text:
Jonny Fines and Omar Malik star in Hanif Kureishi's new adaptation of his hit film. Photo © Ellie Kurttz.
MY BEAUTIFUL LAUNDRETTE
Curve, Leicester, until Saturday, October 5, 2019, then touring
Hanif Kureishi takes his hit 1985 indie film and brings it bang up to date for this new touring production, launched at Curve.
Read Michael Davies's full review at whatsonstage.com
Jellicle cats come out to play in Kilworth's new production of the Andrew Lloyd Webber musical.
Emma Hatton as Grizabella.
Kilworth House Theatre, Leicestershire, until Sunday, September 8, 2019
All the buzz online is about that weird, slightly disturbing trailer for the movie version of Cats that is due out at Christmas. "This holiday season," commands the foreboding message, "you will believe."
Well, if you want to believe sooner than December, you could do worse than take a trip up the M1 to Junction 20, where the hidden gem of Kilworth House Theatre is making its own contribution to the Cats legacy. And it doesn't take CGI, American stars or a Hollywood budget to do it.
This version of the the Lloyd Webber song-and-dance show has been put together by West End choreographer and director Nick Winston and occupies the second slot in the open-air venue's annual calendar, the first having been taken by a revival of last year's runaway success Joseph, reviewed below.
And if your idea of Cats is leotards, feline face paint and an oversized rubbish dump, as per the original London production nearly 40 years ago, then it's time to revisit those preconceptions. This show has been completely rebuilt, with a spectacular original design by Philip Whitcomb, keyboard-heavy orchestrations for Francis Goodhand's tight nine-piece band and a staging that is as crystal clear and well-drilled as you could wish for.
Whitcomb's set is a rundown Underground station during the war, complete with a full-sized, partially derailed tube train, and it becomes a thrilling playground for the characters to perform their breathless routines. There's much less in the way of whiskers and fur – these are more hinted at than made literal – and the costumes reflect wartime themes. So we get Munkustrap dressed in airman's uniform, Mr Mistoffelees doubling as a cheery milkman and Rum Tum Tugger as a grey-marketeer spiv.
The repositioning works perfectly well, and even helps explain the odd anachronism in TS Eliot's poetry, although it does make Winston's sparkling and dynamic choreography slightly anomalous, along with Lloyd Webber's very 1980s score. But what they miss in contemporaneous authenticity, they more than make up for in energy, spectacle and sheer, relentless forward motion.
As is so often the case, Chris Whybrow's excellent sound design gives an overall impression far more lucid and appealing than many West End or touring musicals, which frequently suffer from muddy mixes and indistinct vocals. Here, in the fresh summer evening air, the voices are rightly foregrounded and showcased to their best advantage.
The assembled company is full of triple threats, with huge dance routines, soaring vocal lines and engagingly emotional moments all brought out with care and precision. Inevitably, Emma Hatton's rendition of Memory – more than a little reminiscent of Elaine Paige herself – steals the limelight (or should that be moonlight?), but there's quality across the board, from Matthew Malthouse's delightful railway cat Skimbleshanks and Adrian Grove's endearing theatre cat Gus, to Robbie McMillan's sure-footed Mr Mistoffelees and a nice double act from Matt Jones and Aimee Moore as Mungojerrie and Rumpleteazer.
With no plot to speak of, Cats is really a revue to highlight the talents of some impressive singers and dancers. Winston and his team certainly have the raw material to work with, and the resulting show stands testament to the continuing commitment of this secret theatre to top-class entertainment.
T'Shan Williams (Celie) and Danielle Fiamanya (Nettie) in The Color Purple. Photo by Manuel Harlan.
Curve, Leicester, until Saturday, July 13, 2019
Michael Davies is oddly unmoved by Curve and Birmingham Hippodrome co-production of the Broadway musical.
For the full review, visit whatsonstage.com
Sparkles and glitz: Jacob Fisher as Joseph in Andrew Wright's production at Kilworth House Theatre.
Kilworth House Theatre, Leicestershire, until Sunday, July 7, 2019
While London and the south-east gear themselves up for a Palladium run of Tim Rice and Andrew Lloyd Webber's perennial favourite later this month, those of us in 'the sticks' (that's Leicestershire to you and me) have got the chance to see director Andrew Wright's vision of the piece in the luxurious setting of an open-air country house theatre.
If you haven't discovered Kilworth House Theatre yet, it's a gem tucked away just off junction 20 of the M1 motorway. Something of a personal crusade for the owners of the eponymous hotel, Celia and Richard Mackay, the theatre in the grounds has been built from the ground up to become a landmark of West End quality shows, twice a year for the past decade or more. Previous productions include everything from Oklahoma! to Little Shop of Horrors, The Pirates of Penzance to Sister Act, and one-night visitors have included Jasper Carrott and the late, great Ken Dodd.
This version of Joseph was first staged at the venue last summer and has been revived this year due to public demand. It's easy to see why: Wright's spectacular approach, full of sparkles, glitz and a small army of children, is designed with the wow factor firmly in mind. His choreographer's eye means there's never a static moment on stage and the visual impact is undoubtedly impressive.
There's a down side to all this, in that there's barely a pause for breath, and the rare touches of drama in this most comfortable of musicals are glossed over with the same camp panache as the big production numbers. For instance, Jacob Fisher's mellifluously-voiced Joseph is denied his biggest moment when Close Every Door is rushed through, shared with a child version of the title character, and thus robbed of much of its emotional power.
But I quibble. Lloyd Webber's peerless pastiche score and Rice's sharp, witty lyrics feel as fresh as when they were first minted more than half a century ago, and MD George Dyer's 12-strong band deliver them with passion and precision. The huge ensemble – 23 plus a similar sized children's chorus – are never less than completely focused and perform energetically, almost frenetically. One thing you could never level against the producers is that they stint on production values.
The set and costumes by takis and the lighting by Jason Taylor are functional rather than eye-catching but the company overcome any nagging concerns with their sheer joy in the piece. Narrator Carole Stennett holds the whole thing together with some Whitney-esque vocal gymnastics and Matthew McKenna's Pharaoh whips up the crowd with his Elvis pelvis.
It's hard to believe there's this much talent and quality hidden away in the back garden of a hotel in the rural Midlands. But with Cats the next production on the horizon in July, you begin to wonder if some of those London-centric audiences might just be tempted away from the capital.
From left, Emma Williams, Danny Mac, Dan Burton and Monique Young. Photo by Catherine Ashmore.
Curve, Leicester, until Sunday, January 13, 2019
They've only gone and done it again. The team at Curve, led by director Nikolai Foster and choreographer Stephen Mear, have served up a Christmas feast of a show to entertain the festive audiences right through into the New Year.
Mear, whose recent Guys and Dolls at the Royal Albert Hall was a five-star success, matches that triumph with his well-drilled, step-perfect ensemble in this joyous, toe-tapping revival of Irving Berlin's evergreen Yuletide classic. Coupled with Foster's gentle-touch direction, both big moments and small work superbly on the rather cavernous Curve stage.
A lot of the intimacy has to do with Michael Taylor's beautiful set design, which places the impeccable seven-piece band on stage without ever cramping the space for tap routines or Broadway extravaganzas, but also manages to draw the focus into quieter emotional points when necessary. Diego Pitarch's stunning costumes and Mark Henderson's dazzling lighting complete the set of creative who are firing on all cylinders with the same end in mind.
And then there's the cast. With four fabulous principals leading the show, the company doesn't put a foot wrong, and there's a palpable joie de vivre about the whole enterprise that matches Berlin's wonderful score note for note. Danny Mac and Dan Burton are terrifically paired as the song-and-dance duo who take a winter trip to Vermont to help out their old wartime company commander by staging a show at his New England inn. Mac yet again proves himself to be a consummate leading man, delivering vocally, physically and with enormous charm, and Burton complements him ideally.
Emma Williams and Monique Young are just as sparkling as the sister act who get involved professionally and personally with the boys, and while the storyline and sentiment might get a bit schmaltzy, the quartet carry it off with aplomb. Well, it is Christmas, after all.
Neil MacDonald rallies the musical forces with immaculate control, and the sound is crystal clear throughout thanks to Tom Marshall's sound design, giving the whole production a smooth aural finish to accompany the glitter and glamour of the visuals.
It's hard to imagine anything more heartwarming and festive on a cold winter's night.
Stunning spectacle: Simon Thomas as Sky Masterson in Guys and Dolls at Kilworth House Theatre.
Kilworth House Theatre, Leicestershire, until Sunday July 8, 2018
It's widely regarded as one of the greatest musicals ever written. Now, comfortably into pensionable age, Nick Winston's production of Frank Loesser's wonderful Guys and Dolls at Kilworth House Theatre retains a vitality and youthfulness that continues to mark it out as a timeless classic.
The setting helps, of course. This open-air theatre in the grounds of a country house hotel in Leicestershire always creates a mood of summer charm, but the shows have to deliver as well. In this instance, it does with considerable panache and pizzazz.
Featuring a huge cast and brilliantly sharp orchestra under the baton of Neil MacDonald, this Guys and Dolls is traditional in the sense that it doesn't take too many liberties with the material. The decision is sensible and pays off superbly. Loesser's score is vibrant and fresh, even after nearly 70 years, and a script based on Damon Runyon's short stories of life in downtown New York in the 1940s somehow still crackles with wit and energy.
The story follows Nathan Detroit's search for a venue for his (illegal) permanently floating crap game while fending off the marital advances of his 14-year fiancee, the ditsy nightclub singer Adelaide. Intertwined is a budding romance between high-rolling gambler Sky Masterson and the local Salvation Army sergeant Sarah Brown. These twin strands are woven cleverly through the show before resolving together in a finale that may feel a little rushed and neat but still has you rooting for the respective couples.
Simon Thomas's Sky is the performance highlight of the production: tall, suave and delightfully voiced, he oozes sex appeal and effortless elegance. As Adelaide, Holly Dale Spencer plays her comic quirks with credibility and truth, rendering her both sympathetic and highly entertaining without straying into caricature.
Daniel Robinson's over-excitable Nathan Detroit is less successful, playing it overtly for laughs rather than trusting the script to find them for him, while Harriet Jones makes a decent fist of the tricky role of Sarah, battling between her strait-laced Sally Army persona and the incipient headiness of her blossoming feelings for Sky.
Meanwhile, Winston's choreographic roots are abundantly evident in his energetic staging, which never looks less than stunning on Philip Witcomb's ingenious and evocative set. Coupled with a talented, committed ensemble brimful of warm harmonies and sure-footed hoofing, he relishes every opportunity for set-piece spectacle and sends the audience out into the night irresistibly tapping their toes.
Overworked: the actor-musician ensemble of Crazy For You. Picture by Richard Davenport.
Curve, Leicester, until Saturday, June 9, 2018
This Gershwin jukebox musical was invented in the 1990s to exploit the sumptuous back catalogue of George and Ira with a 'new' story to showcase their songs. That might account for some of the most appealing songs ever written being shoehorned into a wafer-thin narrative peppered with lame sub-panto jokes. What it doesn't explain is why somebody thought it was a good idea to resurrect it and send it out on a colossal national tour.
This poor, overworked company of actor-musicians first performed this production in July 2017. They must be knackered. Arriving in Leicester for the final week of the tour, they are required to tap, blow, scrape and belt their hearts out for over two hours to supply not only the visual entertainment on stage, but also the musical score.
Ken Ludwig's framework for the Gershwins' score hangs on the tale of a one-horse Nevada town whose theatre is about to be repossessed by the nasty New York bank that owns the deeds. Reluctant banker's son Bobby Child is despatched to execute the foreclosure, only to find love out on the range. There's a comedy Hungarian, some thick-headed Nevada natives and a lot of tap dancing, but otherwise that's about it.
The problem with the whole actor-musician approach is that musicians who are good enough to play in a professional pit band are rarely strong enough dancers or singers to carry off those elements – and vice versa. There are, of course, exceptions, and a couple stand out in this ensemble: Christopher Fry is not only a terrific trombonist, but also an endearing comic actor, while Ned Rudkins-Stow combines a natural talent on the double bass with considerable charm as a local redneck.
The nominal selling point for the tour will, no doubt, have been the presence of Tom Chambers in the role of Bobby Child. Having made his name in Holby City, Chambers went on to win Strictly, following up with a hugely successful tour of Top Hat, the Irving Berlin musical. It's easy to see why this looked a natural fit. Chambers is affable enough and an obvious draw but he's no Fred Astaire. Claire Sweeney, meanwhile, is underused as his sceptical New York girlfriend, while Charlotte Wakefield stands no nonsense as the Nevada gal with wide-eyed hopes of saving her theatre.
And that's the thing. The entire company are perfectly capable, clearly dedicated and energetic performers, doing what they've been asked to do by director Paul Hart and choreographer Nathan M Wright. But where the Gershwin songs should dazzle, they don't. Where there should be showstoppers there are fillers. And where glamour should seep out of every pore, instead there's a faint glimmer of weariness.
Maybe it's the fact that the show is coming to the end of such a vast excursion. Maybe they're all just relieved to catch a glimpse of the finish line. Whatever the reason, there never feels quite enough in this production to go crazy for.
Curve, Leicester, until Saturday, April 21, 2018, then touring
Nikolai Foster directs this adaptation of the 1980s movie into a jukebox musical before sending it out on the road.
For Michael Davies's full review, visit whatsonstage.com
Curve, Leicester, until Sunday, January 7, 2018
Most famous as a vehicle for Tommy Steele, the stage version of Leslie Bricusse's 1970 musical film gets a new production for the festive season at Leicester's ceaselessly ambitious Curve. Here, it stars Jasper Britton in the title role, where he's given the chance to range from curmudgeonly growling to semi-manic jubilation as Dickens's iconic miser.
Based on the Victorian classic A Christmas Carol – the story that's widely credited with creating the template for our modern-day Christmas – Bricusse's musical treads similar ground to Lionel Bart's earlier Oliver! and it's hard to resist the conclusion that one was specifically designed to draw on the success of the other. With the exception of Thank You Very Much, however, Bricusse's score is thin on memorable tunes and feels derivative.
The same cannot be said for Nikolai Foster's epic production, which throngs the huge Curve stage with a colossal cast of adults and children, and the pit with an eight-strong band that sounds much larger. Under the musical direction of Neil MacDonald, and with some clever arrangements by Sarah Travis, the soundscape is one of the significant achievements of this show – albeit too often burying the singers' voices too deep in the mix.
Michael Taylor's design is as busy and hectic as the crowd scenes, filling and occasionally swamping the stage with swirling scenery, flying flats and a mountain of props that must be keeping the backstage staff constantly on their toes. The result is a vivid, chaotic and vibrant spectacle of a show that barely pauses for breath.
Britton's Scrooge borrows from the Rex Harrison school of spoken song, although when he does let rip he reveals a baritone voice strong and clear enough to carry his numbers comfortably. Danny-Boy Hatchard is a likeable cheeky chappie Eastender who delivers a fine showstopper in the aforementioned Thank You Very Much, while Karen Mann's cross-gendered Jacob Marley teeters on the brink of comedy caricature at the forefront of a chorus of ghosts and theatre tricks that both surprise and impress.
Billed as Curve's biggest ever show – and it's faced some competition for that claim in recent years – Scrooge generates plenty of festive spirit and the company clearly relishes every moment of Dickens's rattling good ghost story. It deserves rather better than the threadbare Friday night audience at the performance I saw, although the appreciation was vocal and hearty – not unlike the show itself.
Danny Mac and Ria Jones as Joe Gillis and Norma Desmond in Curve's thrilling new production of Sunset Boulevard. Photo by Manuel Harlan.
Curve, Leicester, until Saturday, September 30, 2017, then touring
