Podcasts about queens theatre

20240216 - Queens Theatre And More On Fun Friday by Kevin McCullough Radio

On October 23, 2003 at Queens Theatre, Alaska and Willam starred in Race Chaser Live featuring a packed house, jokes, bits, skits, and Spit Crew boys, and even a live animal! This episode is audio highlights from this event. Please check out Day of Pink and the amazing work they are doing with Stonewall Activist Martin Boyce. https://www.dayofpink.org/ Listen to Race Chaser Ad-Free on MOM Plus Follow us on IG at @racechaserpod and click the link in bio for a list of organizations you can donate to in support of Black Lives Matter Rainbow Spotlight: Dear Santa, Bring Me a Man - Alaska, Courtney Act, and Willam FOLLOW ALASKA https://twitter.com/Alaska5000 https://www.instagram.com/theonlyalaska5000 https://www.facebook.com/AlaskaThunder https://www.youtube.com/channel/UC9vnKqhNky1BcWqXbDs0NAQ FOLLOW WILLAM https://twitter.com/willam https://www.instagram.com/willam https://www.facebook.com/willam https://www.youtube.com/channel/UCrO9hj5VqGJufBlVJy-8D1g RACE CHASER IS A FOREVER DOG PODCAST Learn more about your ad choices. Visit megaphone.fm/adchoices

What do you get when you mix a whining queen, a pair of orange chaps, a smile that won't quit, and Stanky The Starfish? A Drag Race Fairytale! Alaska and Willam review this jam packed episode and remind themselves that “a little bit of love, goes a long long way,” even for Princess Banana Lady. Tickets for Race Chaser LIVE! On October 23rd at Queens Theatre available at www.queenstheatre.org Listen to Race Chaser Ad-Free on MOM Plus Follow us on IG at @racechaserpod and click the link in bio for a list of organizations you can donate to in support of Black Lives Matter FOLLOW ALASKA https://twitter.com/Alaska5000 https://www.instagram.com/theonlyalaska5000 https://www.facebook.com/AlaskaThunder https://www.youtube.com/channel/UC9vnKqhNky1BcWqXbDs0NAQ FOLLOW WILLAM https://twitter.com/willam https://www.instagram.com/willam https://www.facebook.com/willam https://www.youtube.com/channel/UCrO9hj5VqGJufBlVJy-8D1g RACE CHASER IS A FOREVER DOG PODCAST Learn more about your ad choices. Visit megaphone.fm/adchoices

Martine McCutcheon describes her rising anxiety levels to do with the perimenopause. Who is Fani Willis? On Monday 14 August a grand jury in Fulton County, Georgia voted to charge Mr Trump and 18 others with attempting to overturn the 2020 election result in the state. The woman taking on his case is District Attorney Fani Willis. Kimberley Peeler Allen the co-founder of HHFA, a national organization building the political power and leadership of Black women from the voting booth to elected office, joins Nuala. Should parents of disabled children and those with long term health conditions be kept in the loop, even when the young person turns 18 and is an adult? We hear from parents devastated to be excluded, who say they are not listened to, sometimes until it's too late. And the Royal College of Psychiatrists tells Woman's Hour they want to see the period of transition to be extended past 18 and up to the age of 25. In Nepal there have been reports of a 16-year old girl who has died as a result of the illegal practice of chhaupadi. This is where menstruating women are forced to stay in huts outside their home due to the centuries-old belief that they are unclean and untouchable during menstruation. Journalist Shristi Kafle joins us from Nepal.  The Invincibles is the untold story of one of the most successful women's football team of World War One. And as the spirit of the Sterling Ladies lives on in the Lionesses epic Women's World Cup adventure this summer a play about them opens at the Queens Theatre in Hornchurch Essex early next month. Playwright Amanda Whittington and actor Yanexi Enriquez join Nuala. Presenter: Nuala McGovern Producer: Lucinda Montefiore 00:00 Opener 02:10 Martine Mccutcheon 13:53 Fani Willis 26:24 Post - 18 40:03 Period Huts 46:40 The Invincibles

Welcome back! After a short break I have this wonderful interview for you by podcast co-host Christine Morgan featuring Rosamund Gravelle. Rosamund Gravelle is a writer whose poems have been been published in magazines, online and in Poetry anthologies, while her plays have been featured in scratch presentations at Barons Court Theatre and Queens Theatre, Hornchurch. Three Queens is one-act play about a fictional encounter between Queen Mary I, Lady Jane Grey and the future Queen Elizabeth I, as well another royal cousin - Cardinal Reginald Pole, on the night before Lady Jane Grey is due to be executed.  -- Commercial FREE for ⁠patrons⁠! Love the Tudors? Read the stories of the Tudors on ⁠Tudors Dynasty⁠! -- Credits:  Hosted by: Rebecca Larson Guest: Rosamund Gravelle Edited by: Rebecca Larson --- Send in a voice message: https://podcasters.spotify.com/pod/show/rebecca-larson/message Support this podcast: https://podcasters.spotify.com/pod/show/rebecca-larson/support

This episode is also available as a blog post: https://thecitylife.org/2023/05/05/queens-theatre-adds-new-performances-of-eight-tales-of-pedro/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2023/04/25/queens-theatre-presents-award-winning-play-eight-tales-of-pedro-by-mark-eugene-garcia/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

臺銀人壽是臺灣唯一國營的人壽保險公司尊重多元，永續關懷堅持「安心、可靠、誠信、穩健」的服務理念守護臺灣每個家庭知道你懂，臺銀人壽https://go.fstry.me/49WRTwq以上廣告由臺銀人壽提供 —— 以上為播客煮與 Firstory DAI 動態廣告 —— 這集來分享維尼2019的英國倫敦遊，不過這跟一般大眾想的倫敦行程不一樣哦！維尼是為了看音樂劇，而且竟然只去了5天3夜，究竟這個瘋狂的旅程會是怎麼安排的呢⋯ 【懶人包】 01:32快閃倫敦的契機 04:59給親朋好友猜猜去哪裡 -第一天- 07:48台北-香港轉機-倫敦 08:02入境英國 08:46住宿安排：Holiday Inn Express London Heathrow T4 -第二天- 11:11 飯店早餐 12:12機場前往倫敦市區 14:28倫敦住宿：YHA Oxford Street 18:50攝政公園(The Regent's Park) 20:16午餐：Five Guy美式餐廳 22:41戲劇：哈利波特 被詛咒的孩子 23:28晚餐：Duck & Waffle -第三天- 25:25倫敦的星巴克 26:52牛津街/攝政街逛逛 28:24英式下午茶：Maison Bertaux 31:51 Queens Theatre 取票 32:34倫敦景點走走 33:51晚餐：PRET A MANGER 35:57音樂劇：悲慘世界 -第四天- 36:28倫敦凌晨散步 37:46倫敦的麥當勞 39:30 Jo Malone採買 43:13樂高採買 43:30辦理退稅 44:53出境不用經過移民關 46:26倫敦飛往香港載客率很低 【贊助連結】A cup of tea that encourage me

