text:
<?php
# Generated by the protocol buffer compiler.  DO NOT EDIT!
# source: google/datastore/v1/datastore.proto

namespace Google\Cloud\Datastore\V1;

use Google\Protobuf\Internal\GPBType;
use Google\Protobuf\Internal\RepeatedField;
use Google\Protobuf\Internal\GPBUtil;

/**
 * The result of applying a mutation.
 *
 * Generated from protobuf message google.datastore.v1.MutationResult
 */
class MutationResult extends \Google\Protobuf\Internal\Message
{
    /**
     * The automatically allocated key.
     * Set only when the mutation allocated a key.
     *
     * Generated from protobuf field .google.datastore.v1.Key key = 3;
     */
    private $key = null;
    /**
     * The version of the entity on the server after processing the mutation. If
     * the mutation doesn't change anything on the server, then the version will
     * be the version of the current entity or, if no entity is present, a version
     * that is strictly greater than the version of any previous entity and less
     * than the version of any possible future entity.
     *
     * Generated from protobuf field int64 version = 4;
     */
    private $version = 0;
    /**
     * Whether a conflict was detected for this mutation. Always false when a
     * conflict detection strategy field is not set in the mutation.
     *
     * Generated from protobuf field bool conflict_detected = 5;
     */
    private $conflict_detected = false;

    /**
     * Constructor.
     *
     * @param array $data {
     *     Optional. Data for populating the Message object.
     *
     *     @type \Google\Cloud\Datastore\V1\Key $key
     *           The automatically allocated key.
     *           Set only when the mutation allocated a key.
     *     @type int|string $version
     *           The version of the entity on the server after processing the mutation. If
     *           the mutation doesn't change anything on the server, then the version will
     *           be the version of the current entity or, if no entity is present, a version
     *           that is strictly greater than the version of any previous entity and less
     *           than the version of any possible future entity.
     *     @type bool $conflict_detected
     *           Whether a conflict was detected for this mutation. Always false when a
     *           conflict detection strategy field is not set in the mutation.
     * }
     */
    public function __construct($data = NULL) {
        \GPBMetadata\Google\Datastore\V1\Datastore::initOnce();
        parent::__construct($data);
    }

    /**
     * The automatically allocated key.
     * Set only when the mutation allocated a key.
     *
     * Generated from protobuf field .google.datastore.v1.Key key = 3;
     * @return \Google\Cloud\Datastore\V1\Key|null
     */
    public function getKey()
    {
        return isset($this->key) ? $this->key : null;
    }

    public function hasKey()
    {
        return isset($this->key);
    }

    public function clearKey()
    {
        unset($this->key);
    }

    /**
     * The automatically allocated key.
     * Set only when the mutation allocated a key.
     *
     * Generated from protobuf field .google.datastore.v1.Key key = 3;
     * @param \Google\Cloud\Datastore\V1\Key $var
     * @return $this
     */
    public function setKey($var)
    {
        GPBUtil::checkMessage($var, \Google\Cloud\Datastore\V1\Key::class);
        $this->key = $var;

        return $this;
    }

    /**
     * The version of the entity on the server after processing the mutation. If
     * the mutation doesn't change anything on the server, then the version will
     * be the version of the current entity or, if no entity is present, a version
     * that is strictly greater than the version of any previous entity and less
     * than the version of any possible future entity.
     *
     * Generated from protobuf field int64 version = 4;
     * @return int|string
     */
    public function getVersion()
    {
        return $this->version;
    }

    /**
     * The version of the entity on the server after processing the mutation. If
     * the mutation doesn't change anything on the server, then the version will
     * be the version of the current entity or, if no entity is present, a version
     * that is strictly greater than the version of any previous entity and less
     * than the version of any possible future entity.
     *
     * Generated from protobuf field int64 version = 4;
     * @param int|string $var
     * @return $this
     */
    public function setVersion($var)
    {
        GPBUtil::checkInt64($var);
        $this->version = $var;

        return $this;
    }

    /**
     * Whether a conflict was detected for this mutation. Always false when a
     * conflict detection strategy field is not set in the mutation.
     *
     * Generated from protobuf field bool conflict_detected = 5;
     * @return bool
     */
    public function getConflictDetected()
    {
        return $this->conflict_detected;
    }

    /**
     * Whether a conflict was detected for this mutation. Always false when a
     * conflict detection strategy field is not set in the mutation.
     *
     * Generated from protobuf field bool conflict_detected = 5;
     * @param bool $var
     * @return $this
     */
    public function setConflictDetected($var)
    {
        GPBUtil::checkBool($var);
        $this->conflict_detected = $var;