Finally Ria Jones gets to play Norma Desmond in her own right. After workshopping the part for Andrew Lloyd Webber during the show's creation, then famously stepping in as Glenn Close's understudy during last year's semi-staged production at English National Opera – to enormous acclaim – she is here cast on her own merits in the role of the ageing silent movie star who dreams of a return to the silver screen.
Brash and starry as Jones undoubtedly is in the part, relishing every moment of her performance, it is not her Norma alone that makes this made-in-Leicester touring production such a stunning hit. In fact, if you singled out almost any elements of the show, you'd be nodding approvingly at many highly successful performances, a clever and versatile set and some beautiful lighting and costume design courtesy of Ben Cracknell and Colin Richmond respectively.
Individually, there is much to enjoy. Collectively, the show is a five-star knockout. Director Nikolai Foster crafts every scene, every song in what is possibly Andrew Lloyd Webber's finest musical score and lavishes care and attention to detail on it.
Musically, with a fabulous 16-strong band as large as any that has toured the UK, the production is faultless. Adrian Kirk makes the most of the textures available to him as musical director and delivers a punchy, sumptuous soundscape that never drowns the singers but constantly adds lustre and depth to the storytelling.
Lyricists Don Black and Christopher Hampton complement the composer's strengths perfectly as the narrative unfolds, based on the 1950 Billy Wilder film in which hapless screenwriter Joe Gillis falls into the clutches of the one-time movie star, with tragic consequences for all concerned. The story steers the right side of melodrama while still leaving Jones plenty of room for over-the-top indulgence in a characterisation that needs little nuance – just as the old silent stars had to exaggerate their expressions to create their dramatic effect.
Molly Lynch makes a sweet Betty Schaefer, the young ingénue caught up in Gillis's misfortunes, while Adam Pearce is a commanding, chilling presence as Norma's butler Max. But, notwithstanding Jones's powerful central performance, the real star of this show turns out to be Danny Mac.
If all you know of this talented, dynamic performer is his winning turn on Strictly Come Dancing, prepare to be blown away. While there's a brief nod to his fancy footwork, dancing is just a small part of his terrific repertoire. His singing is impeccable – and the role is not an easy one vocally, by any means – and his acting both moving and believable. He has an extraordinary energy on stage that makes him one of those people it's impossible to take your eyes off, and he's got the looks and style to carry off this role to perfection.
With the safe hands of Mac on the tiller, driving the thrilling show to its relentless, beautifully staged conclusion, the producers of this new version of Sunset Boulevard unquestionably have a hit on their hands, rewarding them by the bucketload for their big-budget, brave investment. If it doesn't sell out its entire run, as it deserves to, on the long haul between now and April, I shall be extremely surprised.
Kilworth House Theatre, Leicestershire, until Sunday July 16, 2017
In the tenth anniversary season since the launch of this open-air venue in the grounds of a Leicestershire country house hotel, producer/owner Celia Mackay once again spares no expense on production values. From magnificent set and costumes to on-stage talent direct, in many cases, from the West End, everything about Kilworth's shows spells grandeur.
Maybe it's the sunlit memories of some of those idyllic summer evenings over the years, or maybe it's the oddly unmovable humourlessness of this particular Saturday night audience. Whatever the reason, this first in an anniversary double-bill of classic American musicals (the second will be Top Hat later in the season) never quite ignites in the way one would wish.
It's certainly not the fault of its stars, Caroline Sheen and Matthew McKenna, who play the sparring couple attempting to tour a substandard version of The Taming of the Shrew against impossible odds and a couple of debt-collecting gangsters. Sheen is truly stellar as Lilli Vanessi, the spoilt diva still secretly in love with her leading man ex Fred, played with gusto by McKenna as a dashing narcissist.
Nor is it the fault of Cole Porter's fizzing score and Sam and Bella Spewack's witty, sparkling book, although both have been rather unsubtly hacked about since their 1948 premiere: this version of the piece is the 1999 London revival, which clumps rather heavy boots across much of the show's charm and delivers its music in an unnecessarily dance-skewed variation from Porter's original arrangements. The result, under Michael England's baton and with an occasionally suspect off-stage 12-piece band, is not so much champagne bubbles as warm beer.
The large, energetic cast perform impeccably and the extended dance routines are never less than sure-footed and well drilled in Sam Spencer-Lane's choreography. Paul Farnsworth's sumptuous designs, likewise, are a versatile delight.
But the two gangsters who are given the opportunity to steal the show with their homage to the Bard, Brush Up Your Shakespeare, fail to grasp the chance and it – like other areas of the show – doesn't quite take off. As the run continues, perhaps the temperature will rise. After all, as the spectacular Act 2 opening number suggests, this musical really should be Too Darn Hot.
Curve, Leicester, until Saturday, February 18, 2017, then touring
New production of the musical based on a 1998 Adam Sandler rom-com gets a bright and breezy airing as it launches into an eight-month national tour.
For the full review visit whatsonstage.com
Curve, Leicester, until Saturday, January 21, 2017
Can there still be life in this well-worn, much-performed and, by definition, dated musical, with 1970s songs struck in a 1950s idiom? Well, judging by Curve's fresh new production running over the festive period, the answer would have to be yes.
For those of a certain age, John Travolta and Olivia Newton-John can never be erased from the memory as Danny and Sandy, the teenage lovebirds at the heart of this festival of nostalgia, and that makes it tough for anyone else to step into those crepe shoes.
But what's particularly successful in Nikolai Foster's version of the show is that the story becomes much more of an ensemble piece, with every one of the huge cast playing their part in adding atmosphere, energy and enjoyment to the proceedings. Danny and Sandy – keenly played by Dex Lee and Jessica Paul – may hold the flimsy plot together, but we're just as interested in Djalenga Scott's deliciously vulnerable Rizzo or Jonny Fines's strutting Kenickie.
Shobna Gulati has one of the more touching moments as teacher Miss Lynch, recalling poignantly how things weren't so different for youngsters "In My Day" and there's no shortage of youthful high spirits from start to finish.
Colin Richmond's clever set allows the action to flow easily from Rydell High's gym and Vince Fontaine's radio studio to Kenickie's garage and the Burger Palace that gives Danny's gang their name. Nick Winston's choreography echoes both the movie and the Fifties era in which it is set, and a live on-stage band is always a welcome addition, although the sound balance sometimes leaves the vocals inaudible.
It's an understandable hit with audiences and keeps alive the longstanding Curve tradition of a feast of musical entertainment at Christmas.
Curve Studio, Leicester, until Saturday, October 29, 2016
How do you breathe fresh life into one of the best-known comedies in the English language? That's the problem facing any director of Oscar Wilde's sparkling masterpiece The Importance of Being Earnest if they want to avoid simply retreading old ground in safety.
Curve's artistic director Nikolai Foster could hardly be accused of playing it safe. Everything about this new studio production, which has already enjoyed a run at Birmingham Rep, shouts daring and innovative. From Isla Shaw's amazing set composed entirely of mirrored surfaces to the stunning costumes (Edwardian with a wonderful hint of punk), this is an Earnest with a difference.
It's performed fast and furiously by an energetic and committed cast, and if some of the performances veer on the side of caricature, you can't fault the intention to please. But the clipped RP tones that would have graced Wilde's original production in 1895 sit uneasily in the mouths of characters who seem more streetwise, liberal and relaxed than would have been the case 120 years ago, and there are certainly moments that jar.
Some curiously anachronistic music (Dougal Irvine) punctuates the acts, and Darren Bennett's hilarious doubling as two butlers is distinctly more Little Britain than Downton Abbey, but in general the concept of moving the action out of Victorian London and into an indeterminate parallel universe outside of any specific time period achieves the aim of keeping things fresh.
And what of Lady Bracknell, the imperious character with some of the best lines who has never quite emerged from the shadow of Dame Edith Evans's landmark portrayal in the 1940s and 50s? Well, within the context that this production provides, Cathy Tyson makes the part her own. She avoids any pitfalls around the most famous lines ("A handbag?") by delivering them punchily and without over-emphasis, and her characterisation is both believable and amusing.
Elsewhere, Edward Franklin is suitably superficial as the epitome of bachelorhood Algernon Moncrieff, and Martha Mackintosh provides a nicely cutting Gwendolyn Fairfax.
It's not the most traditional Earnest you'll see, nor perhaps the strongest production, but it certainly casts the play in an invigorating new light and offers much to entertain a 2016 audience.
Thoroughly Modern? Michelle Francis as Millie and Matthew McKenna as Trevor. Picture by Jems Photography.
THOROUGHLY MODERN MILLIE
Kilworth House Theatre, Leicestershire, until Sunday September 11, 2016
The producer at this gem of a theatre in the Leicestershire countryside, hotel owner Celia Mackay, is certainly shaking things up this season. After many years using the same established director-MD combo, she's opted to go for two different creative teams for this summer's pair of shows.
As a result, West Side Story earlier in the year felt a little uncertain and less sure-footed than usual. From a production point of view, Thoroughly Modern Millie is Kilworth back at its best.
Directed by West End veteran Stephen Mear, this enormous show – there are 26 performers and a dozen musicians – looks every bit the classy package that local audiences have grown to love and expect. The band sounds fantastic under the musical direction of John Morton, Mear's choreography is pretty much faultless and Morgan Large's sumptuous, sensible set design serves the chaotic, bubbling story perfectly.
The narrative, in which out-of-town ingénue Millie Dillmount fetches up in 1920s New York to make her fortune, was filmed in the 60s starring Julie Andrews. In her big opening number, Millie sings that "Everything today is thoroughly modern". Unfortunately, it's simply not true of the plot and music in this strange, dated show. There are only so many Charleston-inspired numbers one can take, and the bizarre subplot involving a washed-out vaudevillian performer posing as a Chinese woman to lure young ladies into white slavery is arguably borderline racist these days.
The material aside, there's plenty to relish on stage as Michelle Francis gives her best wide-eyed smile and belting voice in the title role, setting her sights on her wealthy employer Trevor Graydon (a finely comic Matthew McKenna) until love gets in the way. Clare Halse makes a delightful foil as her new best friend Miss Dorothy, while a well-drilled chorus of would-be actresses, busboys, society gels et al make the most of some superb production numbers to create a visual spectacle.
The pace never lets up and the energy oozes across the footlights, making this a warming entertainment on a cool summer night.
Epic: Liam Doyle as Tony and Laila Zaidi as Maria in West Side Story. Photo by Jems Photography.
For the first time in its ten-year history, this gorgeous open-air theatre in the grounds of a Leicestershire country house hotel is ringing the changes. Out goes longstanding director-choreographer Mitch Sebastian and his winning formula of West End-standard productions, in comes highly experienced helmsman Matthew White and the heavyweight grandeur of West Side Story.
Sometimes billed as the best musical ever written, the Leonard Bernstein-Arthur Laurents-Stephen Sondheim collaboration owes much of its success, of course, to one William Shakespeare, whose source material has had some recognition over the centuries in the guise of Romeo and Juliet.
But there's no doubt Bernstein's intricate, jazz-infused score is mightily impressive, while Sondheim's lyrical contributions show the early promise of the man who would become the undisputed king of American musicals.
Impressive is a word that crops up throughout this new version, choreographed by Sam Spencer-Lane with more than a nod to the original 1957 director Jerome Robbins. The sheer numbers on stage and in the orchestra tent suggest the tenth anniversary season has not been stinted on by theatre owner and producer Celia Mackay, and Paul Farnsworth's epic set – massive scaffolding structures and wide open spaces bounded by rusting cars and piles of old pallets – is breathtaking in its scale.
But while it may be odious to make comparisons with previous Kilworth seasons and earlier triumphs, there's no escaping the creeping sense throughout the evening that this show somehow doesn't quite come up to scratch.
It's certainly not the fault of its Maria, a recent Arts Ed graduate with a starry future ahead of her. Laila Zaidi has the look, the acting ability and (crucially for Maria) the sweeping, affecting vocal talent to make the part her own. Her pairing with Sophia Ragavelas as her sisterly mentor Anita is hugely effective and provides the night's most moving moment in their second-act duet.
And it's not down to any lack of commitment on the part of the large ensemble, whose energy never falters and who paint some vivid pictures on their grand canvas. The showstopping number Gee, Officer Krupke in particular benefits from a well-drilled team of Jets putting the wonderful material through its paces.
But maybe that serves to highlight some of the difficulties elsewhere. For all its grandeur, size and expense, the production itself isn't quite sharp enough; the vocals of one or two of the central players – Liam Doyle's boyish Tony unfortunately included – aren't quite secure enough; and the expansive band are neither well enough balanced nor tight enough to supply the really crisp, powerful drive that the score depends on.
On a pleasant summer evening in the picturesque English countryside, it's a perfectly acceptable show and one which is already happily critic-proof, having sold out even before opening night. For Kilworth veterans, however, perfectly acceptable these days actually amounts to slightly disappointing.
Curve, Leicester, until Saturday, May 14, 2016
SCREEN to stage adaptations have become one of the most popular musical forms in recent years – alongside the ubiquitous jukebox musicals, of course. And while the likes of Fame!, Footloose and Dirty Dancing might be perfectly serviceable versions of the celluloid stories, the show which turns its source material into something new and completely original is all too rare.
Legally Blonde – one of the first in the trend – does exactly that. With a star turn from Reese Witherspoon, the 2001 film told the story of Elle Woods, the apparently bimboish blonde who follows her wealthy ex-boyfriend to Harvard Law School in an attempt to win him back but discovers there's more to life than a rich husband.
Not content to plunder the movie for easy options, its writers Laurence O'Keefe, Nell Benjamin and Heather Hach use it simply as a starting point, building on its premise and characters and adding a whole lot more in the way of fabulously catchy songs, endlessly inventive lyrics and an overall concept that means this show is a proper musical in itself, not just a tuneful transposition from another medium.
And while Nikolai Foster's new production at Curve may be missing a little in the way of smooth Hollywood glamour, the effervescence of the whole affair is never far from the bubbly, pink-tinged surface.
It's there in the simple but versatile pink box set by designer Matthew Wright. It's reinforced by the frenetic, freewheeling on-stage band under the baton of Bob Broad. And it's unquestionably present in the eager ensemble who throw themselves into the piece with evident enthusiasm and buckets of energy.
The music and dancing occasionally hint at needing a little more discipline at times, but there's no denying the commitment on stage, and the excitement is infectious. X Factor finalist Lucie Jones allows her vocal talents to shine as Elle, with a charmingly smarmy performance from Danny Mac as the spoilt brat boyfriend Warner Huntington III.
But it's Jon Robyns who gives the stand-out performance as bookish law student Emmett Forrest, who manages to see past Elle's dizzy exterior to the smart, sassy brain beneath the blonde.
With a story this good and songs so strong, this Made at Curve production proves yet again that the venue's reputation as one of the powerhouses of musical theatre in the UK is well deserved.
TOM - A TOM JONES STORY, THE MUSICAL
Curve, Leicester, until Saturday, April 2, then tour continues
Plenty of fun to be had in this retelling of the early years of the Welsh singer's story.
For the full review visit www.whatsonstage.com
OLIVER!
Former artistic director Paul Kerryson returns to helm the latest Christmas extravaganza in style.
Curve Studio, Leicester, until Saturday, November 7, 2015
EX-EastEnder Charlie Brooks leaves Walford a distant memory as her powerful Blanche Dubois blazes a Southern storm.
For Leicester reviews from 2015, please click here