For our 150th episode, Lucie Jones is back In The Frame! Lucie is currently in her final week of performances as Elphaba in Wicked ahead of returning to Les Misérables as Fantine. On Wednesday 12th April, you can see Lucie in The Best Of The West End which is playing the Milton Keynes Theatre following sold out shows at the Royal Albert Hall. Lucie will perform musical theatre classics alongside Ben Forster, Louise Dearman and Matt Henry MBE. She's also heading out on a solo tour with The Fulltone Orchestra and has released a book with David Hunter called Doctor's Orders – our friendship in doodles.Lucie burst onto our screens in the 2009 series of The X Factor (ITV) and has gone on to become one of the most renowned leading ladies in British musical theatre. Lucie made her West End debut as Cosette in Les Misérables (Queens Theatre). Her credits include: Meat in We Will Rock You (International Arena Tour), Victoria in American Psycho (Almedia Theatre), Molly in Ghost (Asian Tour), Elle Woods in Legally Blonde (Leicester Curve & UK Tour), Holly in The Wedding Singer (UK Tour), Maureen in Rent (St James Theatre & UK Tour), Lou in Girlfriends (LMTO), Heidi in Title Of Show (Digital Production) and The Ghost Of Christmas Past in A Christmas Carol (Dominion Theatre).Lucie represented the United Kingdom at the Eurovision Song Contest in Kyiv, Ukraine in 2017 and released the album Lucie Jones Live At The Adelphi in 2020. For the past year Lucie has been starring as Elphaba in the West End production of Wicked (Apollo Victoria) and is about to return to Les Misérables (Sondheim Theatre) as Fantine, a role she previously played in the concert production. You can see Lucie in The Best Of The West End at the Milton Keynes Theatre on Wednesday 12th April. Visit www.bestwestend.co.uk for info and tickets. Lucie is playing Elphaba in Wicked at the Apollo Victoria Theatre until Sunday 5th March. You can see Lucie as Fantine in Les Misérables at the Sondheim Theatre from Monday 27th March. Lucie is on tour with the Fulltone Orchestra in April and May, with tickets available from www.fto.org.uk/lucie/Lucie's book with David Hunter, Doctors Orders, is available  now at www.doctorsordersbook.myshopify.com/ Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Queens Theatre, the premier performing arts venue in Queens, presents THE MONKEY KING: A Kung-Fu Musical, Saturday & Sunday, February 11-12. Our guests are the writers and star of THE MONKEY KING, Kimbirdlee and Jonathan Fadner, who talk about their reinvention of the 16th century Chinese novel as a musical and with a female king, in a discussion that also addresses representation for Asian women in the performing arts. For more, visit QueensTheatre.org.

In the first ever Get Stuff Done-Cast, NYC Mayor Eric Adams delivers the 2023 State of the City address from the Queens Theatre and presents the four pillars of his Working People's Agenda: Jobs, Safety, Housing, and Care.

This episode is also available as a blog post: https://thecitylife.org/2023/01/17/queens-theatre-presents-the-monkey-king-a-kung-fu-musical/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2023/01/10/bilingual-cinderella-story-to-brighten-stage-at-queens-theatre/ --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

State of the Arts Episode 110 just published. David Lawson is a writer, comic, performing artist, director, actor and teacher who has gifted my podcast with his delightful presence this week. An artist with multiple talents, he was an actor in the Comedy Central sketch "Rage Restaurant," teaches storytelling classes with Queens Theatre and has performed his one-man shows all over New York City (as well as across the nation). In his show "Nazis and Me" he recounts his encounters with hate groups as a Jewish man. The monthly Astoria Bookshop Storytelling Show, which is a free monthly storytelling open mic, is hosted by him. This show has been featured in the New York Times. Students learn to write and perform one-person shows in his enriching workshops. As a director, David Lawson has worked on several one-person shows including Richard Cardillo's one-man show "Invisibility: A Journey of Pasta, Prayer, Protest, and Peru." This richly entertaining production won the Audience Choice Award at the 2019 FRIGID New York Festival. At one time a podcaster himself, he's no stranger to the airwaves. He used to have his own podcast and he also performed on the popular storytelling podcast "RISK!" This diversely accomplished artist is the engaging, personable, witty and intelligent guest I had the privilege of having on State of the Arts this week! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This episode is also available as a blog post: https://thecitylife.org/2022/11/17/brighten-up-your-holidays-this-winter-at-queens-theatre-with-thrilling-dance-and-performance-for-the-whole-family/ --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2022/07/14/queens-theatre-launches-disability-pride-month-campaign-to-support-theatre-for-all-acting-program-stage-screen-star-vincent-donofrio-will-match-first-15000-raised/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Since 1993 Queens Theatre has produced programs that celebrate the diversity of the borough. And starting this Friday, May 13th, they’re hosting two weekends of performances and events in the first-ever Forward Festival of the Arts. The festival will highlight the artistry of deaf individuals and other performers with disabilities. In this episode we talk to Queens Theatre's Executive Director Taryn Sacramone about how they’ve worked to make the experience accessible to more of our neighbors and why representation of artists with disabilities on stage is so important. We also hear from one of the key organizers of the Forward Festival of the Arts, Gregg Mozgala. Gregg is a New York City based actor, artistic director, and arts administrator. Festival schedule/tickets: https://queenstheatre.org/calendar/category/forward-festival Queens Theatre: https://queenstheatre.org/ Epicenter-NYC membership: https://epicenter-nyc.com/the-case-for-epicenter-membership-one-auntie-to-another/ Our intro music: http://karavikamusic.com/See omnystudio.com/listener for privacy information.

