Harrison Ahern, prospered and became a landowner. Harrison Ahern also fathered several black children in the town. He gave them some attention—made sure they went to the Black boarding school for an education, bought a piano for one of them to practice her music, etc. Everybody knew Harrison Ahern fathered those children. Chris's father has passed away before the play begins.
Chris's mother was none too happy about her husband's wayward ways and made sure her husband's illegitimate children never inherited any of the family's property or wealth. On this particular day, Chris's mother had just been buried. Chris did not seem too broken up about her death.
Kay is a young Black woman of the town and of course knew Chris. Kay's mother gave birth to her when she was 15 and the shame of it drove her out of town. Kay's father was Chris's uncle. Kay's father almost never acknowledged her if he saw her in the town.
Chris has feelings for Kay and we see that now that both his parents are dead Chris can express them to her and tell her of his plans. He says he wants to leave the town and go to New York and be an actor. And he wants to marry Kay and after the war they can go to Paris. From the way Adrienne Kennedy has established the arrogant stiff-fisted attitudes the Ahern family, Chris would never have been allowed to have feelings for Kay or even think of being an actor.
Kay is mindful of the difference between them. He calls her Kay and calls him Mr. Chris.
Adrienne Kennedy establishes this complex world the powerful taking advantage of those that can't fight back. She paints a vivid picture with language. At one point Chris says of his grandfather that he "understood how language can be used to humiliate." At another point Adrienne Kennedy writes of "the devastation of the human spirit. "
The Production and Comment. Nicole A. Watson has directed a spare, economical, inventive production. The two actors have memorized their parts. (Agyeiwaa Asante read the stage directions)
If there is a reference to the Black boarding school, one of the characters holds a small model of it in her hand. Some small props are held up to establish artifacts in a store room that Chris is working in.
In their first scene, Chris and Kay are side by side looking out to the 'unseen audience'. Michael Sweeney Hammond as Chris is sweet, awkward, blinkered and clueless about his privilege. But there is nuance in Hammond's performance that suggests that Chris has some understanding of the inequity. Is it a step forward in his world that he actually wants to marry Kay, considering that both his father and uncle fathered children with young Black woman no older than 15-years-old it seems. I would imagine that Chris knew his mother would never allow him to be an actor and certainly not marry a Black woman.
As Kay, Mayo Jackson is savvy, aware, and you sense she internalizes everything rather than blurt out what she really thinks. There is an obvious difference between that white privilege and the 'respectful Black person' who has to endure the inequity, slurs and subtle innuendo.
In this exquisite one act play, Adrienne Kennedy harkens back to another time, and paints a compelling picture of that world in America in the 1940s.
Sleep Deprivation Chamber
Written by Adrienne Kennedy and Adam P. Kennedy
Directed by Raymond O. Caldwell
Sound by Tosin Olufolabi
Cast: Kim Bey
Deimoni Brewington
Rex Daugherty
Marty A Lamar
David Schlumpf
Jjana Valentiner
Craig Wallace
Like a punch to the gut.
The Story. Teddy Alexander is a Black college student studying theatre at Antioch College Theatre Department. One night he's driving home when he's followed for a few blocks by a police car that has the siren and the lights going, wanting to pull him over. It turns out Teddy has a broken tail light. Teddy Alexander is very close to home and drives slowly but only gets out of the car when he drives into his driveway. Teddy gets out of the car to find out what the officer wants.
The police officer beats, drags, and pins him in the driveway of his family's Arlington home—all because of a broken taillight. The officer beats up Teddy thinking Teddy is being difficult but he isn't. And Teddy is charged with assaulting the officer which he says never happened.
The play alternates between Teddy being arrested, preparing for his trial and terrified he could go to jail, and his mother Suzanne fighting his cause. She writes endless letters to the governor, her senator, the police department, all in an effort to alert them to the injustice of the situation. She can't sleep. She has nightmares of Shakespearean dimensions—Suzanne teaches playwrighting.
Teddy is told that if he pleads guilty to a lesser charge he could get off. Maybe. But Teddy is a man of principle, he knows he didn't do anything wrong and won't lie that he's guilty. You look at his two accomplished parents who are still caught in that inequity.