It's amazing to see large companies like Bose creating partnerships that empower indie game developers. The partnering company, Playcrafting, curated the development of five unique AR games for the new Bose AR product, which creates sound-first AR player experience. Both companies had a need for a top-notch tradeshow booth design to be featured at PAX East 2019, PAX West 2019, and Play NYC 2019. This is where I came in.
Identifying the client's goals, (Bose), was the first step in understanding how this booth needed to come together. Since the booth will be showcased at three major gaming conventions across the country, I had to ensure that the design was able to draw attendees' attention while being compact and easy to assemble and ship to each location.
Partnering with a talented and experienced booth manufacturing company was crucial for manifesting the design. After many phone calls and meetings with Breakthrough Productions, I was able to direct their team toward a high fidelity design concept.
After a few rounds of revisions, the concept was approved by Bose. The next step was to create physical samples that would help the team envision what the actual booth materials would look like.
Once the client was satisfied with the physical proofs, production began. The booth was designed to be assembled without the help of power tools. This way, booth staff is able to unload and set up a great looking booth without having to rely on outside parties who would otherwise charge a substantial fee for booth assembly.
Once the booth arrived onsite, the team got to work setting up the booth over the course of only a few hours. The BOSE AR-CADE is a hit!


text:
Nikola Ladan, född 15 mars 1993, är en svensk fotbollsspelare som spelar för Landskrona BoIS. Ladan har även spelat för Sveriges futsallandslag.