There's a lot of responsibility that comes with being a circus ringmaster. In many ways it's a dance between your performers and the audience. A trust. And for decades, Johnathan Lee Iverson has taken that trust very seriously. A peculiar genius of his own that he doesn't take lightly. So, when he moved from Ringling Bros into the Omnium Circus, a "Bold New Circus" where inclusivity, diversity, multi-sensory is always center ring, his devotion took things to the next level.  On the second part of the series “Finding Your Peculiar Genius”, Johnathan share more about the traumas and triumphs of circus life. Especially within the disabled or rather the multi-able community. Something close to my own heart and you'll find out why. Plus, you'll meet a number of performers through the stories Johnathan shares and what it means to dream big and have a platform to express yourself authentically.  Plus, a chance of a lifetime opportunity to join Johnathan and the cast at the Omnium Circus on May 14th at the Queens Theatre in NYC. All you have to do is purchase just one ticket, then post it on your Instagram and tag @hilaryrusso, @thelastringmaster and @omniumcircus. You'll be entered for a chance to join us center ring to meet join the circus after the show. Connect with Johnathan by visiting his website  bigtopvoice.com Come to the Omnium Circus for a chance to meet Johnathan and the cast. Purchase tickets here: https://omniumcircus.org/ If you think this episode will touch, move and inspire someone you know, pay it forward. And consider leaving a rating and review on Apple Podcast.   HIListically Speaking with Hilary RussoCreated/Hosted by Hilary Russo Edited by David Sais Music by Lipbone Redding Recorded on SquadCast (Free 7 Day Trial) Connect with HilaryInstagram: @HilaryRusso Twitter: @HilaryRusso Facebook: @HilaryRusso TikTok @hilisticallyspeaking Website: www.hilaryrusso.com

Douglas Lyons is an actor, playwright, writer, director, composer, and teacher. He served as a writer & composer on Apple TV's 2022 series Fraggle Rock. His new family comedy "Chicken and Biscuits", which got its world premiere at Queens Theatre has touched the hearts of many in the way it sheds light on the power of healing and unity from a black family perspective. Mr. Lyons is an inspiration for all creatives. Listen to this episode and find out what inspires Lyons the most. From New Haven, Connecticut Douglas is a person who's comfortable with thinking & creating freely and encourages more people to do the same. This episode is for the people.  https://prettyeasypodcasts.com (Produced by Pretty Easy Podcasts)

Lucie is starring in the UK tour of Waitress, reprising her performance from the West End production (Adelphi Theatre). Based on the 2007 movie written by Adrienne Shelly, Waitress has music and lyrics by Sara Bareilles with book by Jessie Nelson. Directed by Diane Paulus with choreography by Lorin Latarro, Waitress has garnered multiple awards and nominations in both America and the UK.Lucie burst onto our screens in the 2009 series of The X Factor (ITV) and has gone on to become one of the most renowned leading ladies in theatreland. Lucie made her West End debut as Cosette in Les Misérables (Queens Theatre). Her credits include: Meat in We Will Rock You (International Arena Tour), Victoria in American Psycho (Almedia Theatre), Molly in Ghost (Asian Tour), Elle Woods in Legally Blonde (Leicester Curve & UK Tour), Holly in The Wedding Singer (UK Tour), Maureen in Rent (St James Theatre & UK Tour), Lou in Girlfriends (LMTO), Heidi in Title Of Show (Digital Production), The Ghost Of Christmas Past in A Christmas Carol (Dominion Theatre) and most recently she returned to Les Misérables (Sondheim Theatre) to play Fantine in the concert production. In 2017, Lucie represented the United Kingdom at the Eurovision Song Contest in Kyiv (Kiev), Ukraine. In 2020, Lucie performed a live concert to a sold-out audience at London's Adelphi Theatre. Accompanied by the London Musical Theatre Orchestra, the concert was recorded for a live album "Lucie Jones: Live at The Adelphi". It was recently announced that Lucie will be completing her run in Waitress in December. After leaving Waitress, Lucie will perform two Christmas concerts at St David's Hall in Cardiff on Monday 13th December and at the West End's Her Majesty's Theatre on Tuesday 14th December.  You can see Lucie in Waitress until Saturday 4th December. Visit www.waitressthemusical.co.uk for tour dates and tickets. For more info about her Christmas concerts, visit www.cuffeandtaylor.com.Hosted by Andrew Tomlins. @Andrew_Tomlins Thanks for listening! Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. 

After a months-long hiatus, Directions and Dialogue returns. Join host David McKibbin as he interviews Rebecca Kane. Rebecca is a playwright, stage manager, indie theatre producer, merch girl, and oat milk enthusiast. Her works have been staged by the Rising Sun Performance Company, Naked Angels Tuesdays@9, New York Theater Festival, The Tank, and the Rouge Theater Festival, among others. Some of her plays include Almost Maimed, Tight (haha nice), and I Name You. She is one of 500 New York City-based artists to receive $5000 through the City Artists Corps Grants, presented by the New York Foundation for the Arts (NYFA) and the New York City Department of Cultural Affairs (DCLA) with support from the Mayor's Office of Media and Entertainment (MOME) and Queens Theatre. Her latest play, Crawlspaceblog will be presented in a staged reading on Sunday, October 17 at The Tank, located at 312 W 36th St., New York, NY 10018. Tickets are Free.Read Rebecca's Tumblr Blog for Crawlspaceblog here. https://crawlspaceplayblog.tumblr.comRead Rebecca's Plays at the National New Play Network's New Play Exchange.

Performer Sabrina Aloueche (Chess / We Will Rock You) returns to co-host The West End Frame Show! Sabrina is currently starring in NHS The Musical at the Theatre Royal Plymouth.Andrew & Sabrina discuss Six UK Tour (Oxford Playhouse) & South Pacific (Chichester Festival Theatre) as well as the transphobic comments Cameron Mackintosh recently made to a British newspaper. They also cover the latest news about Les Misérables, Gabriea Garcia and lots more!Sabrina's theatre credits include Faith in Brookyn (Greenwich Theatre), Chess (English National Opera), Starlight Express (workshop), Scaramouche in We Will Rock You (Dominion Theatre), Maureen in Rent (Cockpit Theatre), Jenna in Sleeping Arrangments (Landor Theatre) and Eponine in Les Misérables (Queens Theatre), having played Young Cosette as a child.  Written by by Nick Stimson and Jimmy Jewell with direction by Stephen Fletcher, NHS The Musical runs at the Theatre Royal Plymouth 17th – 25th September 2021. Hosted by Andrew Tomlins @Andrew_Tomlins  Thanks for listening! Email: andrew@westendframe.co.ukVisit www.westendframe.co.uk to stay up-to-date with our podcasting adventures.  

Theatre has long helped to break barriers and build community. Queens Theatre is a great example of that. It's been training Deaf and disabled theatre professionals for years. Their services have become that much more important as people with disabilities grapple with significant job losses due to the pandemic. As cultural institutions continue to reopen, Queens Theatre recently hosted two weeks of workshops to build skills, knowledge and confidence to support participants. Our guests this week are Gregg Mozgala, who leads the Theatre for All programming at Queens Theatre, and Alejandra Ospina, one of the first graduates of the program. They're with us to talk about the challenges those with disabilities face, how the pandemic has impacted them, and how the Theatre for All program is working to effect changes in the larger industry.