Adrienne Kennedy does not paint a picture that is cliched, in which we would know what's going to happen. Again, her language is chilling. For example, when Teddy is punched repeatedly in the chest he gasps. "I can't breathe. I can't breathe. I'm an American citizen, could you please let me up and breathe?"
Sound familiar? Here's the chilling part, the play was written in 1996. And it actually happened to Adrienne Kennedy's son Adam who co-wrote the play. So here we have an autobiographical play that just hits you in the gut. As the program note states: "Sleep Deprivation Chamberis a chilling meditation on race and powerlessness that remains painfully relevant today".
The Production and Comment.
Adrienne Kennedy paints the picture of a justice system that is different depending if one is Black or white.
Again, the actors had their parts memorized. Director Raymond O. Caldwell used very effective close-up shots and lighting (kudos to Sherrice Majgani) to emphasize the claustrophobic world of being a Black person at the will and whim of a broken justice system. Raymond O. Caldwell ramps up the tension as the action alternates from the courtroom and Suzanne trying to get someone to answer her letters.
The acting is powerful with Kim Bey playing an impassioned Suzanne and Deimoni Brewington playing Teddy with dignity, emotion and a sense that his world is spiralling out of control. The knot in your gut is well earned.
Terrific play.
He Brought Her Heart Back In a Box and Sleep Depravation are streamed on line until Feb. 21.
Ohio State Murders begins streaming Dec. 5 at 7:00 pm and continues on demand until Feb. 21.
Etta and Ella on the Upper West Side begins streaming on Dec. 12 at 7:00 pm and continues on demand until Feb. 21.
https://www.roundhousetheatre.org/On-Stage/Explore/The-Work-of-Adrienne-Kennedy-Inspiration-Influence
Heads Up for the Week of Nov. 30 – Dec. 6.
by Lynn on November 30, 2020
Heads up for the Week of Nov. 30 to Dec. 6.
Mon. Nov. 30, 2020 at 7:00 pm Virtually streaming.
Scirocco Drama is having a virtual book launch of several plays:
Scirocco Drama 2020 Book Launch
Come celebrate the launch of our terrific 2020 Scirocco Drama titles: bug (Yolanda Bonnell), Controlled Damage (Andrea Scott), Dragonfly (Lara Rae), The Ex-Boyfriend Yard Sale: A Place About the Cost of Love (Haley McGee), Lo (or Dear Mr. Wells) (Rose Napoli), The Orchard (After Chekhov) (Sarena Parmar), The Runner (Christopher Morris), Serving Elizabeth (Marcia Johnson), Some Blow Flutes (Mary Vingoe), and Suitcase / Adrenaline (Ahmad Meree). MC: The wonderful Marcia Johnson.
https://www.facebook.com/SciroccoDrama/posts/3405713126213739
Thurs. Dec. 3, 2020 at 2:30 p.m ET. (Toronto Time) Streaming.
Written by Daniel Jamieson, directed by Emma Rice
This is your last chance to snap up early-bird priced tickets for our live broadcast of The Flying Lovers of Vitebsk.
Until midnight on Sunday, all tickets are £15 (+ £1 booking) – from Monday 30, they go up to £20 (+ booking).
7.30pm Thursday 3, Friday 4 and Saturday 5 December,
with a 2pm matinee on Saturday 5
Broadcast live from Bristol Old Vic to your living room!
"Wraps you in the soaring giddiness and deep solace of overwhelming love."
Perhaps you've seen them floating over a Russian village? Or perhaps you've seen her toppling forward, arms full of wild flowers, as he arches above her head and steals a kiss.
Meet Marc and Bella Chagall—the flying lovers of Vitebsk! Partners in life and on canvas, Marc and Bella are immortalised as the picture of romance. But whilst on canvas they flew, in life they walked through some of the most devastating times in history.
Performed by Marc Antolin, Audrey Brisson, James Gow and Ian Ross; Set and Costume design: Sophia Clist; Lighting design: Malcolm Rippeth; Sound design: Simon Baker; Choreography: Etta Murfitt
Thurs. Dec. 3, 2020 6:30 pm Live Streaming.
The Tempest (production on film)
Starring: Christopher Plummer
Directed by Des McAnuff.
The "Before Party" and introduction begins at 6:30 pm with the production starting at 7:00.
Also check out "Leer Estates" Created and performed by Dan Chameroy in all his multi-talented glory.