Karriär
Ladans moderklubb är KF Velebit. Som junior spelade han även för BK Häcken. Inför säsongen 2012 gick han till Qviding FIF.

I mars 2016 värvades Ladan av Syrianska FC. I augusti 2016 gick han till division 1-klubben Tvååkers IF. I januari 2017 värvades Ladan av Degerfors IF, där han skrev på ett tvåårskontrakt. I december 2018 förlängde Ladan sitt kontrakt med ett år. Den 1 december 2019 värvades Ladan av GAIS, där han skrev på ett tvåårskontrakt.

I januari 2022 värvades Ladan av Landskrona BoIS, där han skrev på ett tvåårskontrakt.

Källor

Nikola Ladan på fotbolltransfers.com

Noter

Svenska fotbollsspelare
Svenska futsalspelare
Spelare i BK Häcken
Spelare i Qviding FIF
Spelare i Syrianska FC
Spelare i Tvååkers IF
Spelare i Degerfors IF
Spelare i Gais
Spelare i Landskrona BoIS
Spelare i Superettan
Spelare i Division 1 i fotboll för herrar
Födda 1993
Levande personer
Män
Idrottare från Göteborg
Svenska idrottare under 2000-talet

redpajama_set_name: RedPajamaWikipedia


text:
Marcelo Garcia has further dreams
Over twitter, @marcelogarciajj was overjoyed with Fabrício Werdum's submission win over Fedor Emelianenko, as were dozens of other masters across the planet.
But Marcelo had his own reasons to celebrate, too. He didn't just get crowned four-time Jiu-Jitsu world champion last June, but he did so in one of the toughest middleweight divisions of all times.
Marcelo in action at 2010 Worlds, in photo by John Lamonica
How Marcelo kept motivated, especially against the high level of competition, to win a weight group infested with beasts the likes of Delson Pé de Chumbo, Abmar Barbosa, Alan Finfou, Ryan Beauregard, Mike Fowler, Tiago Alves, Bill Cooper, Murilo Santana, Serginho Moraes, Lucas Leite, Clark, Kron and Kayron Gracie is what he tells GRACIEMAG.com.
The owner of one of the tightest guard passes in Jiu-Jitsu and the most lethal north-south choke in the sport, Marcelo leaked the possibility of returning soon in the Grapplers Quest no-gi absolute division on the 10th and 11th of July against 31 other stars.
And the most illustrious son of the town of Formiga, in the Brazilian state of Minas Gerais, went further in talking about his opponents in the middleweight division, the final against Claudio Calasans and to whom he would one day like to pass the divisional torch.
Congratulations on your fourth gold, Marcelinho. Is it getting easier or harder?
(Laughs) Look, I feel it's getting harder to get the submission, but not to win. I'll explain: You'll notice my game remains the same; I fought the whole time attacking from the open guard, scoring points but looking for the submission. The problem is that the opponents don't open up even when I take the lead, so the fight kind of stalls, I think. So, so long as the guys carry on not opening up the game, even when they're behind on the scorecards, I think I'll be winning for some years still.
How did the final against Calasans go in your view?
It was kind of like what I said, I believe. I was ahead on the scorecards, and even so it seemed like he preferred not to open up the game and try and win. Thus I, too, was obliged not to expose myself towards the end, right? Who's going to risk losing a title in the final seconds when the opponent played all wound up tight the whole time? So I feel the guys are getting tougher, but without REALLY wanting to win. That's why I believe I'll continue to win and God willing make it to my fifth, sixth, and so on.
Does the lack of championship rhythm not set you back?
The truth is that I train with and without the gi everyday. That's why I should be in the next Grapplers Quest 32-man absolute division (on July 10 and 11). But I feel competing at the Worlds and the ADCC is not to not compete much, if just because one month from the championship I give it my all, training a lot, at least twice a day. The rest of the year I live Jiu-Jitsu to the extreme, but dedicating myself to my students, to my gym and my internet teaching project, which are my greatest passions these days, just as much as competing.
What motivates you to carry on competing?
Not a year has gone by since I started competing as a black belt, in 2003, that folks wouldn't come up to me and say, "Shoot, your division is one of the toughest." And I've been facing the best ever since. Nowadays, new talent continues to surface, and that motivates me to gauge my technique versus theirs.
Who would be your dream successor, when the time to bid farewell to the World Championship comes? Someone from Alliance, Sergio Moraes perhaps?
Dude, my dream is to keep winning for a few years yet and then pass the torch on to one of my students, or someone whose game is inspired by mine. I believe that now that my techniques are available on YoutTube by way of the website www.mginaction.com that could be possible. I already noticed there were guys trying some X-guard techniques and other that I helped develop – and trying them on me! Shoot, that makes me so proud.
Cláudio Calasans
Grapplers Quest
Marcelo Garcia
Shawn Aukstakalnis	 julho 1, 2010 at 9:02 am
Unfortunately Marcelo won't be doing the Grappler's Quest on July 10th/11th, He said the following on his twitter "Good luck to Chris Moriarty at GQ , I am healing from an injury so I won't be competing.Chris was training here this week.". Its a real shame, but even so its going to be a good tournament still!!
Pingback: Harold Jahn Edmonton
Pingback: diamond art kits
Pingback: Continuous Integration Continuous Delivery
Pingback: take a look at the site here
Pingback: 3D Printing Projects
Pingback: Gated Community Villas in Hyderabad
Pingback: fresh dumps online
Pingback: dimond art
Pingback: Click Here

redpajama_set_name: RedPajamaCommonCrawl


text:
Paulinho has 'no idea' why FC Barcelona signed him
There's a lot of BS around the world of football – but then you'll stumble across rare handful of honest blokes who just tell it like it is. New FC Barcelona signing Paulinho fits the criteria of the latter, opening up to reporters with brutal hoensty about his move to the Catalan club.
Barca acquired the Brazilian from Chinese Super League club, Guangzhou for £35 million pounds earlier this week. It served as a surprise to many, as we all know, China is where careers go to die, as players cash-in before they look to call it a day.
But it surprised one more so than Paulinho who himself described the transfer speculation resulting in him feeling "empty."
"When I heard of their interest I thought I'd be really excited and happy. But honestly, I'm just feeling sort of empty. I mean, why could they possibly want me when it's clear for anyone to see that there are a host of better options out there," he told reporters.
"Maybe the manager is trying to prove a point? Perhaps he's sending a message to the board? Whatever it is it can't be good, I just know it, but I can't quite put my finger on it yet," he continued.
Plainly put – this is odd. And to highlight how uncomfortable Paulinho is with the whole situation – he's even demanded the club pull together a powerpoint pressie to explain to him why on earth he's at Camp Nou.
Manager Ernesto Valverde even told the press that the charm of Leo Mess and Luiz Suarez hasn't calmed him down and that Paulinho still thinks the whole thing is "one big practical joke."
WEIRD HEY – GIVE THE BLOKE SOME CONFIDENCE ALREADY.
KICK-ONS
Bring back the old school with new adidas originals 'London to Manchester' pack
Matic admits he's already love struck at Manchester United