Theatre has long helped to break barriers and build community. Queens Theatre is a great example of that. It's been training Deaf and disabled theatre professionals for years. Their services have become that much more important as people with disabilities grapple with significant job losses due to the pandemic. As cultural institutions continue to reopen, Queens Theatre recently hosted two weeks of workshops to build skills, knowledge and confidence to support participants. Our guests this week are Gregg Mozgala, who leads the Theatre for All programming at Queens Theatre, and Alejandra Ospina, one of the first graduates of the program. They're with us to talk about the challenges those with disabilities face, how the pandemic has impacted them, and how the Theatre for All program is working to effect changes in the larger industry.

In the wake of the 2020 pandemic, the premiere performing arts venue in Queens, Queens Theatre, moved its programs online, and most recently, produced its first feature length film. Director of Community Engagement at Queens Theatre, Dominic D'Andrea, and Writer and Director Harris Doran, discuss "I See You and You See Me", a project they call "a love letter to Queens." See the film at queenstheatre.org.

In the wake of the 2020 pandemic, the premiere performing arts venue in Queens, Queens Theatre, moved its programs online, and most recently, produced its first feature length film. Director of Community Engagement at Queens Theatre, Dominic D’Andrea, and Writer and Director Harris Doran, discuss "I See You and You See Me", a project they call "a love letter to Queens." See the film at queenstheatre.org.

During the pandemic, the nonprofit Josephine Herrick Project provided free photography classes to longtime women residents of Queensbridge Houses, in Long Island City. The project and its impact is illustrated in the film, "The Way I See Now," presented by online by Queens Theatre. JHP Executive Director Miriam Leuchter talks about the film's photographers, expansion of the project, and what makes a good photo. For more, visit jhproject.org and to see the film, visit queentheater.org.

During the pandemic, the nonprofit Josephine Herrick Project provided free photography classes to longtime women residents of Queensbridge Houses, in Long Island City. The project and its impact is illustrated in the film, "The Way I See Now," presented by online by Queens Theatre. JHP Executive Director Miriam Leuchter talks about the film’s photographers, expansion of the project, and what makes a good photo. For more, visit jhproject.org and to see the film, visit queentheater.org.

Welcome to Chippy Lane’s Podcast, series two the PICTURES / LLUNIAU PROJECT. This series celebrates Welsh and Wales-based writers and their stories. Each episode focuses on a new writer, a personal picture of there’s and a story they want to share with you. So, sit back and enjoy.    SASHAY AWAY Writer: Rhys Warrington Rhys is a writer and actor who grew up in Carmarthenshire is South West Wales and is now based in London. He trained as an actor at the Royal Conservatoire of Scotland and has worked extensively in theatre, both regionally and in the West End since he graduated in 2014. His acting credits include: ‘The Mousetrap’ (St Martin’s Theatre) 'Great Expectations’ (Vaudeville Theatre)  ‘Praxis Makes Perfect’ (NTW). As a writer his debut play BLUE  (★★★★ The Guardian) opened in January 2019 at Chapter Arts Centre. The play was produced by Chippy Lane Productions, a London based theatre company that champions Welsh work in and beyond Wales. Following BLUE Rhys has been working on a film with director Joe Stephenson (Chicken, Mckellen: Playing the Part) about the life of 70s Texan serial killer Dean Corll. Alongside this he has been working on new play ‘Fossils” with director Francesca Goodridge. Rhys is a creative associate of Chippy Lane and is published by Methuen.  Performer: Mari IzzardMari is an Actor/Writer from Bridgend, South Wales who trained at RWCMD. She loves telling stories that are full of heart and impacts social dialogue in some way. Credits include: Brian & Charles for Film4 & BFI, Comedy of Errors at Storyhouse/Grosvenor Open Air Theatre, Wolfie for National Theatre Wales, Lord of the Flies for Sherman Theatre/Theatr Clwyd, Pride & Prejudice for Regents Park Open Air Theatre, A Midsummer Night's Dream for the Royal Shakespeare Company and Gwaith/Cartref for S4C. In 2018 she became the inaugural winner of the Violet Burns Playwright Award and is one of the nominees for The Stage Debut Awards 2020 for Best Writer for her original bilingual play HELA. Director: Izzy Rabey Izzy is a Theatre Director, Applied Drama Facilitator (specialising in adolescent mental health and Autism) and Musician originally from Machynlleth in Mid-Wales. She co-founded Run Amok in 2013 with Jonathan Patton and since then has directed numerous productions for the company including a sell-out tour of 4:48 Psychosis by Sarah Kane (2014), Flowers of the Dead Red Sea by Ed Thomas (2014) and Hang by debbie tucker green (2017). Assistant Director credits include: Play/Silence (The Other Room Theatre, 2016), On Bear Ridge (National Theatre Wales/The Royal Court, 2019) and All of It by Alistair McDowall (The Royal Court, 2020). Izzy recently directed Wolfie by Ross Willis for National Theatre Wales’ 2020 ‘Network’ project. Izzy has worked on new writing as a director and applied theatre practitioner in association with Paines Plough, Theatr Clwyd and  Sherman Theatre. She is currently Trainee Director at The Royal Court and an Emerging Director with National Theatre Wales.   A PC  Writer & Performer: Paisley JacksonPaisley Jackson is a Newport Born, London and Wales based actor and writer, graduating from East15 BA Acting, winner of the Laurence Olivier Bursary, Listed by BBC England as a promising writer and represented by Redshaw Management. Paisley’s one woman play Celtic manners, had a two day sold out run at the Tristan Bates Theatre off the West end after winning the John thaw initiative; working class season in association with Actors Awareness, Enabling her to gain attention from various high end production companies in both TV and Theatre. She was Long Listed for the Pint Size Prize Bunker theatre, and reached the top 4% of the BBC England Writers room. Recent Credits Include: Ann Bony and Mary Read /Che Walker, Queens Theatre; Celtic Manners /written and performed by Paisley Jackson, Tristan Bates; Who run the World? /Chippy Lane Production for the Old Red Lion; The Massive /Rebecca Jade Hammond, London Welsh Centre & The Other Room; The Red Fiesta /Alan Harris, The Other Room; ‘COMMA’ TEN/ Kelly Jones, Sherman Theatre. Director: Lisa Diveney Lisa is a Welsh director and was Emerging Director at National Theatre of Wales in 2019. Director credits include Merry F**king Christmas Kids by Kelly Jones (Rapid Write Response,Theatre 503), rehearsed readings include Papatango’s WriteWest, Kath Chandler’s Bird (The Far Away Plays) and a lockdown monologue penned by Rick Allden, starring Andrea Hall, Be Careful What You Show (CompactsUK). Work in development includes plays by Kelly Jones and Michael Currell. Assistant Director credits include Shook (Papatango/Southwark Playhouse), For All I Care (NTW) and The Lucky Spot (RWCMD). She has also assisted on numerous workshops and readings, most recently for Chippy Lane Productions and The Far Away Plays. Lisa has worked extensively as an actor and voice over artist since training at RWCMD.  Produced & Edited by Chippy Lane Productions Ltd. Music by Grand Tradition This podcast is generously supported by The Carne Trust.