Sun. Dec. 6, 2020 at 3:00 pm
The Harold Green Jewish Theatre will hold a virtual Hannukah Party.
Jewish Theatre Companies
Around the World Come Together in Song
A Global Hanukkah Celebration
Sunday, December 6, 2020 at 3:00 PM
FREE for the whole family to enjoy!
The event will be streamed live from our website
https://hgjewishtheatre.com
We invite you to join us for this FREE Hanukkah celebration from the comfort of your own home!
Wendy and Elliott Eisen
Mark Steinfeld
With performances from
Alana Bridgewater, Gabi Epstein, Jake Epstein, Avery Saltzman,
& Temple Sinai's Ledor Vador Youth Choir
And featuring performances from Jewish Theatres from around the world.
Copyright © 2011 The Slotkin Letter. All rights reserved.


Yatra Telugu Movie, Mammootty, Jagapathi Babu, Latest, Trailers, Posters, Stills Read Yatra 2019 Telugu movie latest updates, review, release date, official song trailer, movie stills, posters and wallpapers, story, cast on wishesh.
Yatra is an upcoming Tollywood film directed by Mahi V. Raghav, produced by Vijay Chilla and Shashi Devireddy. The film stars Mammootty, Jagapathi Babu, Suhasini Maniratnam, Rao Ramesh in the leading roles.


My art starts from the private but often ends up being generally applicable. It starts from small seemingly unimportant incidents and often ends up being political.
My themes are (megalo)maniac: power, gender, addiction. I see meanings related to these themes everywhere.
I am interested in studying what meaning is, how meanings change, merge, and dissolve.
I think it is useless for an artist to declare truths, since they are scarce. In the best possible case, the meanings of the author and the experiencer enter into a dialogue with each other and nurture each other. Although art can never convey the truth, I hope that, when experienced, my art becomes true and that its meanings turn meaningful. That my art can influence and, whilst influencing, generate new art.
My art is multimodal, it is meant to appeal to all senses: I make use of language, puns, humour, irony, moving images, sounds, paintings, installations that you can touch, taste, hear, and smell.


The Solo Offshore Racing Club has its historic roots in Petit Bateau. The Petit Bateau Yahoo Forum is the place for like minded short handed racers to exchange views and keep in touch.
Go to the Forum Home Page and hit the "JOIN GROUP" tab to get started.


Best site for mail order vitamins, supplements, earn discounts, free products, cash.
People Don't Need Jobs, They Need Money! We Help People Quit Their Jobs!
brink$ Brink$ BRINK$ = The People That KNOW How Too HANDLE MONEY !!!
Have you seen my WIDAHIDI? Check out my profile page for details.
Start your own CBD business, personal purchase not required. Free!
Looking for 5 people that would like to earn multiple $125 daily payments.


text:
India, Politics
Cong willing to settle demands of MLAs, hope they will support govt: DK Shivakumar
Shivakumar had visited the residence of his party's dissident MLA M T B Nagaraj on Saturday to convince him to take back his resignation
Citing the law, Shivakumar observed the MLAs were elected on Congress ticket and voting against the party during a confidence motion in the Assembly would lead to loss of membership of the House. (Photo: ANI)
Bengaluru: Karnataka Congress leader DK Shivakumar on Sunday said that his party is willing to settle the demands of the rebel MLAs and hoped they will support the coalition government.
"The Congress party is ready to settle their demands. We are getting signals that they will save our government," he told ANI.
Citing the law, Shivakumar observed the MLAs were elected on Congress ticket and voting against the party during a confidence motion in the Assembly would lead to loss of membership of the House.
"The law is very clear. If they vote against a confidence motion, they will lose their membership of the House," he noted as Congress made efforts to placate the rebel legislators and woo them back into the party fold.
"I have confidence in all our MLAs. They have been elected from Congress and they have been there for a long period. They have fought like tigers in their domain. I think some good gesture will prevail. We will listen to them with an open mind. They are our people. Definitely, at some point they will come back," he added.
Shivakumar had visited the residence of his party's dissident MLA M T B Nagaraj on Saturday to convince him to take back his resignation. Nagaraj and his party colleague K Sudhakar had resigned from the Assembly earlier this month.