Up to 17,000 new workers could be hired in British Columbia's construction industry over the next five years, according to a new forecast by BuildForce Canada.
Their latest predictions indicate that proposed transportation, pipeline, LNG, and mining projects will be the main driver behind the job growth, increasing employment in the sector by 24% by the end of 2021.
"It's potentially the most rapid rise we've seen in B.C.'s construction workforce in the past decade," Rosemary Sparks, Executive Director of BuildForce Canada, said at the release of their 2017-2026 Construction and Maintenance Looking Forward forecast.
"The pace and magnitude of many of these proposed projects will require the steady recruitment of new workers from the local workforce and from outside construction or outside the province to meet labour demands, especially in remote locations," she added.
The report notes that Industrial, commercial and institutional (ICI) building is also continuing on an upward trend. It warns however that the "extended expansion" of the construction of new housing is expected to wind down this year.
Outpost Recruitment helps local construction companies to source talent both locally and internationally. Formerly Moving2Canada Recruitment, the company was set up in 2012 with a focus on assisting Canadian construction companies to hire from overseas when faced with a labour shortage.
Outpost's founder, Ruairi Spillane, says the agency's clients in the commercial and institutional buildings sector are seeing much more construction activity in 2017 so far.
"Infrastructure activity in the Lower Mainland is set to increase steadily with the George Massey Tunnel Replacement, Lions Gate WWTP and Annacis Island WWTP breaking ground in Q2. We may also see the Patullo Bridge, Millennium Line Broadway Extension and Surrey LRT move forward in 2017," Spillane says.
He explained that Canadian employers love to hire British and Irish talent who have gained local experience in Canada.
The key roles Outpost focus on are Superintendents, Project Managers, Project Coordinators, Commercial Managers and Estimators for both general contractors and subcontractors. Outpost recruit personnel for ICI buildings and civil infrastructure projects.
"The retirement of 21% of B.C.'s construction workforce compounds the challenge for recruiters," Sparks added.
Are you keen to work in British Columbia's construction industry? Register your information with Outpost now.
If you are outside Canada and wish to explore immigration options, read this useful article.


text:
University of Reading: Rankings
The University of Reading ranked 30th in the United Kingdom and 294th in the World 2021 overall rankings, plus got TOP 100 in 43 academic topics. EduRank's ranking for the University of Reading is based on 3 factors: research performance (a proprietary algorithm evaluated 49,242 publications and 1,972,392 citations), non-academic reputation, and the impact of 123 notable alumni .
#294 of 14,160
#111 of 2,789
In England
#5 of 1,182
For Meteorology and Atmospheric Science
#21 of 1,023
For Archaeology
For Nutrition and Food Science
For Alumni Impact
For Non-academic Prominence
For 40 other topics
Jump to topical rankings below
Acceptance rate and other statistics
The University of Reading ranked 7th for Environmental Science in the United Kingdom and 60th in the World with 11,279 publications made and 635,802 citations received. Main research topics: Meteorology and Atmospheric Science, Geology, Agricultural Science, Environmental Management, Ecology.
#7 of 123
Environmental Science Publications & Citations
United Kingdom rank
Europe rank
Meteorology and Atmospheric Science
Hydrology and Water resources management
Earth science and Geophysics
Petrology and Geochemistry
Wildlife and Fisheries Management & Conservation
The University of Reading ranked 23rd for Biology in the United Kingdom and 256th in the World with 10,408 publications made and 553,322 citations received. Main research topics: Agricultural Science, Botany, Nutrition and Food Science, Biochemistry, Microbiology.
Biology Publications & Citations
Nutrition and Food Science
Bioethics/Medical Ethics
Oncology and Cancer research
The University of Reading ranked 31st for Liberal Arts & Social Sciences in the United Kingdom and 168th in the World with 9,152 publications made and 237,328 citations received. Main research topics: Sociology, Political Science, Demography, History, Law.
Liberal Arts & Social Sciences Publications & Citations
Classics and Ancient History
Theology / Divinity / Religious studies
Education Majors
Public Policy / Administration
International Relations and Diplomacy
Communications and Public Relations
Intellectual Property and Patent Law
Radio and Television broadcasting
Journalism and Digital Media
Broadcast Journalism
The University of Reading ranked 24th for Chemistry in the United Kingdom and 316th in the World with 6,863 publications made and 336,074 citations received. Main research topics: Materials Science, Nutrition and Food Science, Biochemistry, Inorganic Chemistry, Organic Chemistry.
Chemistry Publications & Citations
Polymer science and Plastics engineering
Computational Chemistry
The University of Reading ranked 33rd for Engineering in the United Kingdom and 421st in the World with 5,959 publications made and 189,818 citations received. Main research topics: Materials Science, Remote Sensing, Optical Engineering, Automation and Control engineering, Chemical Engineering.
Engineering Publications & Citations
Product and Industrial Design
Renewable Energy Engineering
Reliability and Quality Engineering
Automation and Control engineering
Applied/Engineering Physics
The University of Reading ranked 18th for Business in the United Kingdom and 100th in the World with 4,919 publications made and 202,432 citations received. Main research topics: Finance, Investment Banking and Stock trading, Management Information Systems, Marketing, International Business.
Business Publications & Citations
Investment Banking and Stock trading
Entertainment Industry Business
Hospitality and Hotel Management
The University of Reading ranked 31st for Computer Science in the United Kingdom and 332nd in the World with 4,565 publications made and 142,297 citations received. Main research topics: Artificial Intelligence (AI), Cognitive Science, Management Information Systems, Computer Vision, Neuroscience.
Computer Science Publications & Citations
Game Design and Development
UX/UI Desgin
Blockchain and Cryptography
The University of Reading ranked 42nd for Medicine in the United Kingdom and 574th in the World with 4,174 publications made and 191,725 citations received. Main research topics: Health Science, Anatomy and Physiology, Clinical Psychology, Public Health, Pharmacy.
Medicine Publications & Citations
Healthcare Management (MHA)
The University of Reading ranked 17th for Economics in the United Kingdom and 86th in the World with 3,641 publications made and 121,055 citations received. Main research topics: Econometrics and Mathematical Economics, Finance, Investment Banking and Stock trading, Development Studies, Political Economy.
Economics Publications & Citations
Econometrics and Mathematical Economics
The University of Reading ranked 32nd for Psychology in the United Kingdom and 277th in the World with 3,344 publications made and 165,535 citations received. Main research topics: Cognitive Science, Child Psychology, Social Psychology, Education Majors, Neuroscience.
Psychology Publications & Citations
Organizational / Business / IO Psychology
The University of Reading ranked 18th for Mathematics in the United Kingdom and 163rd in the World with 2,643 publications made and 104,132 citations received. Main research topics: Econometrics and Mathematical Economics, Statistics, Applied Mathematics, Actuarial Science, Math Teachers.
Mathematics Publications & Citations
The University of Reading ranked 28th for Art & Design in the United Kingdom and 159th in the World with 1,665 publications made and 21,185 citations received. Main research topics: Creative Writing, Art History, Literature, Multimedia, Aesthetics.
Please note that our approach to topical rankings is based on scientific outputs and therefore prefers institutions researching arts through computer science.
Art & Design Publications & Citations
Singing and Vocal Performance
Illustration and Concept Art
Non-core subjects for the University of Reading
Atomic and Molecular physics
Astrophysics and Astronomy
Quantum and Particle physics
United Kingdom | England
United Kingdom | Wales
United Kingdom | Scotland
Closely ranked universities in the United Kingdom
Statistics Alumni United Kingdom
England Scotland Wales Northern Ireland Bermuda Anguilla
France Germany Poland Ukraine Turkey Russia