Claire-Marie Hall (Les Misérables/The Grinning Man) co-hosts The West End Frame Show! In this episode, Andrew & Claire discuss The West End Musical Drive-In (Drive In London) and the latest industry update, as well as news about BroadwayHD, Dirty Dancing and Channing Tatum plus casting for And the World Goes 'Round (Barn Theatre) and Camelot (Watermill Theatre), At the age of 11, Claire made her professional debut as Ngana in the National Theatre's touring production of South Pacific. After graduating from Mountview, she made her West End debut as Cosette in Les Misérables (Queens Theatre). Her theatre credits also include: Gabriella in High School Musical (Hammersmith Apollo & National Tour), Tuptim in The King And I (Leicester Curve & National Tour), The Grinning Man (Trafalgar Studios), The Colours (Soho Theatre) and Operation Mincemeat (Southwark Playhouse). Prior to lockdown, Claire was playing The Innkeeper's Wife in The Wicker Husband (Watermill Theatre) which closed after its press night due to covid-19. She is currently preparing to tour cricket grounds in a socially distanced, family friendly, actor musician production of A Midsummer Night's Dream with Scoot Theatre. Follow Claire on Instagram @clairemarie_hall and Twitter @clairemarie612. Visit her website www.clairemariehall.com. A Midsummer Night's Dream is touring cricket clubs from 24th August until 4th September. Visit www.cricketdream.org for info and tickets. Hosted by Andrew Tomlins @Andrew_Tomlins Thanks for listening! Visit www.westendframe.co.uk to stay up-to-date with our podcasting adventures. 

Welcome to the third episode of the all new Broadway Babies Podcast! In this episode, Stephanie and Noelle welcome their first guest, Broadway veteran and West End star, Peter Lockyer (Les Miserables, Miss Saigon, Phantom of the Opera, La Boheme)! We are so happy you are joining us and hope you enjoy our podcast. If you have any questions, comments or topics you would like us to discuss, let us know on Facebook or Twitter! Stay safe and healthy and thank you for listening! Peter Lockyer made his Broadway debut at the age of 19 in the Dutch production of Cyrano – The Musical, and has since gone on to play leading roles in some of Broadway’s most popular shows. Peter spent two and a half years in the West End as Jean Valjean in Les Misérables at The Queens Theatre. Peter also starred as Chris in Miss Saigon, both on Broadway and in the first national tour. He was Marius in the 10th-anniversary production of Les Misérables on Broadway and for the China premiere in Shanghai, China, starring Colm Wilkinson. Also on Broadway, Peter played the role of Rodolfo in Baz Luhrmann’s critically acclaimed production of La Bohème. He was featured in Lincoln Center Theater’s revival of South Pacific, which aired on PBS nationally. He was also a longtime cast member of Broadway’s The Phantom of the Opera. In the summer of 2007, Peter had the great honor of being one of four Broadway guest stars for Barbra Streisand in her historical, first European concert tour. In 2008, Peter was nominated for a Connecticut Critics Circle Award for his performance as Tom in The Glass Menagerie at The Ivoryton Playhouse, and won the 2011 award for Best Direction of a play for his production of One Flew Over the Cuckoo’s Nest at the same theater. On TV, Peter played Yonkers in the CBS telefilm “Gypsy,” starring Bette Midler. As an avid sports fan, he has enjoyed singing both the American and Canadian national anthems at Major League Baseball games and NFL football games across the U.S. He graduated magna cum laude from New York University, receiving a B.S. in Music Education and Educational Theatre, and added an M.F.A. in Screenwriting and Playwriting from the University of British Columbia. --- Stephanie Andersen (Bare: A Pop Opera, Original Cast, Cast Recording and Revival) and Noelle Hannibal (Hair: 20th Anniversary Production, Star Trek, Buffy) and are professional performers and fangirls with a deep and never-ending love for musical theatre. Join them as they chat about all things Broadway on this special podcast which will feature interviews with some of Broadway's most beloved stars. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/broadway-babies/support

Tonight I chatted to good buddy of the show Millie from Laika Spacedog, who is holding a performance of a play she wrote, entitled The Lighthouse, this coming Monday (9th March) at 8pm at the Queens Theatre in Hornchurch as part of their regular 'Scratch Night' for upcoming talent. We heard all about the unusual back story that inspired the play as well as meeting some of the actors you'll see performing. You can find out more about 'The Lighthouse' and order tickets on the Queens Theatre website, while you can hear more of Millie's tracks (we played two tonight) on her SoundCloud page. Catatonia - Mulder & Scully Super Furry Animals - Ysbediau Heulog Sleater-Kinney - The Professional Let's Be Strange - Shame Anorak Patch - Beans Field Music - A Shot to the Arm The Silver Bayonets - World Slow Down Laika Spacedog - Vicky the EU Worker Laika Spacedog - Sandcastles in the Air Manbreak - Hold It Now Disclosure (featuring Lion Babe) - Hourglass Marika Hackman - Boyfriend The Velvet Tree - My Love Whoremoan - What Are You After The Trusted - Boy Regrets - Void The Invaders - Windows Ren Stedman - Benny & Joon The Penny Antics - Guilty Pleasures Colina Pearl - On My Way Supergrass - Rush Hour Soul Rachel Arnold - This is Me Concrete Natives - Tightrope