        return $this;
    }

}

redpajama_set_name: RedPajamaGithub


Artitec kits and the making of the Rhine motor vessel.
The kits from Artitec are different compared to the more classic kits from Walthers and Model Power. Instead of molded colored plastic parts, it is made from cast resin.
Working with resin is done different then with the classic plastic kits. The kits have to be painted as well, once build. Even though it appears to be hard to build a resin kit, it actually is easy. The result might be better then a classic plastic kit.
This article is about how to build Artitec kits, or any other manufacture of cast resin products, for that matter.
When you have made a selection for a model kit, and open the box, you notice their are not that many parts. This is due to the fact that most of the details are cast in its place.
Artitec has a huge assortment of kits, structures and ships. In this project I discuss the making of an Artitec ship. The procedure of building a resin kit is about the same for any kind.
And if you decide to purchase an artitec kit, they come with well-detailed instructions.
I advise to work in a well-ventilated area, since working with resin, especially sanding, creates a powder resin dust, which is not healthy. I for myself like to work outside on the patio.
When subscribing to the railroad magazine Rail Hobby, new subscribers received a free Artitec kit, which was only designed for the Rail Hobby magazine. This was a model of a signal tower from the city of Doetinchem. This model is out of stock and replaced with another Dutch model, block post 13.
If this one is still available trough Rail Hobby I don't know, you can best contact Rail hobby them self. They do sell the kit to non-subscribers, with a slightly higher price. This is a nice way to start with Artitec kits, when subscribing to the magazine, but since the magazine is in Dutch, you probably won't go that route. I started with Artitec that way myself.
These are pictures of the signal tower and block post 13.
This signal tower was my first Artitec kit. When I opened the box, I was a little surprised with the contents. How do I turn this into a nice structure? And how to paint those colors, as seen on the box?
You can see that it turned out all right, by looking at these pictures. Check the details that are caste in the resin.
As mentioned earlier, when you do decide to purchase an Artitec kit, it comes with a detailed set of instructions. A manual for working with resin in general, a manual for the model it self, as well a manual with clear painting instructions.
Following is a brief description how I made my Artitec models.
First the parts are not molded like the plastic counterparts, but are laying next to each other, on a flat surface.
If some of the parts are warped, laying the parts in hot water can true them, this will soften the resin. Also with the use of hot water some small parts can be removed from the carrier, as it softens up and is then easily cut with an X-acto knife.
I attach two sheets of sandpaper, one fine and one course, to a smooth flat surface sheet of wood. Cast resin parts are separated one from another by sanding them. Some parts can be cut with an X-acto knife, but this have to be done with care, since it breaks off easily.
You can sand the resin with a light and even applied pressure on the part. When quit a bit resin has to be removed I start with the course sandpaper and when I get close to the measurements, I continue sanding on the fine sheet.
This process takes most of the time and controls the proper fit of each individual part, so a little care and patience is advised. When all the parts are sanded and finished, I check to see if they fit nicely with each other. They may need further attention with a small file or careful sanding.
When sanded according to the provided instructions, the openings for windows and doors are clean from resin. They may have to be filed with a small file, but this might be done later, after gluing the parts, study the provided instructions first.
When all the parts fit nice, I clean them in water with liquid dish, and as they dry, I clean the worktable from its resin dust, so we have a clean area when we start gluing the parts together. Resin is glued with super glue. First I hold the parts against each other, mostly with my fingers, but sometimes with some tape.
Carefully one drip of super glue and check to see if the two parts are fitted together properly. The use of just one drip of super glue allows me to move the two parts in a better-fit, if need to. When it fits perfect I add a few more drips of super glue and it is tight.
With the classic plastic kits you have more time to make changes, if it don't fit as nice as it should. Incase the parts have to be separated and re-glued, the old super glue will have to be removed from the resin, otherwise the new glue will not hold.
When all the parts are glued the model is almost finished, there is not as much gluing to do as with the classic kits. The result is visible...a plain simple model?
New the fun of working with Artitec kits starts. After washing the structure again, it needs to be painted, and believe me it is not as hard as it seems.
During the painting you notice many details, they will make the model come to live. At some models small fragile brass parts have to be installed also.
After learning and getting some experience with the making of some Artitec houses, I started with a ship. Viewing photo's on the Artitec website, it promised to be rich selection and plenty of details. Finally I choose the Rhine motor vessel. A typical Dutch model which can be found at every harbor, channel or river in the Netherlands and abroad.
There are not that many resin parts, the vessel is almost caste in one piece. The steering hut, the roofs from the deckhouse and the cargo area, as well as the masts are individual resin parts, and are to be prepared as described earlier.
This model, like the other ships, contains a lot of small brass parts. For me this was a something new, except for a brass / white metal train car, but that was some 15 years ago.
The ship has to be flat and true at the bottom. Sometimes it can be warped, but according to the instructions this can be straightened by holding the resin part under hot water. My retailer however wanted to sell me a true flat one, just to prevent possible trouble, hence I bought it in Holland, and live in the USA.
At this picture I am sanding the bottom of the ship, and in the background you see my city block from Dordrecht.
How the resin parts are handled I described earlier. With the next pictures I show how the brass parts are done.
The brass parts are very small, so sometimes it may be necessary to drill the mounting hole to a better fit.
I have a special tool for this job, and it holds small drills. The tool it self is about the size of a small screwdriver.
At the photo above you can see this drill. It is drilled by hand, a dremel power tool is too heavy, I think. It also rotate to fast and the drill could walk away from the place to be drilled.
To remove the brass parts I use a small side cutter. This one is specially designed to cut very smooth on one side, without any damage to the part.
Just make sure you don't loose the small part, once it's cut.
The photo's below show the small part, an eyehook, which is installed into the resin ship, with the tweezers. The mounting hole is prepared with the drill as mentioned earlier. When the eyehook is installed straight and deep enough, it is secured in place with a drip of super glue. The super glue is on the toothpick.
After installing five eyehooks on each side, a thin steel wire is installed trough the eyes. In my kit the steel wire was bend and twisted, which I could not straighten any more. I replaced this with another steel wire.
By super gluing the wire in the first eye, and continuing with the other eyes while applying some tension on the wire, you get a straight, tight wire.
Also the brass rails is glued with superglue on a toothpick. When the superglue is applied directly out of the tube, it will dispense too much glue and close the cap from between the ship and the rails. This is extremely noticeable after painting.
Some small resin parts are to be mounted on the roofs, in the same way, as shown on the photo at right.
The roof of the deckhouse has to be shaped in a curve. The way to do it is by placing the roof under hot water and bend it in shape, as it soften the resin. However it kept going back out of shape.
When I took this picture I had not yet filled the sink with hot water, but afterwards I did and kept the roof under water fort a while to get the shape I wanted.
Finally it reached the proper shape, as you can see in the photo at right. This will not be glued yet, like the other roofs.
The cargo area can be modeled closed or open. I don't know yet how I will model a scene on my layout, loading in a harbor, or traveling in a river. Therefore it is still open.
New the model is ready to be painted. When it is cleaned and free of grease, I spray a coat of primer on the model. See the following pictures, blank and primed.
What can't be seen on these pictures is visible after spraying primer on to the model. Defects or damages can be seen and fixed.
After priming and examination, the real painting can start. Usually one start with light colors and then the darker colors. I started with the inside of the ship, this way I can hold the ship in my hand. When the inside is finished I painted the outside. The white sections at front and back I painted at last, over the black paint.
After many hours, evenings, of painting the model finally looks like a real ship, as seen on this picture. However, the model is not finished yet. With rub on letters I have a placed my mom's name as the ships name on the front.
This is the hardest job, to place the individual letters perfectly next to each other and with the right pitch. Since my mother is born in Rotterdam, the ship is registered in Rotterdam, which I placed on the back of the ship.
Two more pictures of how she looks right new.
Interested in an Artitec kit?
Visit this Dutch Internet store, where you can make a selection online.


Collection: Stephen Griffin Collection >> Living with war : a Belfast year / Sally Belfrage.
New York, N.Y., U.S.A. : Viking, 1987.
Belfast (Northern Ireland) > Politics and government.
Belfast (Northern Ireland) > Social life and customs.
Physical description: xvi, 303 p. ; 24 cm.
Hide notes ... "Elisabeth Sifton books."
Ulster - the facts : Young lady with a £60 a week job ... September, 1969.


text:
Specialist Careers
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UK | EN
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Badenoch + Clark Internal Careers
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With Millennials and Generation Z very much in the spotlight, many employers will be focusing on how to cater to the needs of younger generations. However, the most radical change in terms of age in the workplace is the fact that people are living and w...
Mental Health and the failings of the UK workplace
For much of history, the subject of mental health has been avoided or shied away from. In many ways our society has made leaps and bounds in the right direction however more can be done. Mental Health not only affects our wellbeing, but the very fabric of our economy. Because despite our progress, working environments are still not always the most inclusive.
Badenoch + Clark commissioned its own research: the statistics and insights that follow are based on the responses of 1,000 UK employees with one or more mental health conditions; the sample includes the medically diagnosed and the self diagnosed, with results broken down by sec...
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redpajama_set_name: RedPajamaCommonCrawl


text:
Top 100 in the World
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Education System in Jamaica
School/Level
Primary Primary School 6–12 6 Education is compulsory for ages 6 to 11.
Secondary Secondary School 12–17 5 CSEC (Caribbean Secondary Education Certificate) Examinations
Post-secondary Senior Secondary 17 2 CXC Caribbean Advanced Placement Examination (CAPE)
Tertiary Bachelor's 3–4
Tertiary Master's 2
Tertiary Doctorate 3 PhD
The 6 years of primary school education in Jamaica is compulsory and free. Children receive their instruction in English, and remain there between the ages of 6 and 12. Schools may be state-owned, or private preparatory schools.
The government has embarked on a program to upgrade secondary schools. This is to meet the needs of an emerging economy that requires more advanced literacy and mathematics skills. Libraries have been restocked and computers installed with internet access. Schools are either single-sex or mixed. Many still favor the British grammar school model. When students leave secondary school their education ceases to be free.
The National Training Agency oversees vocational training in Jamaica that is provided by state vocational training centers and private academies. Programs tuned to the nation's needs include agriculture, automotive skills, beauty services, clothing manufacture, commercial skills, information technology, and building and construction skills.
Tertiary education is provided through five universities and a variety of community and teachers colleges, some state-owned and some privately funded. A traditional western-based curriculum is followed.
Universities include the University of the West Indies Mona Campus (illustrated here), The University of Technology, the College of Art, Science and Technology, the North Caribbean University, and the University College of the Caribbean.
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Will not choose a rubbish removal firm just because they feature cheap costs. You get everything you pay for generally, so if a cost sounds as well good to be true, this probably will be.
As you opt to rent one, you might have to remember that you will possess to pay a particular fee for you personally to place your rental dumpster in a neighborhood in the area, this is especially critical if you are a look or resort owner. You will want to get a enable to use it. There is the possibility of a person having your rental dumpster collect over it should. Given that each has a unique tonnage, ensure you usually do not exceed to limit, or you could be charged an extra price.
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text:
package org.springframework.transaction.config;