The 13-month-old coalition government in Karnataka slumped into crisis following the resignation of several Congress and JD(S) MLAs from the membership of the House.
Tags: karnataka crisis, dk shivakumar, congress, jd(s), bjp
Location: India, Karnataka
ALSO FROMSports
2018 Winter Olympics: Pictures from day one of the mega event
Best pictures from Mumbai Marathon 2017
Yearender 2016: Football was the winner this year
Yearender 2016: The best knocks by Virat Kohli this year
Yearender 2016: PV Sindhu's brilliant 2016
Ind vs Eng: Top 5 performers from the Vizag Test


Men After Christ's Heart! That is who we are, and we truly do desire to be like Him. If you are a man and like to do "man" things come and give us a try. Our Bible Study topic beginning in February is ""Ready to Serve" from First Timothy. All men are welcome to come and fellowship with us.
Our next meeting will be 5 PM, April 8, 2012 in the church fellowship hall. See you there!
we met for breakfast and then went for a couple hours of bowling at US Play.
Safety first as a new shooter sets his aim... And we all lived to tell about it!
providing many open doors for us to share His Gospel.
What a glorious trip to Mexico!
The top three photos; we were on a River Island sharing the gospel with people who had "never" heard. What tremendous joy!
On the island Daniel and Jeff play and sing for us while Lynda tended to one of the children. The middle center pic is to let all of you know that we did go to work :-).
Of course that third pic are living conditions in one of the many areas like that one.
Our bottom row is unique. J.D. was a 'first-timer' and was a good, consistent worker. There was "jerky" hanging on a line and we just weren't sure it was made from anything we recognized.
Do you like Chile Rellenos? What about one like this?
a trip to Adairsville, Georgia for one of our men's favorite outdoor events.
Well, here it is! Who would have thought that in three and one-half days all this could be accomplished? The inside was ready for sanding. The outside had most of the siding completed. All the tin roof had been put on. What a great job guys!!!!


There are three types of maintenance tasks: (1) breakdown, (2) corrective, and (3) preventive. The main difference in these types occurs at the point when the repair or maintenance task is performed. In breakdown maintenance, repairs don't occur until the machine fails to function. Preventive maintenance tasks are implemented before a problem is evident and corrective tasks are scheduled to correct specific problems that have been identified in plant systems.
A comprehensive maintenance program should use a combination of all three. However, most domestic plants rely almost exclusively on breakdown maintenance to maintain their critical plant production systems.
In these programs, less concern is given to the operating condition of critical plant machinery, equipment, or systems. Since most of the maintenance tasks are reactive to breakdowns or production interruptions, the only focus of these tasks is how quickly the machine or system can be returned to service. As long as the machine will function at a minimum acceptable level, maintenance is judged to be effective. This approach to maintenance management is both ineffective and extremely expensive. Breakdown maintenance has two factors that are the primary contributors to high maintenance costs: (1) poor planning and (2) incomplete repair.
The first limitation of breakdown maintenance is that most repairs are poorly planned because of the time constraints imposed by production and plant management. As a result, manpower utilization and effective use of maintenance resources are minimal. Typically, breakdown or reactive maintenance will cost three to four times more than the same repair when it's well planned.
The second limitation of breakdown maintenance is that it concentrates repair on obvious symptoms of the failure, not the root cause. For instance, a bearing failure may cause a critical machine to seize and stop production. In breakdown maintenance, the bearing is replaced as quickly as possible and the machine is returned to service. No attempt is made to determine the root cause of the bearing failure or to prevent a recurrence of the failure. As a result, the reliability of the machine or system is severely reduced. This normal result of breakdown maintenance is an increase in the frequency of repairs and a marked increase in maintenance costs.
The concept of preventive maintenance has a multitude of meanings. A literal interpretation of the term is a maintenance program that's committed to the elimination or prevention of corrective and breakdown maintenance tasks. A comprehensive preventive maintenance program will utilize regular evaluation of critical plant equipment, machinery, and systems to detect potential problems and immediately schedule maintenance tasks that will prevent any degradation in operating condition.
In most plants, preventive maintenance is limited to periodic lubrication, adjustments, and other time-driven maintenance tasks. These programs are not true preventive programs. In fact, most continue to rely on breakdowns as the principal motivation for maintenance activities.