Jeffrey Solomon talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about his play “The Santa Closet” that premiered Tuesday December 3rd at Teatro Círculo Theater at 64 East 4th Street in NYC with a limited engagement through Sunday December 22nd presented by Houses On The Moon. “The Santa Closet” is an updated version of Solomon’s acclaimed solo play “Santa Claus is Coming Out” which premiered Off-Broadway in 2009. On the 10th anniversary of that production this new version reflects the advances and nuances in our understanding of LGBTQ lives and remains as timely 10 years later as when it first broke ground. In “The Santa Closet” little Gary's gender atypical gift request sent to the North Pole is denied. A series of subsequent heartfelt letters from the child nudge Santa Claus out of the closet right into the center of a heated culture war. The play is directed by Joe Brancato with the creative team including Claire DeLiso (scenic design), Christopher S. Chambers (lighting design), Yana Biryukova (projections design) and Obadiah Eaves (sound design/original music). The Production Stage Manager is Jamie Rose Bukowski. We talked to Jeffrey about what he hopes to accomplish with “The Santa Closet” and his spin on our LGBTQ issues. Jeffrey Solomon is the co-founder of Houses on the Moon Theater Company a New York City not-for-profit with a mission to amplify unheard voices. Jeffrey wrote and directed two original Houses productions, “Building Houses on the Moon” (Lucille Lortel Theatre, City Theatre, Pittsburgh, Winner: Best Play for an Ensemble, Columbus National Gay and Lesbian Theatre Festival) and “De Novo” (59E59 St. Theaters, Next Door at New York Theatre Workshop, Palacio Tecleño in El Salvador). He is also the playwright of “Tara's Crossing” which appeared at the Queens Theatre’s Immigrant Voice’s Project and had its world premiere run at the Tenement Theatre in New York. Solomon's original teleplay for "CityKids" (ABC/Jim Henson Productions) received an Emmy Nomination for Best Children's Special as well as winning an Ollie Award for excellence in Children's Programming. “The Santa Closet” runs from December 3rd to 22nd performing on Wednesdays and Thursdays at 7P, Fridays at 8P, Saturdays at 2P and 8P and Sundays at 3P with an additional performance on Tuesday December 3rd at 7P. Tickets are $35 with special reserved seating available at $55.For More Info: housesonthemoon.org LISTEN: 500+ LGBTQ Chats @OUTTAKE VOICES

We're live from Queens Theatre this week with Executive Director Taryn Sacramone. We cover the events of November 22nd-28th 2019 in the borough. More info at itsinqueens.com.

Today on The Neil Haley Show's Caregiver Dave Celebrity Segment, Caregiver Dave and The Total Tutor Neil Haley will interview Actor Vincent D'Onofrio and Greg Mozgala, Director of Inclusion. Theatre for All, launched by Queens Theatre in 2018, is a two-week training program (September 9-20) for early career professional actors with disabilities. Stage and screen star Vincent D'Onofrio (Netflix's "Daredevil," "Jurassic Word," "Law & Order: Criminal Intent," "Full Metal Jacket") will return for a second year to teach Acting for the Camera. Other courses will include Acting for the Stage, Movement, Voice, Business, Improv, Auditioning and Acting /Auditioning for Commercials. In addition to D'Onofrio, instructors include Brigid Brady (Actor/Singer/Teacher, Broadway:  The Phantom of the Opera, "Gossip Girl"), Christine Bruno (Actor/Teaching Artist/ Consultant, member The Actors Studio, "Law & Order"), Pat Shay (Improviser and faculty member, The PIT), Stephen DeAngelis (Producer/Casting Director) and Liz Eckert (Actor and Designated Linklater Voice Teacher).

Carrie Gracie – that's right, the fierce AF BBC journalist who kicked Auntie right in the nuts over equal pay – joins us to talk about exactly how being "mad, bad and determined" helped her win a previously unthinkable fight with her employer. She also explains how she wants to help all women get the equal pay they deserve, as she shares her story, research and advice in her new book, Equal: A Story of Women, Men and Money. Listeners, we swooned. Also swoonsome is playwright Sadie Hasler, who's tackling Essex Girl stereotypes in her new play, Stiletto Beach, which opens at the Queen's Theatre, Hornchurch, on September 4. Our very own resident Essex girl is having a lovely time on her holidays, but she managed to score a natter with former England star Eni Aluko for Jenny Off The Blocks before she packed her suitcase. In a snippet from a forthcoming big interview, they talk about how the women's game needs more love and investment. Love fails to conquer all in this week's Dunleavy Does Dystopia, in which Hannah and Mick discuss 2010's Never Let Me Go and how scarily close to home its ideas are. And finally, bits of the Bush Telegraph are out of date. Because no one knows what the fuck is happening from one minute to the next. And that absolutely includes PM Bumblefuck McPantsonfire. See acast.com/privacy for privacy and opt-out information.

durée : 00:03:20 - Classique info du mardi 09 juillet 2019 - par : Florian Royer - Les musiciens de l’Orchestre Symphonique de Baltimore protestent contre des réductions salariales, le Queen's Theatre se dote d'un nouveau nom, un doctorat pour la soprano Margaret Marshall, un document inédit sur Louis Armstrong retrouvé aux Etats Unis

Encore Radio sits down with Dean Chisnall who is currently starring as Jean Valjean in Les Misérables at the Queens Theatre in London’s West End. We talk about his career since graduating from Arts Educational Schools London appearing in shows such as Andrew Lloyd Webber’s Woman In White and the Narrator in Blood Brothers. We find out more about Dean's career highlights including Ash Sherwood in the Take That Musical Never Forget and playing the title role of Shrek in Shrek The Musical. This episode is part of the Encore Radio Podcast series Post Show Drinks. Theme music by Simon Oskarsson and Alex Cardall for ACT Music Ldn.

We're live from Queens Theatre this week with Taryn Sacramone. This episode covers the events of January 17-23rd 2019 in the borough. More info at itsinqueens.com.

There seems to be this infatuation with the female body; whether it involves discussing it, praising it, or gawking at it, we can't seem to avoid it. This week, we sit down with Tiffany of Nubian Shorties to discuss an instagram post about a few debating the female body with men. This episode was recorded at cSL Things I Don't Debate With Men:1. Abortion2. Breast Feeding3. Menstruation4. Female Body Hair5. Birth Control6. Access to feminine hygiene productsAround- The-WaySpend a day at Flushing Meadows Corona ParkThe largest park in Queens (and the fourth largest in all of NYC!) has some serious history in it -- originally, it was the site of The Great Gatsby's “valley of ashes,” and later it was chosen to be the home of two world's fairs (1939 and 1964). Visit what's left from those days, including the Queens Museum, NY Hall of Science, and Queens Theatre.Guest InfoYou can find Tiffany on Instagram @NubianShorties ( https://www.instagram.com/nubianshorties/?hl=en)You can purchase tickets to I (Heart) Nubian Shorties Day Party on eventbrite https://www.eventbrite.com/e/i-heart-nubian-shorties-day-party-tickets-47676538811?aff=erelexpmlt