This booklet offers a vast assessment of the most tendencies in mass attitudes in the direction of household politics and eu integration from the Nineteen Seventies until eventually this day. relatively within the final twenty years, the ''end of the permissive consensus'' round eu integration has compelled analysts to put public opinion on the centre in their matters. The publication faces this problem head on, and the evaluation it offers is going well past the main time-honored symptoms. at the one hand, it exhibits how integration's deepening and expansion concerned polities and societies whose primary features when it comes to political tradition - regime help, political engagement, ideological polarization - have remained something yet static or homogeneous. nevertheless, it addresses systematically what Scharpf (1999) has lengthy pointed out because the major assets of the democratic deficits of the ecu: the shortcoming of a feeling of collective id, the shortcoming of a Europe-wide constitution for political responsibility, and the shortcoming of popularity of the ecu as a sound political authority. In different phrases, it makes a speciality of the basic dimensions of the way Europeans relate to the ecu: identification (the feel of an ''European political community''; illustration (the conception that eu elites and associations articulate voters' pursuits and are conscious of them); and coverage scope (the legitimacy presented to the european as a formal locus of policy-making). It does so by way of making use of a cohesive theoretical framework derived from the whole IntUne undertaking, survey and macro-social information encompassing all european member nations, and cutting-edge methods.
In a second during which the european is dealing with a big variety of social, monetary, political and cultural demanding situations, and its legitimacy and democratic capacities are more and more wondered, it kind of feels fairly very important to handle the problem of if and the way ecu citizenship is taking form. This sequence intends to deal with this advanced factor. It reviews the most result of a quadrennial Europe-wide examine venture, financed lower than the sixth Framework Programme of the ecu. That programme has studied the adjustments within the scope, nature and features of citizenship shortly underway due to the strategy of deepening and expansion of the eu Union.
The INTUNE venture - built-in and United: A Quest for Citizenship in an Ever nearer Europe - is among the most modern and bold study makes an attempt to empirically learn how citizenship is altering in Europe. The venture lasted 4 years (2005-2009) and it concerned 30 of the main individual ecu universities and learn centres, with greater than a hundred senior and junior students in addition to numerous dozen graduate scholars engaged on it. It had as its major concentration an exam of the way integration and decentralization techniques, at either the nationwide and ecu point, are affecting 3 significant dimensions of citizenship: identification, illustration, and scope of governance. It regarded, specifically, on the relationships among political, social and financial elites, most of the people, coverage specialists and the media, whose interactions nurture the dynamics of collective political id, political legitimacy, illustration, and criteria of functionality.
In order to deal with empirically those concerns, the INTUNE undertaking conducted waves of mass and political, social and financial elite surveys in 18 international locations, in 2007 and 2009; in-depth interviews with specialists in 5 coverage components; wide media research in 4 international locations; and a documentary research of attitudes towards ecu integration, id and citizenship. The publication sequence offers and discusses in a coherent means the implications popping out of this broad set of latest data.
Such a lot writing on sleek battle starts off with the French progressive Wars and maintains via international Wars I and II, giving post-1945 conflicts just a cursory look through the lens of chilly warfare politics. exclusive army historian Jeremy Black corrects that imbalance with warfare in view that 1945, a entire examine the various huge- and small-scale wars fought around the globe some time past sixty years.
This article examines the entire very important matters in British politics seeing that 1945, together with a consultant to the altering political tradition of england in that interval. it may turn out worthwhile to scholars learning politics at A2 point, because it covers the entire vital concerns required by means of the most analyzing forums.
Civil battle and different sorts of radical household upheaval are exchanging foreign warfare because the preeminent probability to American safeguard and fiscal health, based on Steven R. David. Catastrophic effects argues that civil conflicts are of even higher significance than planned efforts to hurt the us as the harm they inflict is unintentional and hence very unlikely to discourage.
A collection of 13 state experiences that applies the conceptual framework constructed in necessities of Comparative Politics. instances in Comparative Politics, 3rd version, is a suite of 13 kingdom reviews that describe politics within the uk, the us, France, Germany, Japan, Russia, China, India, Iran, Brazil, Mexico, South Africa, and Nigeria.
These aggregate trends necessarily mask some predictable differences across countries. In the established democracies, Denmark and Luxemburg show the highest levels of satisfaction with democracy (hovering around 70 per cent between the 1970s and the 2000s). By contrast, satisfaction is lowest in Italy (27 per cent on average), while the remaining countries occupy an intermediate position. Among the recent democracies, the 1990s were characterized by low levels of support (though not lower than Italy's), while in the early 2000s satisfaction has improved moderately (reaching, on average, 41 per cent).
773 Source: European and World Values Survey, 1999–2002. Numerical values reported are average national factor scores Regime performance Political authority Malta Netherlands Portugal Luxembourg Finland Germany Austria Denmark Ireland Spain UK France Greece Sweden Poland Estonia Belgium Latvia Czech R. Slovenia Italy Hungary Lithuania Slovakia Netherlands Sweden Malta Belgium Slovakia Austria Denmark Finland Germany Czech R. 456 The Determinants of Democracy Satisfaction in Europe few countries—in Latvia, Estonia, and France.
The countries included are: Austria, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Slovakia, Slovenia, Spain, Sweden, United Kingdom. Source: European and World Values Survey, 1999–20 differentiate between the trust they express for political institutions and their evaluations of the performance of the democratic process. Furthermore, satisfaction with the functioning of democracy is closely connected to the evaluation of government performance.


text:
Thriving in a Red-Hot Housing Market, Part 1: How Trust and Communication are Driving Profits for New Atlantic Builders
Manage FF&E specification, procurement, and product data at scale. Take on bigger projects with confidence and grow your firm with Fohlio. Schedule a demo or book a consultation with one of our account managers to explore these features today.
This is part 1 of our interview with Jim Watson. See part 2 here.
The current housing market is one for the books: With the median price of a single-family home in the U.S. sitting at $335,000, we're seeing record highs. Even then, homes are getting snapped up like hotcakes, as houses stay on the market for an average of only 18 days — another record.
On the outside looking in, that may seem like a good thing — but it's not that simple.
"We've never had a market this hot on the selling side, which is putting huge pressures on the commodities," according to Jim Watson, Vice President and co-owner of New Atlantic Builders, a semi-custom homebuilder based in Florida. "Lumber's gone through the roof, and copper's gone through the roof, and labor's increased."
In fact, Jim says, "On older contracts, we're caught in a short, because of when the houses were actually sold and what prices were like (then versus now)."
Still, they're more than managing to make ends meet. "We are able to still build houses in an environment when trusses are in short supply and lumber's in short supply, and vendors to install those items are in short supply. And it's kept us enjoying some decent profits just based on offering people what we think we can deliver," Jim says.
So how do they do it? It's not because of massive contracts with national brands like GE and Builders FirstSource. It's a bit more old-school than that.
Building Profitability Necessitates Building Relationships
"We've got a great group that we've worked with for 10, 20, 30 years. So that's how we deal with it. Our approach is, we're the guys that have always been there to work with (these vendors), and we've got a relationship and a lot of the vendors still respect that, and we're blessed to have them taking care of us like that," Jim explains.
Learn more: Better Control and Flexibility Over External Collaborations
It's a starkly different approach from how the "big boys" do it, which is all about making sure the supply chain is uninterrupted while still getting the best price.
For Jim and his vendors, it's all about trust. "I'll give you a good example: If we ran out of a particular plywood, but our supplier's looking at this other product line, we ask, 'Will that meet our engineering requirements and our energy efficiency requirements?'
"And the answer's going to be, 'Yes and no. You may have to do a little bit more ceiling installation because this product had a different energy rating.'
Learn more: Tracking Product Changes (Plus PO-Approval Thresholds and Project-Based Templates)
"So then we work with our insulator and say, 'Okay, what's the cost to switch, because now we're having to use a different type of plywood?' This is like real life stuff that's occurred. They ran out of the glue to put foil on the back of the plywood that they're using in the attics. So we had to scramble.
"We're relying on the expertise of the vendors that we've been working with for a long time."
Better Tracking Means Better Cost Control
Additionally, Jim is also drawing on his own expertise in cost control and budgeting. "Cost control is the heartbeat of the construction business," he says, explaining how he stays on top of projects.
Learn more: Time & Cost Overruns: 4 Common Causes in Design and Construction Projects, and How to Prevent Them
"I'm the guy that keeps track of all the progress on the houses. Every Monday I talk to the field supervisors. I get a photo of every house … so that I can see what stage the house is and catch any errors when. You'd be amazed at how true it is that a picture says a thousand words."
And then, of course, there's that thing again about trust. "When I'm talking to the guys, I get a feel for where we're at on issues. I mean, they tell me every issue and then some, and so I'm pretty hands-on from a (bird's-eye view) 40,000-foot level, down to, 'Where's the drywall guy to do the punch out, you know, because the closing date's approaching' and of course that's what keeps us rolling," Jim says. "I've got a pretty straight relationship with those guys."
That relationship is one reason they don't have to navigate the corporate labyrinth that a lot of other builders are all too familiar with. "I'm not isolated just because I'm an owner, but you know, I've seen construction versus sales or construction versus estimating. I've seen these little rifts occur in the bigger companies.
Learn more: Group Your Workflow Phases for Even Better Cross-Departmental Collaboration
"I'm fortunate be able to talk to the guys and not really get into any issues with them about why didn't this house move, and it's because you never sent out that roof package. In a bigger company, you end up getting more secular with your different estimating and construction and sales departments," Jim says.
"Communication is huge. It's everything. It's the whole thing, man. Communication is power," he adds.
Featured image from New Atlantic Builders.
Tips & Best Practices Industry News
By Ingrid Woodley
Fohlio Evangelist