import java.io.Serializable;

import org.aopalliance.intercept.MethodInterceptor;
import org.aopalliance.intercept.MethodInvocation;
import org.junit.jupiter.api.Test;

import org.springframework.aop.support.AopUtils;
import org.springframework.beans.factory.support.RootBeanDefinition;
import org.springframework.context.ApplicationContext;
import org.springframework.context.annotation.AnnotationConfigApplicationContext;
import org.springframework.context.support.ClassPathXmlApplicationContext;
import org.springframework.core.testfixture.io.SerializationTestUtils;
import org.springframework.transaction.support.TransactionSynchronizationManager;
import org.springframework.transaction.testfixture.CallCountingTransactionManager;

import static org.assertj.core.api.Assertions.assertThat;

/**
 * @author Rob Harrop
 * @author Juergen Hoeller
 */
public class AnnotationDrivenTests {

	@Test
	public void withProxyTargetClass() throws Exception {
		ClassPathXmlApplicationContext context = new ClassPathXmlApplicationContext("annotationDrivenProxyTargetClassTests.xml", getClass());
		doTestWithMultipleTransactionManagers(context);
	}

	@Test
	public void withConfigurationClass() throws Exception {
		ApplicationContext parent = new AnnotationConfigApplicationContext(TransactionManagerConfiguration.class);
		ClassPathXmlApplicationContext context = new ClassPathXmlApplicationContext(new String[] {"annotationDrivenConfigurationClassTests.xml"}, getClass(), parent);
		doTestWithMultipleTransactionManagers(context);
	}

	@Test
	public void withAnnotatedTransactionManagers() throws Exception {
		AnnotationConfigApplicationContext parent = new AnnotationConfigApplicationContext();
		parent.registerBeanDefinition("transactionManager1", new RootBeanDefinition(SynchTransactionManager.class));
		parent.registerBeanDefinition("transactionManager2", new RootBeanDefinition(NoSynchTransactionManager.class));
		parent.refresh();
		ClassPathXmlApplicationContext context = new ClassPathXmlApplicationContext(new String[] {"annotationDrivenConfigurationClassTests.xml"}, getClass(), parent);
		doTestWithMultipleTransactionManagers(context);
	}

	private void doTestWithMultipleTransactionManagers(ApplicationContext context) {
		CallCountingTransactionManager tm1 = context.getBean("transactionManager1", CallCountingTransactionManager.class);
		CallCountingTransactionManager tm2 = context.getBean("transactionManager2", CallCountingTransactionManager.class);
		TransactionalService service = context.getBean("service", TransactionalService.class);
		assertThat(AopUtils.isCglibProxy(service)).isTrue();
		service.setSomething("someName");
		assertThat(tm1.commits).isEqualTo(1);
		assertThat(tm2.commits).isEqualTo(0);
		service.doSomething();
		assertThat(tm1.commits).isEqualTo(1);
		assertThat(tm2.commits).isEqualTo(1);
		service.setSomething("someName");
		assertThat(tm1.commits).isEqualTo(2);
		assertThat(tm2.commits).isEqualTo(1);
		service.doSomething();
		assertThat(tm1.commits).isEqualTo(2);
		assertThat(tm2.commits).isEqualTo(2);
	}

	@Test
	@SuppressWarnings("resource")
	public void serializableWithPreviousUsage() throws Exception {
		ClassPathXmlApplicationContext context = new ClassPathXmlApplicationContext("annotationDrivenProxyTargetClassTests.xml", getClass());
		TransactionalService service = context.getBean("service", TransactionalService.class);
		service.setSomething("someName");
		service = SerializationTestUtils.serializeAndDeserialize(service);
		service.setSomething("someName");
	}

	@Test
	@SuppressWarnings("resource")
	public void serializableWithoutPreviousUsage() throws Exception {
		ClassPathXmlApplicationContext context = new ClassPathXmlApplicationContext("annotationDrivenProxyTargetClassTests.xml", getClass());
		TransactionalService service = context.getBean("service", TransactionalService.class);
		service = SerializationTestUtils.serializeAndDeserialize(service);
		service.setSomething("someName");
	}

	@SuppressWarnings("serial")
	public static class TransactionCheckingInterceptor implements MethodInterceptor, Serializable {

		@Override
		public Object invoke(MethodInvocation methodInvocation) throws Throwable {
			if (methodInvocation.getMethod().getName().equals("setSomething")) {
				assertThat(TransactionSynchronizationManager.isActualTransactionActive()).isTrue();
				assertThat(TransactionSynchronizationManager.isSynchronizationActive()).isTrue();
			}
			else {
				assertThat(TransactionSynchronizationManager.isActualTransactionActive()).isFalse();
				assertThat(TransactionSynchronizationManager.isSynchronizationActive()).isFalse();
			}
			return methodInvocation.proceed();
		}
	}

}


Serana is a Nord vampire, you can found her inside a sarcophagus in Dimhollow Cavern. She is the long lost daughter of Lord Harkon and one of the pure blood vampires that is known to exist in skyrim, pure-blood vampires are characters who are granted the vampirism disease directly from Molag Bal, Molag Bal is the creator and patron deity of Vampires. Serana got her vampirism disease through a ritual in which members of her family pledged themselves to Molag Bal.
And the more important is that she is in possession of an elder scroll. Serana will recognize if the player is a vampire or not and she will ask you to take her to Castle Volkihar. And at the end of the Dawnguard quest line, after you defeat Lord Harkon, she also can turn you into a Vampire Lord. She has a unique ability that prove to be useful in some matters, she can transform any elven arrows in that you have and change it into Bloodcursed Elven Arrows and that can only happen if you already obtainined Auriel's Bow, regardless of which side the player favors.
Dont you know that Serana is different from any other character or NPC in Skyrim dawnguard?, unlike other NPC or regular followers, serana shows an advanced behavior and also a unique situational awareness. For an example she always wears a hood when she is outside during sunlight hours. And she also like to comment on the weather, whether its raining or its shining spotight of the glory sun of skyrim she always has a comment about everything, but its typically a blunt complaint come out from her mouth, but its nice though its make her character more live like, and also likeable.
Serana can also interact with her sorroundings very well. If the player is sitting Serana might sit next to you, or just walk around doing something, and its feels so live like, serana is a strong character to be with in skyrim dawnguard, and not just that she alsoe even interact with workstations that is available in Skyrim, like a grindstones, forge or alchemy lab. Even mining in a nearby ore vein, despite not having a pickaxe in her inventory.
Additionally, once you finished all the Dawnguard questline, serana still can continue to serve as your follower, but serana does not have the same set of the usual Follower commands that other followers have. Well, since serana cannot be killed, it would make her a very valuable ally. And if you want serana can also be asked to bite you, and this will grants the ability to become a Vampire Lord, however this particular thing cannot be done if you already asked her to cure herself of vampirism.
There are also fans out there that made a petition about including the option to marry serana, it was going very well. After less than three days of this petition being around, over 1,000 people have come together to sign it. And Bethesda is aware about the marrying Serana situation, but right now there is not sign that bethesda will put a patch or something to make Serana is open for marriage, maybe because Bethesda dont really want her to lose her personality and make Serana have the same dialoge as the other broads that you can marry. It would feel like we are destroying Serana's personality.
But who knows if Bethesda really considering the option and will make her available for marriage, maybe they could add some unique options and additions to the already lovable Serana character in Skyrim Dawnguard. And they might give her unique dialogue that is consistent with her personality. But i say its not a big deal.