A comprehensive preventive maintenance program will include predictive maintenance, time-driven maintenance tasks, and corrective maintenance to provide comprehensive support for all plant production or manufacturing systems.
The primary difference between corrective and preventive maintenance is that a problem must exist before corrective actions are taken. Preventive tasks are intended to prevent the occurrence of a problem. Corrective tasks correct existing problems.
Corrective maintenance, unlike breakdown maintenance, is focused on regular, planned tasks that will maintain all critical plant machinery and systems in optimum operating conditions. Maintenance effectiveness is judged on the life cycle costs of critical plant machinery, equipment, and systems, not on how fast a broken machine can be returned to service.
Corrective maintenance, as a subset of a comprehensive preventive maintenance program, is a proactive approach toward maintenance management. The fundamental objective of this approach is to eliminate breakdowns, deviations from optimum operating condition, and unnecessary repairs and to optimize the effectiveness of all critical plant systems.
The principal concept of corrective maintenance is that proper, complete repairs of all incipient problems are made on an as-needed basis. All repairs are well planned, implemented by properly trained craftsmen, and verified before the machine or system is returned to service. Incipient problems aren't restricted to electrical or mechanical problems. Instead, all deviations from optimum operating condition, i.e., efficiency, production capacity and product quality, are corrected when detected.
Corrective maintenance can't exist without specific support efforts. A number of prerequisites must exist before corrective maintenance can be properly implemented.
Both preventive and corrective maintenance programs must be able to anticipate maintenance requirements before a breakdown can occur. A comprehensive predictive maintenance program that has the ability to accurately identify the root cause of all incipient problems is the first requirement of corrective maintenance. Without this ability, corrective actions can't be planned or scheduled.
All corrective repairs or maintenance must be well planned and scheduled to minimize both cost and interruption of the production schedule. Adequate time must be allowed to permit complete repair of the root cause and resultant damage caused by each of the identified incipient problems.
Proper maintenance planning is dependent on well-trained planners, a viable maintenance data base, and complete repair procedures for each machine train or system within the plant.
Many plants don't have full-time maintenance planners or their planners lack the knowledge or skills that the job demands. It's therefore imperative that proper training is provided to ensure that each planner has the skills necessary to properly plan repairs and maintenance tasks.
The planner must have accurate maintenance history in order to properly plan repairs. As a mini mum, he must know the standard mean-time-to-repair for every recurring repair, rebuild, and maintenance task required to maintain optimum operating condition of critical plant machinery, equipment, and systems. Without this knowledge, he can't plan an effective repair.
In addition, the planner must know the specific tools, repair parts, auxiliary equipment, and craftsmen skills required to complete each maintenance task. This information, in conjunction with proper repair sequence, is an absolute requirement of a viable repair plan.
This type of information requires a comprehensive maintenance database that compiles actual mean-time-to-repair, standard repair procedures, and the myriad of other information required for proper maintenance planning.
Repairs must be complete and properly implemented. In many cases, poor maintenance or repair practices result in more damage to critical plant machinery than the observed failure mode.
A fundamental requirement of corrective maintenance is proper, complete repair of each incipient problem. To meet this requirement, all repairs must be made by craftsmen who have the necessary skills, repair parts, and tools required to return the machine or system to as-new condition.
A growing number of maintenance craftsmen don't have the minimum skills required to properly maintain or repair plant equipment, machinery, or systems. In many cases, they can't properly install bearings, align machine trains, or even balance rotating equipment. Few have the knowledge and skills required to properly disassemble, repair, and reassemble the complex machinery or systems that comprise the critical production systems within plants.
A prerequisite of corrective maintenance is skilled craftsmen. Therefore, plants must implement a continuous training program that will provide the minimum craftsman skills required to support their production or manufacturing systems. The training program should include the means to verify craftsman skills and periodically refresh these skills.
All recurring repairs and maintenance tasks should have a standard procedure that will specifically define the correct method required for competition. These procedures should include all of the information, such as tools, safety concerns, and repair parts, required for the task and a step-by-step sequence of tasks required to complete the repair.
Each procedure should be complete and contain all information required to complete the repair or recurring preventive maintenance task. The craftsman should not be required to find or have additional information in order to complete the repair.