text:
Websites in the network
My Methodist History
My Primitive Methodists
My United Methodists
My Wesleyan Methodists
Wesleys Oxford
Telling the story of the people called Methodist
You are here: HomenextPlacesnextThe Foundery, Norwich
The Foundery, Norwich
Methodist meeting place
Lamb Inn Yard
The Foundery [1], Norwich
21July 1754 – The rain hindered my preaching. God is providing us a place, an old large house which the owner, a Justice of the Peace, has reserved for us. He has refused several, always declaring he would let it to none but John Wesley. Last Saturday, Mr Edwards agreed to take a lease for seven years…
23 July 1754 – I met Mr S—–n at the house which is at present a mere heap of rubbish, without walls, roof, floor, doors or windows. What will this chaos produce? I think it no bad omen that this was originally a Foundery [2]
The Foundery stood in the Lamb Inn yard. In the thirteenth century, this area bounded by Red Lion Street, White Lion Street and the Haymarket was the Jewish quarter. It was completely destroyed by fire in 1286. A church was built on part of the site. It was eventually converted to an inn and took the name 'The Holy Lamb' or, simply, 'The Lamb.' In addition to the Lamb Inn, the Goose and Gridiron Inn stood here, together with a grand house which had once been the home of Sir Thomas Browne, physician and author, in the seventeenth century and Mr Edwards' house where both Charles and later John stayed whilst in the city.
Charles, who remained in Norwich in the summer of 1754 after John's departure, searched for a preaching house safe from the attacks and disturbances of the mob and from the ravages of the weather. A Justice of the Peace and City official, John Simpson, [3] who had heard one of the first sermons preached by Charles in Norwich, offered him the lease of the brew house which stood in the same yard. This building had originally been a bell foundry and Charles noted the significance of it having the same name as the Methodist centre in London. It was utterly ruinous. Simpson sent his workmen to repair the building. This clearly was a major task as the premises were not licensed for worship until October 1755.
A small Methodist society of about eighteen members was established while Charles was in the city and a number more gave in their names before he left including one who had belonged to a Methodist society in London and another in Newcastle.
As in a number of other places round the country, it had been Charles Wesley rather than John who had first preached in Norfolk and it was Charles who established the first Methodist society in the county.
In February 1757, John Wesley was pleased to be able to visit the Norwich Methodist society.
I had long desired to see the little flock at Norwich, but this I could not decently do till I was able to rebuild part of the Foundery there to which I was engaged by my lease. A sum sufficient for that end was now unexpectedly given me by one of whom I had no personal knowledge. I set out on Monday 28th .
He arrived in time to preach there on Tuesday evening, the day following, and after preaching I entered into contract with a builder and gave him part of the money in hand.[4] The building was to be the home of the Methodists in Norwich for about seven years.
The new Methodist society in Norwich was incorporated into the Methodist system of organisation. As other Methodist congregations were established in Norfolk, Suffolk and part of Essex, they were gathered into the huge Norwich circuit.
From the autumn of 1754, itinerant Methodist preachers were stationed in the city. The first was Samuel Larwood who had been sent to Norwich by the Wesleys the previous year. In the earlier years, preachers were moved on every two months. This was extended to four months in 1758, but the drawbacks of such an arrangement soon led to a further change so that by the 1760s a year had become the usual time allotted. In 1784, the maximum length of service in any one circuit was extended to three years.
When John Wesley took over the lease of the Tabernacle, he wrote of the contrast between the difficult and headstrong Tabernacle congregation and the disciplined, settled congregation at the Foundery. In 1759, after preaching at the Foundery, he wrote, how pleasing it would be to flesh and blood to remain in this quiet place. [5]
The Foundery building was given up sometime after in 1761 and the congregation joined that at the Tabernacle at St Martin-at-Palace Plain.
[1] John and Charles Wesley always spelled the name in this way.
[2] Life …, Jackson, op. cit., vol. ii, p.50-1.
[3] He was a glover by trade and held various public posts in the city. He was Sheriff in 1755.
[4] The Journal of the Rev. John Wesley, A.M., ed. Nehemiah Curnock, 1909-16, London, vol. iv, pp.197-8.
[5] Ibid., p.301.
By Norma Virgoe
Page added
Epworth Villa, Weymouth (Melcombe Regis)
John Rylands and his library, Manchester
John Wesley - Preaching in Shrewsbury, Shropshire
Macclesfield and its first Methodist Mayor
Methodism in Beccles, Norfolk
Methodism in Norton Canes, Staffordshire
Methodism in Shelfield, nr Walsall, Staffordshire
Methodism in Walsall Wood
Mr Edwards' house
Nixon Memorial Hospital, Segbwema, Sierra Leone
Swindon Circuit in the 1970's
Tales from "Watchers of a Beacon" Keswick & Cockermouth Methodists 1854 - 1954
The Mahogany Bar Mission
The Rise of Methodism: a study of Bedfordshire 1736-1851
Watchers of a Beacon: The story of the Cockermouth & Keswick Methodist Circuit
Watling Street, Brownhills
Wesley, Hobart
Wesleyan Reform in Southampton 1851-1857


Best Buy customers often prefer the following products when searching for Storytelling Games.
Browse the top-ranked list of Storytelling Games below along with associated reviews and opinions.
"Great combat style and adventure story....This game this game OMG this game I have been waiting for since PlayStation 3 I'm so glad I was able to play this let me tell you get this game if you have PlayStation or if you want to play it exclusive for PlayStation or if you want to just see the whole franchise get a PlayStation and play and I highly recommend getting a PlayStation 4 Pro you will not be disappointed with this game"
"Amazing Game with a spectacular story!...They move you forward in the storyline in some cases months and I think that building the story in such a way navigating a map to get to the locations across country that you have to go to would have been an awesome addition to the game and deepened the story as well"
"Amazing Game with a spectacular story!"
"The story line and gameplay are both amazing....The only downside was that I was so addicted to this game that I finished it in about one week, but I already am planning on playing it again on a higher difficulty and with a goal of finding more of the hidden treasures that are sprinkled throughout the game"
"The story line and gameplay are both amazing."
"Fun main story with worthwhile side quests....I really can't do justice to this game with just words, but suffice to say that I've loved Spider-Man for as long as I can remember (I started watching the animated series in the 90s when I was little, and put countless hours into the Spider-Man 2 game) and this game pays amazing homage to the source in every way possible"
"Fun main story with worthwhile side quests."
"Graphics, storyline, and gameplay is well put together!...As a rule when using it in battle it is a pretty straight forward straight, back, side to side in avoiding attacks and firing attack type thing with some bonus weapons you choose to upgrade throughout the game (your given all of them in the story in the end)"
"Graphics, storyline, and gameplay is well put together!"
"Loved the story line and the game play!...I like the game it was worth waiting a couple years for it and I like the fact that even though I preordered it when I first got my xbox one to Best Buy they still gave me all the points for my xbox and the game so I recommend it to a friend and I'm glad that I finally got the Xbox one and the game came out to play it"
"Loved the story line and the game play!"
"Great writing, gameplay, characters, quests and main story...I am a massive world gamer(as in, I love massive, open world games of which are brimming with awesome stuff to do and interesting details of which other games would overlook due to these things being seen as "not so necessary") This game has so much going on, from main quests to sicker-than-average side quests to dudes trying to rob your coins by sending crying kids who ask you to follow them down deserted alleyways, it can be literally overwhelming to the point your just doing stuff for the sak"
"Great writing, gameplay, characters, quests and main story"
"Great graphics, great story, great game play....It has truly sunk a sword right into the mindset of gamers and other developers who were falling into the trap that "games just require day one patches to fix glitches now it's just the way things are" although yes, this game also has a very large patch I played it to the very end on a ps4 that has never in it's life been connected to internet and it worked just fine with no game breaking glitches"
"Great graphics, great story, great game play."
"Good story line...I love to have fun with games but I just don't have time to build up a weapons stash, negotiate with enemies, strategize operations and plans...i need to be able to play my game while my kid takes a nap for the next hour and a half"
"Great story, great graphics!...I a big fan of GTA Video games and since the first GTA game came I've been playing this tittles and let me tell you there is nothing compare to this game if you haven't tried it I recommend you play it so you know what I am talking about I recommend this game to anyone that likes video games"
"My son enjoys it...Great game and excellent story....If you're a fan of say...Blade Runner or Westworld, you'll probably like it, as will casual gamers looking for a good story and something to show off their new HDR TV (THe game looks fantastic in HDR and high resolution on the PS4 Pro BTW) But if you're looking for a more involved game, or something that is tackling serious social issues more competently its probably best to look elsewhere"
"Great game and excellent story."
"great game, excellent graphics, excellent story as well...The new Car/Tank aspect is a fun little distraction, but I wonder if it were really necessary, there were times I felt restricted because I wanted to go to on side of the island but couldn't because the bridges hadn't been opened up yet for the car...so I had to fumble around finding a way to unlock the bridge (which sometimes only happens through story progression.) Definitely worth picking up, however I do wonder if the season pass is actually worth the steep price of $40 on top of the price o"
"great game, excellent graphics, excellent story as well"
"Great story, online multiplayer....Great game beautiful graphics, great story, I really liked the characters, they were funny when they got to know each other, only problem would of liked it to be a bit longer, finished it in 6 hours, but I'm going to play it in a harder level now"
"Amazing story line and really fun to play....I love this game because it made it so it's very easy to remember the controls also and being able to see how the game is progressed from number 1 to number 3 and also is allowing you to remember all the things you did and being able to get ready for number 4 when that comes out next month so all in all I think this game is awesome making life a little bit simple so you can remember how to do everything it's fun and easy to play"
"Amazing story line and really fun to play."
"Great story line and expansive world....Such a good game I love it I would defiantly reccomend this game to all console users the graphic las the entertainment is just great you can play either online or offline so that's good so many different missions to play all at different difficulty so they ain't too easy but they also ain't too hard I ate this 5 stars for everything of people like shooting games car games then go get this game coz it is all of those things it is just excellent"
"Great story line and expansive world."


text:
Fundraising campaign launched to buy defibrillator for Kenilworth neighbourhood
Matt Elofson
A Kenilworth man has launched a campaign to raise money to buy a defibrillator for the Kenilworth Common neighbourhood of town.
Ananda Roy, who lives near Kenilworth Common, started the campaign last month and by setting up Just Giving page.
So far £240 has been raised toward the £2,000 target to buy the defibrillator for the common area of town.
Mr Roy said: "In 2005, I lost both my parents to cardiac arrests within months of each other at home. In both cases, the emergency services did their very best, but as I did not have CPR training, and no access to a defibrillator, I was not able to help in the crucial minutes before the emergency services arrived."
For more information including how to donate see the Just Giving page.
The proposed defibrillator will be installed at the North end of the Kenilworth Common serving visitors to the Common and residents of Common Lane, Fennyland Lane and the adjoining areas.
The defibrillator will be accessible via the 999 emergency services, and is in support of the Kenilworth HeartSafe campaign to get defibrillators installed around Kenilworth. The defibrillator will be positioned near the Common, Common Lane and Fennyland Lane.
Mr Roy said: "Working together, we are aiming to have this AED installed and available for public use by Christmas 2019."
Keith Grierson, the founders of Kenilworth Heartsafe, said: "I have had correspondence and conversations with Ananda and he naturally has the support of Kenilworth HeartSafe in this matter.
"It does not matter who promotes the increased number of AEDs we are all on the same side with the same ambition - to make Kenilworth HeartSafe."
Kenilworth HeartSafe operates under the umbrella of Warwickshire Hearts, which is a Registered Charity. They aim to have a defibrillator accessible 24 hours a day within 400m of every Kenilworth resident.
When cardiac arrest occurs the chances of survival are less than five per cent without immediate CPR and defibrillation.
With a defibrillator being used on a patient combined with effective CPR, the odds of survival can be increased dramatically. Survival rates drop seven to 10 per cent for every minute without appropriate CPR and defibrillator support, and permanent brain damage can be incurred within 10 minutes.
Warwickshire doing well at protecting nature sites and beauty spots