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this landmark verdict on behalf of Dewayne "Lee" Johnson.
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Theodor Adorno : un écrivain égaré parmi des fonctionnaires .
Keywords: enlightenment, instrumental reason, radical critique, aporia, performative contradiction.
this paper aims to offer an analysis of the critique of reason developed by max horkheimer and theodor w. adorno in three of his most important books: dialectic of enlightenment, the critique of instrumental reason and minima moralia. two fundamental questions are posed: does the thought of the authors set a radical critique? if this is the case, wouldn't it imply a series of meta theorical problems and contradictions? in order to treat these questions, the statement is divided into two parts. the first explores the recurring issues of the critique of reason. in the second, we elaborate a brief reconstruction of two opposite hermeneutics of horkheimer and adorno's works: on the one hand, the lecture of frankfurt school's second generation (jürgen habermas and albrecht wellmer); on the other hand, juan josé sánchez's exposition. our principal contribution to this debate is to warn sánchez that, in his justified intention of separating from habermas and postmodern's reading, he finally weakens the contradictory and negative tone of adorno and horkheimer's philosophy.


text:
Still Dreaming the Dream–London part 4
Posted in World Theatre, tagged Boublil and Schoenberg, danielle hope, Geronimo Rauch, Les Miserables, London, Queens Theatre, Sierra Boggess, tam mutu, west end on November 30, 2012| 2 Comments »
So, here I am with the last entry in my London series, and a show that I've been a fan of for over 25 years. It was a fun experience of re-visiting an old favorite while also seeing this version for the first time. I feel that way about London itself every time I visit there. Having been there five times in the last six years, it has become a very familiar place to me but I always discover new things about it when I am there. I hope I will be able to visit again before too long and see more of the city and more great shows in the wonderful West End. So until then, thanks London–it's been fun! Here's my review:
Music by Claude-Michel Schoenberg
Lyrics by Alain Boublil (French) and Herbert Kretzmer (English)
Queen's Theatre, London
October 25th and 29th, 2012
It seems like Les Miserables has been following me lately. Not only did I go see this production in London, but at the very same time, the US tour was in St. Louis. Also, the movie will be released in a few weeks, and the Muny recently announced that the show will be part of their 2013 summer season. I'm not complaining—I love this show and I have since the 1980's when Les Mis was brand new and I was in high school, listening to the London and Broadway cast albums on my friend's Walkman on the school bus and singing along with the Broadway CD at home with my brother. Those days are a distant memory now, but my fondness for the show endures. I was so glad to be able to see the London production because, as far as the English language production goes, that's where it all started. Even though the show is one of my all-time favorites and I've heard several cast recordings and seen both televised anniversary concerts as well as numerous YouTube clips, I didn't get to see it onstage until the Muny's production in 2007, which I saw twice and loved. Still, seeing it in London was special for many reasons, not the least of which is the incredibly high caliber of the current cast, including two of my favorite performers and several highly talked-about performances. It's also Les Mis in London, with mostly the original staging, but it still seems fresh and vibrant even 27 years into its run.
As much as I've loved the musical, I never got around to reading the novel until this year, and I'm glad I did because it enhanced my appreciation of the show. It was fun to watch the show and think of all the little elements from the novel that show up in the various performances, particularly from this cast. It was also great to watch the show as originally staged and see how well the atmosphere is set–following Jean Valjean (Geronimo Rauch) on his journey from the chain gang to small town mayor to Paris in the midst of the student rebellions. I think this show has been popular so long because of its enduring themes of loss and redemption, struggle and hope, faith and love, and this current production communicates those themes extremely well.
The cast is simply amazing. This is a show that's had so many people in the various roles over the years but the current casting more than lives up to the show's illustrious reputation. It's a "dream cast" as far as I'm concerned, and I felt honored to be able to see them. Geronimo Rauch, who had previously played the role in Spain, plays Jean Valjean with strength, energy and real compassion, and his voice is strikingly clear and strong. His moments with Fantine and Cosette are very convincing, and "Bring Him Home" is beautiful. He is well-matched by Tam Mutu as the rigidly determined Inspector Javert. I loved their performance of the "Confrontation" with all of the energy and depth. Mutu brings a real depth and humanity to Javert that is evident in his solo numbers and interactions with his fellow cast members. Sierra Boggess, who played Christine so remarkably in the 25th Anniversary performance of Phantom of the Opera, appears in this production as Fantine, and she brought out the character's desperation and fragility in a way that I had never seen before. Her death scene was hauntingly tragic, and she brought both power and gut-wrenching emotion to "I Dreamed a Dream". Boggess is more of a traditional soprano than most actresses who have played Fantine, but her voice worked well, highlighting the emotions of the character. Danielle Hope is an outstanding Eponine, bringing out the full emotional range of the character in a performance that is very true to the novel. Hope has a particular gift for allowing the audience to see the character's thoughts very clearly, without uttering a word. Her scenes with Marius and her reactions to his attentions to Cosette (Samantha Dorsey) are especially remarkable. "On My Own" is amazing and "A Little Fall of Rain" is heartbreaking. Her Eponine is simultaneously tough and vulnerable, single-minded, intense and even a little crazy, which is marvelous.
Craig Mather is also a standout as a particularly compassionate Marius. His "Empty Chairs At Empty Tables" is stunning, and he has excellent chemistry with his co-stars, especially Dorsey and Hope. Adam Linstead is also excellent as the saintly Bishop and the student Grantaire, bringing strength and sympathy to both characters. I also saw Linstead as Thenardier the second time I saw the show, and he was excellent in that role as well, highlighting the comic aspects of the character in contrast to principal Thenardier Cameron Blakely's darker (and also excellent) portrayal. I also got the chance to see two different actresses as Madame Thenardier–Nicky Swift (the understudy) on the first night I saw the show and Linzi Hateley (the principal) the second night. Both were excellent, with Swift coming across as more earthy and Hateley as more over-the-top villainous. There was also a top-notch ensemble that was in great voice both nights, doing justice to the wonderful score of this remarkable show. I especially loved "One Day More", the barricade sequences and the finale in terms of ensemble singing.
Seeing the original staging of this show was a delightful experience. I loved the giant barricade set especially, and was tempted to applaud when it came together dramatically at the beginning of the second act. I also liked the extensive use of the revolve and how everything was in constant motion as the story took us from setting to setting as the story unfolded. It was also great to hear the spectacular music played so well by the show's orchestra. The time, place and mood of the show and its various settings were vividly realized, and even though I knew the show well, I felt transported to 19th Century France. It's great to see such a long-running show in such a a vibrant production, still being played as if it is brand new.
I could go on writing every little detail about this production, but I won't because this entry would be far too long. I love this show so much that anything I write seems inadequate, and it was a joy to get to see it in London with this wonderful cast. It more than lives up to 27 years of hype, and it deserves to run for many more years. The tagline for this show is "Dream the Dream", and after all these years, the dream is still going strong.
Magic, Mischief, and Miracles–London part 3
Posted in World Theatre, tagged Cambridge Theatre, Dennis Kelly, London, Matilda, Roald Dahl, Tim Minchin on November 29, 2012| 1 Comment »
This time last month, I was in London. I still wish I could have stayed longer, and that I can go more often. London is such a vibrant city full of history,character and great theatre, and I was so glad to have been able to see so many shows on my latest trip. In this entry, I was planning on reviewing two shows–one of the most exciting new shows I've ever seen as well as the one classic show that is probably my all-time favorite, but the sheer length of both reviews has made me decide to make this two entries instead of one. I wanted to do justice to both of these wonderful productions. I felt so privileged to be able to see both, as well as all the shows I saw and the magnificent city itself. I hope I will be able to get back there before too long, because there is always so much happening and because it's London and I will never get tired of visiting there. Here is my review of a very exciting and extremely popular new show:
Book by Dennis Kelly, Music and Lyrics by Tim Minchin
Choreographed by Peter Darling
Directed by Matthew Warchus
Cambridge Theatre, London
I almost didn't get to see this show. Matilda is the hottest ticket in London right now, and as I was preparing for my trip, I had tried to buy tickets in advance. They were sold out on every website I tried. Every day I looked at was sold out, but I had a friend who told me about the returns line, so I tried for that when I got to London. I tried the Wednesday matinee, but there were no returns when I got there and I decided to get a ticket to Singin' In the Rain instead. I was very glad I saw that show, but I still wanted to see Matilda, and since I had a free day on the Sunday, I decided to try in earnest and wait in the line up until showtime if I had to, so I showed up an hour in advance expecting to wait. Fortunately, I didn't have to, because after about three minutes a woman walked up to me with two spare tickets and offered to sell me one. I never found out her name, but I'm very grateful to her because, thanks to her, I was able to see one of the most exciting and creative musicals I have ever seen.
Matilda is based on the classic book by Roald Dahl, which I'm ashamed to admit I haven't read. I haven't even seen the movie. All I knew is that it was a Dahl book and it was about a girl with special abilities and a mean teacher. I was going into this show almost blind, and I'm actually glad because the whole unfolding sense of wonder as the story progressed was a major highlight of the experience of seeing it for me.
In the opening "Miracle" sequence highlighting some parents' overindulgence of their children, we are introduced to Matilda Wormwood (Hayley Canham), an extraordinarily gifted young girl who is ignored and underappreciated by her materialistic and self-centered parents (Annette McLaughlin and Mark Goldthorp). She learns to read at a very young age and is only encouraged in this by the local Librarian Mrs. Phelps (Melanie La Barrie), who likes to listen to Matilda's stories. Soon Matilda is sent to a school run by the overbearing and over-the-top evil Miss Trunchbull (David Leonard), where she makes friends with the other children and meets another encouraging adult, her teacher Miss Honey (Haley Flaherty), who has a dramatic childhood story of her own that mysteriously links her to Matilda.