Interview: Aloris This week we talk with Aloris from Denver Colorado. They tell us all about the band, their influences, and much more.  we feature two of their tracks 'Dont Forget Me' and 'Barely Breathing' You can find them at:  Alorisband.com https://www.facebook.com/AlorisBand/   On This Day In Music (Friday, August 4th): August 4th, 1958: Billboard introduced 'The Hot 100 Singles Chart', Ricky Nelson was at No.1 with 'Poor Little Fool’. August 4th, 1963: The Beatles appeared at the Queen's Theatre in Blackpool. So many fans crowded around the theatre, blocking every entrance, that The Beatles had to go through a construction area, up and across some scaffolding to the roof of the theatre, from where they were lowered through a trap door. August 4th, 1984: Prince started a 24 week run at the top of the US album charts with 'Purple Rain'. His sixth studio album which features the hits 'When Doves Cry' and 'Let's Go Crazy', as well as the title track has sold over 20 million copies worldwide, becoming the seventh best-selling soundtrack album of all time. August 4th, 1996: Oasis played two sold out nights at Balloch Castle Country Park, Loch Lomand, Scotland to over 80,000 fans. Oasis roadie James Hunter was crushed to death between a fork-lift truck and a large vehicle during the bands two days shows. August 4th, 2000: Craig David scored his second UK No.1 single with '7 Days'. At the age of 19, he became the youngest male artist to score two No.1's since Donny Osmond in 1973. Local Spotlight: August 11th-13th: Hoosier Highway will be back at Dt Kirby’s Beach Food at Indiana Beach in Monticello, IN. No park admission required. No cover. Friday, August 11th: Strangled Darlings return to Digby’s Pub and Patio. Show starts at 10pm. All ages. No cover. Saturday, August 12th: Outdoor Velour returns to the 6th Street Dive with special guest Jake Simmons. Show starts at 10pm. No cover. Saturday, August 12th: Frank Muffin will be performing at Digby’s Pub and Patio. Show starts at 10pm. No cover listed.  Saturday, August 12th: Mitch Barker Band will be performing at the Knickerbocker Saloon. Show starts at 9pm. No cover listed. Bring some cash just to be safe. Sunday, August 13th: It’s Sunday Funday at The Doom Room with Space Cadaver and Bullhide. BBQ/Doors 5pm. Music 6pm. $5 donation strongly encouraged. Bring meats and bring beer. Quick Headlines: Fall Out Boy postpone album release until next year. Upcoming Sublime documentary will feature never before seen footage. Paramore’s ‘After Laughter’ is now available on vinyl. A ‘Nightmare Before Christmas ‘ sequel is happening. Primus release first song in six years, “The Seven” Paul McCartney plays drums on upcoming Foo Fighters LP. R. Kelly tour dates canceled because of poor ticket sales. MTV changing VMA Moonman to gender-neutral award. Upcoming Tours: ROMES announce tour with Mutemath. (October, 25th - Indianapolis, IN at Old National Center) Trivium and Arch Enemy announce co-headlining tour. (November 12th - Chicago, IL at Concord Music Hall) Third Eye Blind announce US heading tour. Check their website for dates and locations Kesha plots first US tour in four years. (October 18th - Chicago, IL at Aragon Ballroom) Main Topics: Linkin Park Breaks David Bowie’s Record with 23 Songs on Rock Chart Bandcamp Donating Proceeds to Transgender Law Center MTV Bringing Back ‘Total Request Live’ Wiz Khalifa to Headline Halloween-Themed Festival Wynwood Fear Factory  

Singer Patti Boulaye; dancer David Toole; actor Charlie Condou and costume designer Tracy Tynan join Libby Purves. David Toole is an actor and dancer who played a starring role in the 2012 Paralympic Opening Ceremony. Born without the use of his legs, he turned his back on a job with the post office to study at the Laban Centre of Movement and Dance and follow his dream of becoming a dancer. He is performing with Stopgap Dance Company in The Enormous Room, a new touring piece about grief and the relationship between a father and daughter. The Enormous Room is at Lilian Baylis Studio, Sadler's Wells before heading off on tour. Patti Boulaye OBE is a singer and actor. Her autobiography, The Faith of a Child, charts her life growing up in Nigeria during the Biafran War to her West End debut in the musical Hair. In her new show, Billie and Me, she considers the parallels between Billie Holiday's troubled life and her own - at times difficult - experiences. The production starts its UK tour at the Pheasantry in London. The Faith of a Child - The Autobiography is published by Bipada Academy Ltd. Tracy Tynan is a costume designer and writer. The daughter of theatre critic Kenneth Tynan and actor and writer Elaine Dundy, she recounts her story of growing up amid the wreckage of her parents' disintegrating marriage. The couple were at the epicentre of a glamorous show business world - their social circle included Laurence Olivier, Orson Wells and Tennessee Williams. But the bohemian, hard drinking environment came at a cost and Tracy - who describes her life then as being "in a movie with lots of crazy people" - writes candidly about a childhood where the drama happened offstage. Wear and Tear: The Threads of My Life by Tracy Tynan is published by Duckworth. Charlie Condou is an actor best known for his role as midwife Marcus Dent in the British soap opera Coronation Street. He stars in a touring production of The Crucible playing the witch hunter Reverend Hale. In recent years Charlie has written extensively about his experiences co-parenting - he and his partner care for their children with a friend who is also the children's mother. The Crucible starts its tour at the Queen's Theatre, Hornchurch. Producer: Paula McGinley.

In our 30th episode we chat to George Stiles and Anthony Drewe, aka Stiles & Drewe. Stiles and Drewe are a multi award-winning musical theatre writing partnership. Writing credits include Honk! (National Theatre, UK Tour and Worldwide), Mary Poppins (West End, Broadway, International and currently on UK Tour), Cameron Mackintosh's new version of Half A Sixpence (Chicester Festival Theatre and West End), The Wind in The Willows (UK Tour and opening at The London Palladium 2017), Betty Blue Eyes (West End and UK Tour), Just So (Tricycle Theatre, Chichester Festival Theatre and International), Peter Pan - A Musical Adventure (West Yorkshire Playhouse, Birmingham Repertory Theatre, Royal Festival Hall and International), Soho Cinders (Soho Theatre and in concert at Queen's Theatre), The Three Little Pigs (West End, UK Tour and International Tour), Goldilocks and the Three Bears (Singapore Repertory Theatre), and The Three Billy Goats Gruff (Singapore Repertory Theatre). Future projects include a stage... See acast.com/privacy for privacy and opt-out information.