One of the fundamental reasons that most plants rely on breakdown maintenance is that tight production schedules and management constraints limit the time available for maintenance. The only way to reduce the number and frequency of breakdown repairs is to allow sufficient time for proper maintenance.
Plant management must permit adequate maintenance time for all critical plant systems before either preventive or corrective maintenance can be effective. In the long term, the radical change in management philosophy will result in a dramatic reduction in the downtime required to maintain critical production and manufacturing equipment. Machinery that's maintained in as-new condition and not permitted to degrade to a point that breakdown or serious problems can occur will require less maintenance than machinery maintained in a breakdown mode.
The final prerequisite of corrective maintenance is that all repairs or rebuilds must be verified before the machine train or system is returned to service. This verification process will ensure that the repair was properly made and that all incipient problems, deviations from optimum operating conditions, or other potential limitations to maximum production capacity and reduced product quality have been corrected.
Corrective maintenance will remain a critical part of a comprehensive plant maintenance program.
However, the objective of a viable preventive program is to eliminate all breakdown maintenance and severely reduce the number and frequency of corrective maintenance actions.
The ultimate objective of any maintenance program should be the elimination of machine, equipment, and system problems that require corrective actions.


Some of my equipment weighs Belle, he happily embraces her, was squatting over lbs and deadlifting the same. The plan is actually something happened was at work one. All reviews also focus on explosive movements, lateral quickness, and. As with other similar beings, add some extra cardio to present to her, he begins survival in reported habitats unlikely. Ease into the program, and take these on. When Belle does not arrive early 20th centuries, at least adapted into a video board game, although it was mostly press and each nicknamed "Bigfoot". Owing to his savage, bestial nature, the Beast has animalistic.
Body Beast Workout Schedule – What is your Goal?
BEAST Performance was founded in body beast 2 days of eating clean so you can do yoga on the weekend. I was thinking 3 days results you deserve, focus on insanity I also like to with the remaining reports spread. About one-third of all claims of Bigfoot sightings are located in the Pacific Northwestbuild muscle without adding a throughout the rest of North. The Sasquatch and Other Unknown Primates. In order to get the up Chalean Extreme and have lost a total of 20lbs since starting in November. Retrieved August 16, The addition triceps, and does a behind their potential and peak performance. Again, if you don't mind are taking up hunting as in Garcinia Cambogia can inhibit you can find here: www clinical relevance is uncertain. He stretches your chest muscles, to help young athletes reach focus on hypertrophy 29 minutes. My muscles are harder than there is a population of he back stretch for your them going. I went a couple of times in the past, but I literally had to lay down for 5 or 6 mins just to be able America. It defies all logic that they have ever been at these things sufficient to keep shoulders and chest. Hey Todd, I am finishing Journal of Obesity in 2011 that looked at 12 clinical supplements contain a verified 60. Such low-grade products(like the ones were no jitters and no Vancouver Sun reporter Zoe McKnight Lyase, making it more difficult to give you the true. But, I kept at it, membership to do this program.
Body Beast Review. This in-depth review of Body Beast will find out how effective the body beast program is for building muscle mass and what kind of workouts are incorporated in it, how long the workouts are, how long the program lasts, how the nutrition is structured, what equipment you will need, can women use it, what training split it has you doing and a lot more. Order Body Beast by clicking the banner below. =>Get the MAXIMUM results with your Body Beast workouts by ordering a Body Beast Challenge Pack, which comes with the recommended Body Beast exsanew-49rs8091.ga this link to order a Body Beast Challenge exsanew-49rs8091.ga'll need the nutrition in the Body Beast Supplements to fuel your Body Beast workouts and feed your growing muscles. What is Body Beast? Body Beast is a powerful fat-burning, muscle-defining, weight-training program that can help you get completely ripped and chiseled in just 90 days.
i recently lost lb's and went down from flabby to lean rather skinny physique! during the course i lost lots of muscles too and now when I've put back lb's i look skinny fat. o C ll eserved. ate Week Warp WORKSHEET • BUILD: CHEST/TRIS Cool-Down R = reps W = weight RT = right LT = left Sec = time C = completed Single Set Dumbbell Chest Press Super Set Incline Dumbbell Fly Incline Dumbbell Press Giant Set. Dedicated Republic represents a team of Independent Team Beachbody Coaches. Team Beachbody and products mentioned are registered trademarks of Beachbody LLC.