This show has some of the most creative staging I've ever seen, and numbers like "School Song" with the different sized alphabet blocks being pushed through a grid to the rhythm of the song by cast members while other cast members climbed on them, and "When I Grow Up" with the kids on swings, were visually stunning. I also thought the "Bruce" sequence, in which a boy is forced to undergo an unorthodox punishment by the evil Miss Trunchbull, was very well staged, as were the story sequences that Matilda narrates with the Escapologist and the Acrobat.
The set is colorful and whimsical, with the different sized alphabet blocks a prominent feature, and fun little touches like school desks that rise out of the floor, and towering shelves of books in the library. Everything sets the mood perfectly, and childhood with all its adventure, joy, and mischief is represented as well as the very real sense of horror and menace personified by Miss Trunchbull. There is also real spectacle with some clever special effects, but the real "special effect" is the overall atmosphere of the show, which runs the full gamut of feelings from fear to wonder and from loneliness to love.
The casting is universally excellent, and the child performers are simply amazing. There is a rotating cast of child performers and I'm sure they are all wonderful. The standouts for me were the remarkably talented Hayley Canham as Matilda, Elliot Reed as Bruce and Ella Yard as Matilda's self-proclaimed best friend, Lavender. Canham especially is a wonder, bringing an earnestness and entirely unsentimental sympathy to the role. Her pain at being rejected by her parents is apparent, as is her hope for something better and her joy in reading and telling stories. She also has a strong singing voice and performs her solo songs "Naughty" and "Quiet" extremely well. The whole cast of children is extremely impressive as well.
As for the adult performers, the casting is also very strong and very energetic, with the standouts being La Barrie as the sympathetic Miss Phelps, Flaherty as the concientious, compassionate and self-doubting Miss Honey, and Goldthorp (the understudy) as Matilda's television-obsessed father. Leonard as Miss Trunchbull was also outstanding, bringing a villainous energy and real sense of menace to the role. It's obvious why the children, and the adults, are terrified of this domineering, self-centered and sadistic character.
I loved how the writers of this show, from Dahl to the adapters, don't condescend to children and seem to genuinely remember what it's like to be a child in all its wonder and magic, as well as some genuine terror. The joys, dreams and fears of children are aptly displayed here, and of the grown-ups (most notably Miss Honey and Mrs. Phelps) who still remember, as well as the self-absorption and over-the-top ridiculousness of the adults who don't remember (Trunchbull, the Wormwoods), even though there is a small humanizing moment for Mr. Wormwood later in the the show. The songs by Tim Minchin are wonderfully written, perfectly expressing the sentiments and situations. All of the songs are excellent, but my favorites were "When I Grow Up", the "School Song" and Matilda's solos. The "Telly" song by Mr. Wormwood and his son Michael (Nick Searle) at the beginning of the second act was a fun comic highlight as well.
I don't know how to accurately describe how much I loved this show, and how privileged I felt to be able to witness this remarkable feat of new theatrical writing. I hope this show is a symbol of the future of musical theatre, and that more shows with this degree of wit, charm and creativity will make their way to the West End and Broadway in the near future. It's basically an ideal show, and I am so glad that its sold-out status did not prevent me from seeing it. I will remember this for years to come as one of the real highlights of this trip to London. This show is due to open on Broadway early next year, and I hope it does as well. It's so distinctly British that I do worry a little bit that it might not be the wild success it has been in London, but I hope it is successful anyway. It deserves to be a smash hit on both sides of the pond.
Comedy, Tragedy and… Gavin and Stacey?–London part 2
Posted in World Theatre, tagged Adrian Scarborough, Alan Ayckbourn, Ashley Jensen, Brian Friel, Chorus of Disapproval, Hedda Gabler, Henrik Ibsen, Nigel Harman, Old Vic, Rob Brydon, Sheridan Smith, Trevor Nunn on November 16, 2012| Leave a Comment »
Here in the second part of my London series, I'm reviewing the two plays I saw in one day. It was only the second time I had seen two shows in the same day, as well as the first time I ever stood in line for "Day Seats" for a show. That was a fairly painless experience except it wasn't exactly warm that day, and my friend and I had to wait for about an hour before the doors opened at the Harold Pinter Theatre, but we were first in line and able to get our front row seats for 10 pounds each. The bargain was worth the wait. It was a mixture of serious drama and crazy comedy that day, featuring three performers I was most familiar with through the UK TV show Gavin and Stacey, with one (Sheridan Smith) acting against type and the other two (Adrian Scarborough and Rob Brydon) playing more expected roles but doing them extremely well. Here are my reviews:
By Henrik Ibsen
In a version by Brian Friel
Directed by Anna Mackmin
Old Vic Theatre, London
I am almost ashamed to admit I had never seen or read this play before I saw it in London, despite its being an extremely well-known classic of the theatre by the famed 19th Century Norwegian playwright Henrik Ibsen, and my having heard much about it. I had read some Ibsen in drama class in high school, but for some reason never got around to this one. The main draw for me to see this play was the much talked-about performance in the title role by Sheridan Smith, a television and stage actress much more well-known for comic roles than for serious drama.
This is a new translation with some embellishments by Irish playwright Brian Friel, and I've seen reviews that criticize some of Friel's dialogue choices, but since this is the only version of the play I have seen, I can only review what I saw, and I thought it was excellent. All aspects of the production, from the inventive set which allowed action to occur and be seen in several rooms behind the main performance area, to the minimalistic but highly effective use of music, to the meticulously detailed costumes and universally superb performances, made this a production worth seeing and remembering for a long time.
This is the story of Hedda Gabler, the strong-willed and self-centered daughter of a general who has married, against general expectation, an earnest and dedicated but seemingly unromantic professor, George Tesman (Adrian Scarborough), and is trying to start a new life with her husband amid shadows of her past and the appearance of her old paramour and current academic rival of George's, Eilert Loevborg (Daniel Lapaine) as well as a former school acquaintance, the seemingly meek but determined Thea Elvsted (Fenella Woolgar). What starts out as a seemingly simple character study soon develops into an increasingly suspenseful drama that takes an ultimately tragic turn in several different ways.
Hedda is a much celebrated role noted for its complexity and challenge, and it has been played by many a great actress in the past. Here, the role is taken by Smith, perhaps not the obvious choice in a lot of people's minds, but the casting works surprisingly well. The great thing about Smith's performance is that she really goes for it, disappearing completely into the role and bringing so many dimensions to this character that, even though she does some downright awful things, she still holds the audience's attention and even sympathy. It would be easy with a character like this and some of her actions to just write her off as a vindictive bitch, and she is that but she's more as well. Ibsen wrote the character with some sympathy inherent in her situation, but it takes a great actress to convincingly portray all aspects of the character, from her unbelievable cruelty on the one side, to her very obvious sense of regret and helplessness on the other. There is also a real sense of affection(although not passion) between Hedda and George at the beginning of the play that makes the events of later on seem all the more tragic.
This is a solid cast all around, but the two real standouts aside from Smith are Scarborough as George and Woolgar as Thea, Hedda's childhood adversary turned adult rival for the soul of tortured alcoholic writer Loevborg. The common thread to both of these performances is their sense of moral fortitude and inherent strength despite their initial appearance of fastidiousness (George) or nervousness (Thea). Both of these characters seem to represent different foils to Hedda, as well as representations of hope should Hedda choose to allow them to be that. Hedda herself is so locked in the past—the power she used to feel over those around her and her destructive hold on Loevborg—that she is in a way trapped, especially toward the end when the initially jovial and buffoonish Judge Brack (Darrell D'Silva) reveals a much more sinister side. The ultimate conclusion is telegraphed in the structure of the play, expertly crafted by Ibsen and brilliantly performed by all the players with devastating impact.
This was quite an intense play, and the technical aspects-music and lighting–helped set the mood. I really need to read more Ibsen. I was impressed not just with the production of this play, but with the structure of it, and I think I will be checking out more of his plays. This production was a great re-introduction to Ibsen's work for me, and a very impressive effort from all involved.
A Chorus of Disapproval
By Alan Ayckbourn
Directed by Trevor Nunn
Harold Pinter Theatre, London
This play was a great contrast to Hedda Gabler and, even though it is a revival, it features a lead performance seemingly tailor-made for actor Rob Brydon. The role of amateur operatic society directory Dafydd ap Llywellyn suits Brydon so well it may as well have been written for him. Dafydd (don't call him "David") is a proud Welshman who has his hand in all aspects of the production even as it all spins out of control. Brydon brings a lot of energy and affability to the role, as well as a strong singing voice, and his rendition of "All Through the Night" in Welsh is a treat. Brydon brings a lot of sympathy to this befuddled and at times exasperating character, and the rest of the cast supports him well, but this is really Brydon's show. He is full of physical and emotional energy as he runs around the stage and into the audience, and at turns sings, shouts, lectures, and bemoans his situation at various times throughout the play.
Simply told, this is the story of a small town amateur operatic society in the midst of rehearsing a production of John Gay's The Beggar's Opera, and all the messy relationship situations that happen along the way. The catalyst of it all is Guy Jones (Nigel Harman), fittingly named because he basically is just a guy in the middle of everything. He's an amiable enough character, but as written there isn't much for him to do but smile and let all the events unfold around him as he joins the society and finds himself embroiled in intrigue both within the production and outside. We aren't told much about him except that he can sing, he's from Leeds, and he works for a local company that is rumored to be involved in a real estate deal that effects some of the other members of the society. For whatever reason, Guy just seems to attract trouble, as well as the attentions of Dafydd's neglected wife Hannah (Ashley Jensen) and another society member, the frisky swinger Fay (Daisy Beaumont), whose husband (Paul Thornley) is hoping to benefit from the real estate deal. As Guy moves from one role to another in the production, the self-absorbed and clueless Dafydd hovers and fruitlessly tries to keep every situation under his control.