Award winning writer Cecil Allen talks about the colourful history of The Queen's Theatre, which was located in Pearse Street and which, from its earliest days until its closure in 1969, celebrated Ireland’s heroes and her historical characters. Recorded in front of a live audience in Pearse Street Library on 24 August 2016. The Irish Theatre Archive, held at Dublin City Library and Archive was founded in 1981 and now consists of over 250 collections, and 100,000 individual items. It includes collections deposited by theatres, theatre companies, individual actors, directors, costume and set designers, as well as theatre critics and fans. Collections can include theatre programs, handbills, posters, newspaper cuttings, stage managers books, production notes, costume and set designs, correspondence, administration files, scripts, photographs and recordings.

The Chosen One: LeBron James deserves everlasting respect on his name. In this episode of TARS we will talk about the NBA Finals, NBA Draft and Free Agency. Putting a cap on the NBA season. Also Gregory Lloyd Morris writer of the stage play "#BlackJobsMatter, A Wilmington Experiment" stopped by to shine a light on the real-world issues facing many African-American men. This is a very powerful project and it will have a positive impact on the community. To attend this play FREE of charge go to www.awilmingtonexperiment.com It will take place July 13th at The Queens Theatre in Wilmington, De. In closing we will talk about the lack of respect for fathers and Fathers Day. Tiredofbeinghumble.com for all TOBH merchandise. Please subscribe and share to the podcast by searching TOBH: This Ain't Rocket Science on iTunes and to interact with the show be sure to follow and comment on Instagram @TARSPodcast.

In this episode we speak to American actress Eva Noblezada, who at just 17 years old was chosen by Sir Cameron Mackintosh to play the lead role in the West End revival of Miss Saigon. Having completed 2 years in the multi award-winning production, she has just opened as Eponine in Les Miserables. Now 20 years old, Eva is a cheeky and confident woman with an incredible story and a great sense of humour. In 2017 she will move back to the United States to reprise the role of Kim in Miss Saigon on Broadway. We popped along to her dressing room for a chat backstage at The Queens Theatre. Follow us @InsideWestEnd on Twitter and on Facebook. For more information, please visit: www.insidethewestend.com See acast.com/privacy for privacy and opt-out information.

In the studio with Aasmah Mir and Richard Coles this week is Conchita Wurst winner of Eurovision 2014. Conchita hails from Columbia and is the alter ego of Tom Neuwirth who was born in Austria. When she won the Eurovision Song Contest in 2014 with her song "Rise Like A Phoenix" she gained international fame - and also became a gay icon to the LGBT community all over the world. Conchita is a Drag Queen - not transgender. Jo Pavey has proved it's never too late to realise your dreams. The veteran mother of two shocked everyone, herself included, to become the oldest female European champion in history aged 40 years and 325 days. Jo has competed in four Olympics and won bronze in the 10,000m at the 2014 Glasgow Commonwealth Games, and then gold in the European Championships. She is currently focusing on getting to Rio for her fifth Olympics. Jon Frost is an experienced customs officer. In his time as a uniformed officer Jon seized many weird and wonderful things: presidential aircraft, a working tank, cars, lorries, boats and coffins; and uncovered wild animals, killer snakes, bush meat, poisonous vodka, dodgy medicine, bootleg prescriptions, pirated pills, toxic alcohol, firearms, side-arms, swords, explosives, stolen gold, dirty money. Jon's book Anything to Declare is out now Carrie Hope Fletcher is currently playing the role of Eponine in Les Misérables at the Queen's Theatre in the West End and received the 2014 WhatsOnStage Award for Best Takeover in a Role in recognition of her performance.Through her phenomenally popular YouTube channel, ItsWayPastMyBedtime, Carrie has created a safe and positive space for young people to discuss their hopes and concerns online and now she will share her most personal thoughts and experiences in her first book. Part memoir, part advice guide, All I Know Now includes Carrie's thoughts on some of the topics she's asked about regularly: bullying, body image, relationships and perhaps the scariest question of all: what does the future hold for me? This week the Inheritance Tracks comes from the creator of the The No. 1 Ladies' Detective Agency, Scottish author Alexander McCall Smith. He has chosen to inherit We'll Meet Again sung by Vera Lynn and handing on Terzettino 'Soave sia il vento' from Cosi Fan Tutte' Producer: Maire Devine Editor: Karen Dalziel.

The King of DC Media, William Powell, welcomes playwright Rob Urbinati, who wrote the farcical British play Death By Design, which pays homage to both Noel Coward and Agatha Christie. William, who is producing the play at Greenbelt Arts Center, also welcomes various cast and crew members from the show, which runs until November 23rd. (Find out more at Greenbelt Arts Center. Read a review here.) Read more about Rob here (from http://queenstheatre.org/rob-urbinati): Rob is a freelance director and playwright based in New York City, and Director of New Play Development at Queens Theatre, where he curates the Immigrant Voices Project. He has directed at the Public Theatre, Culture Project, Abingdon Theatre, Classic Stage Company, Pearl Theatre, Queens Theatre, Lincoln Center Directors Lab, NYCFringe, New York Music Theatre Festival, New York University and theatres and universities across the country. Rob’s first play as a writer, Hazelwood Jr. High, was directed by Scott Elliott for the New Group. The play is published by Samuel French.  Miss Julie in Hollywood, his adaptation of the Strindberg play, was presented at the 78th Street Theatre Lab. His new play, Death by Design, opened in Houston in September 2011. His adaptation of Cole Porter’s Nymph Errant opens in New York City in July 2012. Rob has developed various projects for Disney Creative Entertainment, served on the Lark Theatre Playwrights Week Selection Committee, and contributed material for “Breaking the Silence, Beating the Drum,” the International Day of Remembrance of the Victims of Slavery at the United Nations. He is a member of the Dramatists Guild, and the Stage Directors and Choreographers Society.

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia

The 14th Annual Sir John T. Gilbert Lecture by Dr Christopher Fitz-Simon.

Brian Rogers talks about The Chocolate Factory--an influential multidisciplinary arts space and gallery in Long Island City, Queens--and about his new full-evening work "redevelop (death valley)." Brian Rogers, a graduate of Bennington College, is the co-founder and Artistic Director of The Chocolate Factory Theater. His works for the company include "2 Husbands" (2007), a collaboration with playwright Ken Urban; "GUN PLAY" (2006); and "AUDIT" (2004). Brian curates The Chocolate Factory's Visiting Artist Program and has collaborated as a sound, video and performance artist on numerous projects. He is also Director of Operations for Dance Theater Workshop and curator of the newly-renovated cabaret space at Queens Theatre in the Park. See "redevelop (death valley)" on Thursday-Saturday, February 12-28 and Monday, February 24, all at 8pm. Further information at http://www.chocolatefactorytheater.org. Ticketing at http://www.chocolatefactorytheater.org or at 212-352-3101. InfiniteBody blog: http://infinitebody.blogspot.com (c)2009, Eva Yaa Asantewaa