The pen isn't for everybody but it really really extends the usage of the tablet into note-taking, annotations, creativity and desktop control.
A 32GB version is going to cost you $329 which is more than other Windows 8.1 tablets but you've got the pen, a pretty good rear camera and fun camera software (YouCam included) and ASUS have done a really intelligent thing with the recovery partition. They've taken it off the SSD and put it on an included MicroSD card saving 4GB of space on the drive. Once you've put that somewhere safe and dropped a 32GB card in and configured Windows to store personal data on the microSD, you're good to go.
The screen isn't as good as that on the Dell Venue 8 Pro and I have to admit that the Dell is far nicer to hold for long periods due to rubberised back, smoother edges and smaller size but the ASUS isn't terrible.
The first two battery life reports (via powercfg) show 6:12 and 6:56 screen-on, connected battery life (used mostly for sofa-style usage) and give excellent Connected Standby (always-on) figures of 331hrs and 281hrs. Over 10 days!
I currently have 10GB free after initial install and updates (plus 28GB personal storage (music, pictures, videos) on a 32GB MicroSD card.
Sounds pretty sweet. But no 3G/4G, right? That's a puzzling possibly deal breaking decision on Asus part.
On my Vivotab TF810C I have a problem with the MicroSD card slot: There is no locking mechanism so the SD card can eject at any time if slight pressure happen to be applied by careless gripping or when stuffed in the bag. I have lost a couple of 64 GB microSD's this way. Which is a bummer if you have data on them. Had to apply a piece of duct tape to secure the slot – looks very stylish :D (not).
What country are you from? Here, in the US, getting 3G/4G non-iPad/non-Android tablets aren't worth the cost of the data plans. Right now, I would never get WWAN capabilities on anything but my smartphone. I just tether it to my devices when I need to.
I'm in Sweden. My 3G/4G subscription is not tied to a specific device or OS, so no cost difference if I jack the sim into an android or a Win8 device.
This seems to be the best 8″ Windows 8 tablet so far where emphasis was put on the more important tablet usage experience. An active digitizer greatly enhances the user experience. Also, not going to a very high PPI is a good thing for the desktop. The desktop is still not very resolution independent and DPI scaling solve it.
It'd be nice to get that recovery micro-SD card for the 64 GB model as well. Do you just boot from that SD card directly to reset your tablet to factory defaults? If so then it'd be easy to create a backup image of that card in case it gets lost or damaged. I'm sure you can backup that recovery partition but it seems like more work.
For people who buy from the Microsoft store, do they have a different recovery SD card/partition because the tablet supposedly has no bloatware. Does Microsoft offer a downloadable recovery image that only works on that tablet model for the specific serial numbers sold from the Microsoft store?
More like eMMC is a type of SSD (solid-state drive).
Do you know if the US version includes the Broadcom GPS?
Can this boot from USB and SD card? If so, can it boot UEFI compatible Linux distros or is it like the T100? I'd like to install Linux onto a microSD card and boot from that for some stuff. It's only for a few things and I'll be using a keyboard and mouse. For most tasks, I'll be using Windows 8. Also, has anyone tested how well VMware virtualization software works on any Bay Trail device? I may be able to do some stuff with an okay performing Linux VM if I can't boot it directly.
Are there setting in the BIOS/UEFI to make the eMMC and SD card reader faster like on the Dell Venue 8 Pro? It noticeably sped up the internal storage and SDXC cards on the Dell when the settings were enabled.


Whether the GE Monogram Vent Hood is mounted over a GE branded array as well as stove or it is mounted over one more brand name, the GE Monogram Vent Hood is going to operate in specifically the exact same means. All of this factors to the GE Monogram Vent Hood being instead practical. Due to this, needs to the hood fall short to function appropriately it is essential to take benefit of the GE Monogram Vent Hood repair service solutions readily available kind home appliance repair work specialists.
Need to the GE Monogram Vent Hood neglect, it is practically consistently due to the follower and also electric motor. This is not something that is quickly fixed or changed by a residence proprietor without encounter, which is why it is most ideal to bring in an expert that could function with the glass cover hood or also a dining establishment design Monogram specialist hood.
The residence proprietor need to look over the Monogram taper sided hood and also tidy out the oil catch and also all of the finer grooves of the wall surface placed duct hood. The follower and also electric motor could not be functioning due to deterioration and also a build-up of oil. As soon as the GE Monogram Vent Hood has actually gotten a total cleansing, the GE Monogram Vent Hood ought to be checked once more to see if the electric motor is functioning.
GE Monogram Vent Hood Repair Palmer The high quality repair service specialists have the understanding to not just deal with the GE Monogram Vent Hood, however a wide range of tools as well as devices within the cooking area, consisting of a Monogram Telescopic Downdraft dish washer secure oil filter. The GE Monogram Vent Hood is not going to function effectively if the filter is worn away and also unclean. The repair work specialists could generate brand-new dishwasher-safe detachable stainless-steel filters, needs to it show essential for the wall surface installed hood.
It does not matter if the issue exists with the electric motor, the filter, oil catch or anywhere else, the GE Monogram Vent Hood professionals are able to quickly acquire the GE Monogram device components for all cooking area hood repair services. With the aid of the vent-hood substitute components, the residence proprietor could have their duct hood returned back to regular and also the capacity to utilize their air flow system as soon as again throughout the food preparation as well as food touch they perform within.
GE Monogram Vent Hood Repair Palmer Whether the GE Monogram Vent Hood is mounted over a GE branded array and also stove or it is set up over an additional brand name, the GE Monogram Vent Hood is going to operate in specifically the very same means. Due to this, must the hood fall short to function correctly it is required to take benefit of the GE Monogram Vent Hood repair service solutions readily available kind home appliance repair work experts. The house proprietor must look over the Monogram taper sided hood and also tidy out the oil catch as well as all of the finer grooves of the wall surface installed duct hood. When the GE Monogram Vent Hood has actually gotten a total cleansing, the GE Monogram Vent Hood need to be checked once again to see if the electric motor is functioning. It does not matter if the issue exists with the electric motor, the filter, oil catch or anywhere else, the GE Monogram Vent Hood professionals are able to conveniently get the GE Monogram home appliance components for all kitchen area hood repair works.


text:
Pistol Downed In Preston
Tuesday 20 Feb 2018 06:47PM
Masters champion Mark Allen suffered a shock first round exit at the Ladbrokes World Grand Prix in Preston, following a 4-3 defeat to Xiao Guodong.
The Antrim potter enjoyed the finest moment of his career last month, as he lifted a Triple Crown title for the first time by winning the Masters at Alexandra Palace. However, Allen now needs to put in some strong showings in ranking tournaments for the remainder of the season.
He currently occupies 16th position in the race to the Crucible, with his prize money from winning the 2016 Players Championship set to come off of his tally next month. Allen needs to remain in that top 16 to avoid having to qualify for the World Championship.
2013 Shanghai Masters finalist Xiao is enjoying his best campaign in several seasons, having reached two ranking quarter-finals. That has helped him to qualify for this week's event, which involves the top 32 players on the one-year ranking list. Xiao defeated world number one Mark Selby at the recent German Masters. However, he needed an impressive fightback to claim his latest scalp this afternoon.
It had looked as if the Chinese potter was heading for an early exit when Allen made breaks of 86 and 51 to storm into a 3-0 lead. However, Xiao showed his resolve by winning four frames on the bounce, with breaks of 89, 78 and 71, to reach the last 16.
John Higgins won a thrilling clash with Ali Carter 4-3 to book his place against Xiao in the last 16.
The four-time World Champion enhanced his already strong head to head record against Carter and has now won 13 of their 18 professional meetings. Higgins gave himself an opportunity for a 147 in the second frame, after potting 12 reds with blacks. However, he eventually broke down on 96.
Higgins said: "I'm delighted to have won because I was away for a week's holiday with the family after the Masters, as I knew there were a big couple of months coming up. I've not really touched my cue for two or three weeks. That win has given me a bit of confidence for what is ahead."
Stephen Maguire secured an important victory in his bid to gain an automatic Crucible spot for the World Championship, whitewashing China Championship semi-finalist Li Hang 4-0.
Maguire currently lies in 18th place in the race to the Crucible, but he knows that a string of good results and qualification for the Ladbrokes Players Championship in Llandudno, which hosts the 16 best placed players on the one-year money list, could prove to be pivotal in his bid for Crucible qualification.
The Scot matched compatriot Higgins' 147 attempt, potting all blacks and reds before missing on 96 in the last frame as he ran out a comfortable winner.
It wasn't all good news for the Scottish contingent in Preston, as Joe Perry defeated 2006 World Champion Graeme Dott 4-2.
Dott was aiming to reach a third consecutive ranking final this week after appearing in back-to-back showpiece ties at the German Masters and the Shoot Out.
However, Perry looked the sharper this afternoon and composed runs of 62 and 60 on his way to the victory.
Coral Race To Continue In Dornbirn And Berlin
Coral Series Tickets On Sale
World Grand Prix Returns To Cheltenham
World Snooker
@WorldSnooker1
Eight Desirable Facts About Self Help https://t.co/veKEEGaUpH