In addition to the wonderful Brydon, there are some excellent performances here. Nigel Harman brings a warmth and affability to the role of Guy that makes his situations believable and relatable, and Jensen plays the bored housewife very well and has good chemistry with both Brydon and Harman. There are some great scenes with these three, especially one of a tech rehearsal in which Guy and Hannah are attempting to talk about their issues while Dafydd argues with the lighting technician. There is an excellent supporting cast of distinctive characters as well to round out the production, and the costumes and sets also contribute well to provide a very strong sense of time and place (a small English town in the mid-1980s).
This isn't the deepest of plays, and a whole lot of problems pile up only to be left mostly unresolved by the end, but by and large this is a highly entertaining production led by a tour-de-force performance by Brydon. It was fun sitting in the front row and getting a great view of all of his antics. If it can ever really be said that an actor was born to play a role, then surely Brydon was born to play this one. It suits him so perfectly, and it was a joy to watch him and this whole hilarious production.
Geeks and Movie Stars, High School and Hollywood–London, part 1
Posted in World Theatre, tagged adolph green, betty comden, elliot davis, garrick theatre, james bourne, london theatre, loserville, palace theatre, singin' in the rain on November 8, 2012| Leave a Comment »
I love London! As far as I'm concerned, it's the best theatre city on earth. I've written that before, but having been to New York relatively recently, on my most recent trip to London (late last month) I was able to more directly compare. London is still the winner in my eyes. New York has a lot going for it and I would love the chance to go there again, but London is where my heart is. It's a big city with a lot of English charm and international appeal as well as great beer and the best curry I've ever tasted, and shows as good as any you can see on Broadway. Also, the theatre scene seems more accessible than Broadway–it doesn't seem as heavily commercialized and it's definitely a more leisurely experience. There's no lining up outside the theatre and then being herded in and out like what happens at Broadway shows. You can show up relatively early, get a drink in the bar and chat with your friends with less of a rush, and then get settled into your seat for a great show.
I want to further explore the "London vs. Broadway" topic in a future blog, but now it's time to focus on London. The shows, of course, are world-class, and I was fortunately able to see six of them when I was there. This time, instead of reviewing them all in one blog entry, I'm going to publish my report in three parts with two shows in each installment. Here are the first two:
Singin' In the Rain
Screenplay by Betty Comden and Adolph Green
Songs by Nacio Herb Brown and Arthur Freed
Choreographed by Andrew Wright
Directed by Jonathan Church
Palace Theatre, London
I made a last-minute decision to see this show when I couldn't get return tickets for Matilda (although I did manage to later–more on that in Part 3). The front of the theatre (above) was so eye-catching that I thought, why not? I had also heard good things about this production, so I bought a matinee ticket and hoped this would be better than the last time I saw this show on stage (the Muny two years ago, which I liked but didn't love). I was very curious to see if the classic Gene Kelly musical could be staged without looking like a museum piece, and I was very happy to see that it could. This production is fresh, energetic and full of life and undeniable charm. It was a fitting tribute to the film without being a direct copy or pale imitation.
This production takes us back to the Hollywood of the late 1920s, as the industry is shifting from silent films to talkies, and the movie stars have varying degrees of success making the transition. The atmosphere is set well from the beginning, as the lights come up on a studio back lot and we see the various performers, directors and crew preparing for filming, and then later as we witness the premiere of the latest hit motion picture featuring the popular romantic duo of Don Lockwood (Adam Cooper) and Lina Lamont (Katherine Kingsley). We soon learn, however, that this seemingly blissful pair is anything but, and the story unfolds as Lockwood meets aspiring actress Kathy Selden (Scarlett Strallen) and encounters the difficulties of nurturing a new relationship in the midst of the Hollywood limelight and a clingy, controlling would-be fiancee with plans of her own.
The cast is great all around. The three main leads are perfectly cast. Adam Cooper as movie star Lockwood has the look of a classic matinee idol–tall, broad-shouldered and handsome–with the charm and dancing ability to match. He's very well-paired with Scarlett Strallen who makes a convincing and slightly quirky Kathy Selden. Her singing and dancing are both wonderful as well, and the chemistry between her and Cooper is electric. The central trio is nicely balanced out by Daniel Crossley as Lockwood's longtime friend, the witty writer-composer Cosmo Brown. His portrayal is both funny and charming, and his acrobatic dancing is a real delight. Katherine Kingsley also makes a fun comic turn as Lina Lamont, Lockwood's frequent co-star who possesses a voice and attitude that makes the transition to talking films problematic to say the least. She invests a vindictive energy to the role and proves an effective foil to Lockwood and Selden. I was also surprised to see Robert Powell (who I remember as Jesus in Franco Zefferelli's Jesus of Nazereth miniseries) in a fun, solid performance as producer R.F. Simpson. The well-cast ensemble rounds out the cast with a great deal of energy and remarkable dancing ability.
This is simply a fun show. I love all the old-school Hollywood references and the dancing is strong and energetic. All the classic songs from the film are here and delightfully performed–from "Make 'Em Laugh" to "Good Morning" to the famous title song complete with sprinklers overhead to provide the rain, which puddles up on stage as Cooper dances, playfully kicking water into the first few rows of seats to the delighted and shocked gasps of the audience.
The entire production is a joy from start to finish, from the action on stage during the overture to the singing, dancing and raining curtain call (with more water kicked into the audience). I'm so glad I decided to see this show. It made for a thoroughly enjoyable afternoon and I would recommend it to anyone looking for a fun, thoroughly entertaining theatrical experience.
Loserville
Book, Music and Lyrics by Elliot Davis and James Bourne
Choreographed by Nick Winston
Directed by Steven Dexter
Garrick Theatre, London
I was very pleased to get a chance to see this brand new original musical at the Garrick Theatre. Loserville is the brainchild of James Bourne, formerly of British bands Busted and Son of Dork, and veteran musical writer Elliot Davis. As an American, I was unfamiliar with Bourne's musical career, but the British friends I was with told me that some of the music sounded a lot like Busted. For me, this was all new material, although I recognized the bright, crunchy sounds of the pop-punk genre. That might sound like a strange style of music for a show set in 1971, but it works. This isn't a show that's trying for meticulous period accuracy—in fact, the costumes and setting often look more 1981 than 1971, and there are a lot of elements that seem more from the 2000's as well, but that really doesn't matter because the bottom line is that this show is simply a whole lot of fun.
It's a fairly simple American high school story with elements that have appeared in many a show and film–geeks vs. jocks, appearance vs. intelligence and young people exploring their purpose in life and pursuing their dreams. The central figure here is the aptly-named Michael Dork (Aaron Sidwell), a self-described "geek in a garage" whose dream is to discover the secret of communication between computers and send the world's first e-mail message. His gang of fellow-geeks have their own dreams as well. Marvin (Daniel Buckley) and Francis (Li'l Chris), sci-fi enthusiasts who have memorized the scripts of every episode of Star Trek, aim to build a winning starship for a contest at an upcoming science fiction convention. Meanwhile, Michael's best friend Lucas (Richard Lowe) has dreams to write his own sci-fi epic that sounds suspiciously like Star Wars. Both Michael and Lucas are attracted to Holly (Eliza Hope Bennett), a brainy new girl with secrets of her own, and all of the geeks are terrorized by big man on campus Eddie (Stewart Clarke), a rich kid and jock who seeks to steal Michael's ideas. There is also Eddie's girlfriend Leia (Charlotte Harwood), who just wants the status quo to stay as it is, and an ensemble of jocks, nerds and popular girls to round out the young, energetic cast.
The players here are very well-cast, led by Sidwell as the endearingly earnest Michael and Bennett as the smart and determined Holly. These two work very well together and have convincing chemistry. Also, Clarke is an effective and occasionally sympathetic villain as Eddie, and Lowe is particularly strong and funny as Lucas. The plot about his book provides some of the show's funniest jokes, and the science fiction convention plot is a lot of fun as well, providing some great moments for Buckley and Li'l Chris as Marvin and Francis. It's difficult to single out too many actors, though, because it's a very strong cast all around, and the American high school atmosphere is convincingly portrayed by all. The American accents are excellent as well, for the most part.
The look and sound of this show is bright, whimsical and fun. The set is very inventive. It's a lot of metal and plastic framework and lots of cartoony elements, such as brightly colored backdrops held up by cast members in several scenes. There are also placards with the names of cast members that get held up for the "opening credits" at the beginning and the "end credits" at the curtain call, providing the look and feel of a classic sitcom. The music is upbeat and fun, with stand-out songs like "We Are Not Alone", "Ticket Out of Loserville", "Holly, I'm the One" and "Living In the Future Now".
It's very fitting that the logo for this show includes a letter "v" that looks like a heart, because the driving force of this show is its heart. There is so much enthusiasm here by a talented young cast that really believes in this show. The belief and enthusiasm are contagious, and even though the book isn't perfect, that really doesn't matter in the end in a show like this. These are likeable characters with a cause that's easy to believe in. The overall message seems to be that the world can be changed through hard work, determination and lots and lots of heart. It's fun to think of these high school students pursuing their dreams and realizing that they are played by a talented cast made up largely of recent drama school graduates, all of whom have very promising futures ahead of them. I expect to hear a lot more from many of these performers in the future. There was also a lot of enthusiasm from the audience the night I was there. This is a real crowd-pleaser of a show, with a young cast and aimed at a young audience. I don't think I'm in its target demographic, but I enjoyed it very much anyway.


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If Curves Could Talk: WEIGHT WATCHERS WEEKLY WEIGH-IN: 2.4 Lost!
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Watch out, Phyllis Schlafly. After years of limited service, career opportunities for women in the military may finally broaden. (Pun semi-intended.) On Tuesday, the American Civil Liberties Union (ACLU), in conjunction with the ACLU of Northern California and the law firm Munger, Tolles & Olson, announced that they will suing the Department of Defense regarding the exclusion of women from many military combat positions, including infantry, artillery, and special operations in ground combat units.
According to the ACLU, "Women make up more than 14% of the 1.4 million active military personnel, yet the rule categorically excludes them from more than 200,000 positions, as well as from entire career fields. Consequently, commanders are stymied in their ability to mobilize their troops effectively." Servicewomen are also often at a disadvantage when it comes to obtaining training, promotions, and otherwise competing with men within the military.
The plaintiffs in the new federal lawsuit, Hegar, et al. v. Panetta, alleged that the Department of Defense's official policy which bars women from ground combat units (known as "combat exclusion policy") is unconstitutional.
The complaint states, "No United States statute requires this categorical exclusion of women. Instead, the DoD has itself decided to close these positions to servicewomen solely because they are women. The combat exclusion is based on outdated stereotypes of women and ignores the reality of the modern military and battlefield conditions."
The four plaintiffs in the case have all served in combat or led female troops on missions with infantrymen in Iraq or Afghanistan. Major Mary Jennings Hegar, an Air National Guard search and rescue helicopter pilot awarded a Purple Heart in 2009, wrote an editorial for the ACLU website detailing her experiences flying Medevac missions in Afghanistan.
Of a mission in 2007, she notes, "You would never have guessed that before our first flight my Aerial Gunner had to be ordered to fly with me over his objections to flying into combat with a woman. When I confronted him about it, he said that he didn't think I could carry my weight in an evasion situation if we were to find ourselves shot down over enemy lines. He used the combat exclusion policy as substantiation for his prejudice, stating that if women were his equal then the Air Force would let them be Pararescuemen and Combat Controllers (two jobs closed to women then and now). He didn't take into consideration the fact that I had become somewhat of an expert on the local area, learning some of the language and landmarks, or that I was the only expert marksman (in both of my weapons) on the crew."
"Instead of seeing my strengths and how I could contribute to an evading crew, he only saw my gender."
The other three plaintiffs — Captain Zoe Bedell (U.S. Marine Corps Reserve), First Lieutenant Colleen Farrell (U.S. Marine Corps), and Staff Sergeant Jennifer Hunt (U.S. Army Reserves) — experienced similar impediments in their own careers due to the combat exclusion policy. In Farrell's case, she and her fellow women Marines were not recognized as official members of the battalion with which they worked, and were forced to return to their main forward operating base every 45 days. Traveling back to the base put the women Marines and their fellow battalion members in danger, and reduced the efficacy of their service.
Women in the military are hampered by the combat exclusion policy in many ways, including being barred from certain combat arms positions and being prohibited from applying to certain schools such as infantry schools. The ACLU concludes, "combat exclusion policy sends a clear message to the world that women are not capable of serving their country to the same extent as men."
Combat exclusion policy was originally instituted almost 20 years ago, and was intended to limit women's exposure to combat. As the DoD noted in February, "The modern battlespace, however, without clearly defined boundaries, logically requires that the Department revisit this prohibition."
The role of women in the military has already been addressed by the Department of Defense once this year. In February, the DoD changed its assignment policy so that women could occupy positions co-located with ground combat units, in addition to opening up positions for women at the battalion level in certain ground combat units. These changes opened up 14,325 new positions for women in the military.
In an email to U.S. News on Tuesday, Panetta's spokeswoman Elieen Lainez commented, "The services will continue to review positions and requirements to determine what additional positions may be opened to women. Our goal is to ensure that the mission is met with the best qualified and most capable people, regardless of gender."
In conjunction with February's DoD decision, the ACLU's suit may open up further career opportunities to women in the military. As women's military service is reconsidered, and new military strategies continue to emerge, arguments like Schlafly's against women in the military — which can be summed up, in her own words, as "women do not want repeal" — will become increasingly irrelevant.


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Disinformation: Containing the viral spread
Fact-checking in Brazil. By Philipp Lichterbeck
Mural in Rio de Janeiro.
The photo shows an empty coffin and is said to have been taken during the coronavirus pandemic at the end of April in the Brazilian city of Manaus. Within a few hours, it spread via Brazil's social networks and was shared around 12,000 times on Facebook alone. The message behind it: empty coffins are being buried in order to exaggerate the corona crisis.
In particular, supporters of Brazil's President Jair Bolsonaro ensured the photo's continued spread. Member of Parliament Carla Zambelli repeated the accusation on the radio. But it was classic fake news. The photo was actually taken in 2017 in São Paulo, as the three major Brazilian fact-checking platforms quickly proved.
One of them is Comprova, an association of journalists from two dozen of the country's largest newspapers, magazines, TV and radio stations. Comprova was founded before the 2018 elections on the initiative of First Draft, a non-profit organization that was created at Harvard University. Its goal: to provide journalists around the world with guidelines for tracking down fake news.
The idea behind Comprova is simple. At least two journalists from two different media sources check questionable information on the internet for its truthfulness. The results are published on a website as well as in social networks and are free for further distribution. Each investigation is accompanied by a detailed explanation of the procedure and an explanation of the context.
With the coronavirus crisis, the distribution of fake news in Brazil increased by leaps and bounds. Whereas Comprova examined only 14 questionable reports in September 2019, in April 2020 there were almost twice as many. All were found to be false or misleading.
By 2015, Aos Fatos, a fact-checking platform run by a dozen young journalists, had already gone online. It is financed through grants, donations and partnerships with other media. This also includes a cooperation with Facebook within the framework of its third-party fact-checker program. Aos Fatos helps track down dubious stories on Facebook.
The third major Brazilian fact-checking platform, Agência Lupa, also participates in the program. It is the first news agency to specialize in fact-checking. It sells the results of its investigations to other media, for which it also takes on specific assignments. Like Aos Fatos, the agency belongs to the International Fact-Checking Network (IFCN), which has introduced strict standards for the investigation of information.
In the election year 2018, Agência Lupa checked 634 news items. The organization was able to show that only 30 of 110 statements made by the presidential candidate Jair Bolsonaro were true; 35 were untrue.
In recent years, some newspapers, TV channels and radio stations have also reacted to the increasing distribution of fake news. They introduced fact-checking sections, some in cooperation with the platforms described above.
Philipp Lichterbeck is a freelance journalist and reporter focusing on Brazil and Latin America.
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In focus: Media and Conflict
A landmark publication for media makers of all kinds, DW Akademie's "How close should we get?" takes a look at the ambivalent roles media play in conflicts across the globe.
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How close should we get? Media and conflict | pdf
Edition DW Akademie | 2021
Date 22.03.2021
Author Philipp Lichterbeck
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United States: Is New Hampshire The Next State To Legalize Cannabis?
The first public hearing on New Hampshire House Bill 481, which would legalize the adult use of cannabis in the state, is scheduled for February 5, 2019. The bill outlines how New Hampshire would regulate cannabis products,including recreational "adult use" products, the licensing and regulation of sales establishments, and the taxation scheme.
Massachusetts, Maine and Vermont all have legalized the "adult use" of cannabis, leaving New Hampshire as the only state in northern New England that has yet to do so.New Hampshire's economy is very integrated into the New England and Metro Boston economies and serves as a valuable new market for the cannabis industry.