You will find many different people who act in various roles on Broadway musicals and shows. For these people there is nothing more exhilarating than to be in one of these productions and to know that a show is in great demand. The people who can be seen the most in these various shows are the Broadway dancers.

The many different Broadway dancers are chosen for different shows based on their ability to perform in the auditions. Now as there are many dancers the casting of these people will come only if they are good for the role. As almost all of the Broadway shows are musicals it is an added bonus if the Broadway dancers have the ability of singing under their belts too.

In these various plays you will only notice the Broadway dancers as being a background element to the show. These individuals help to bring the different shows alive with their talent and vibrant moves. The fantastic costumes are also a good way of enhancing the vibrancy of the play these Broadway dancers are in.

One of the first things that you will notice about Broadway dancers is the fact that these individuals are both male and female. The dances which they are part of, helps to highlight the story the central characters are showing to us. For instance many of the “cats” in the hit Broadway musical Cats were extremely talented dancers. The limber movements of these people helped you to imagine the world of the Broadway Cats.

In musicals like Lion King barring the main characters the other cast members are all Broadway dancers who have been chosen to help bring the magic of this movie onto the stage. One of the really interesting facts about these dancers is that while we may not really see them, these people are one of the real reasons a play has so much character. Without these many people you would just have a play that is lacking in vital details and depth.

With their extraordinary ability to sing and dance these very talented individuals will let you experience the best of Broadway. For this reason the next time that you go to see a Broadway play or a musical you might want to take some time to admire the background scenery, the fantastic music and of course the fabulous Broadway dancers. These people will let you see the real story unfolding before your eyes.

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You will find that these plays have something for everyone. There are many plays which are based on popular movies and likewise there are movies which have been taken from these Broadway plays. If you are someone who loves watching action but would prefer to see this action happening right before your eyes it is perhaps a good idea to see what Broadway plays you can dig up.

The many different Broadway plays which are available can be ones which are perfect for an outing with the family or they can be ones for adults only. As you look at these many different plays you will notice that they are designed primarily to provide you with some quality entertainment.

The entire cast of these Broadway plays practices for quite a long period of time in order to bring you some great acting. When you are looking at the choices that you have it will become clear that many memorable plays have made their way through the doors of Broadway. These can be ones like the Disney movies which have been turned into plays.

You also have other Broadway plays that are known to people around the world due to the fact that they have also become movie history. If you have a wide ranging taste for different Broadway plays and musicals you will find lots of different plays to keep you entertained.

The discerning patrons of theater will find that there is lots of quality entertainment to be found in Broadway plays. The many immortal plays like Cats, The King and I, Rent and My Fair Lady are still influencing how we judge the Broadway plays of today. You will therefore find that good quality plays are capable of bringing lots of people to see them.

You should however keep in mind that not everyone has the same taste in Broadway plays as you. For this reason you will find that some plays are based on scripts which are unique to these plays. As a result there is bound to be instances where you will be quite disappointed with the shows that you have chosen.

On the other hand you just might find yourself spellbound by the sheer artistry and beauty of a play which has been created by an unknown playwright. This variety of Broadway plays is the reason why so many people still prefer to see live entertainment even with the advances in modern entertainment.

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In fact, according to the Consumer Electronics Association, 9 million households are likely to purchase HDTV products during the next 18 months. Another 30 million consumers consider themselves likely purchasers within the next three years.

This newer technology can be overwhelming for consumers, especially when they are not properly educated about the tools needed for the best setup of a high-definition home theater system.

Four basic elements are needed: picture, source, sound and assembly. Interestingly enough, the CEA says that approximately 30 percent of U.S. homes already have these basic ingredients.

* Picture: Most digital, high-definition televisions feature large screens in widescreen formats that create a theater-like experience right in your home. HDTV delivers crisp images that make you feel like you're part of the action.

Plasma and liquid crystal display televisions have generated the most excitement so far. These thin, lightweight sets can hang on a wall and only take up four inches of depth. Other examples include the microdisplay rear-projection televisions such as digital light processing sets. These TV sets are thinner, lighter and brighter than traditional projection TV sets.

* Source: Some high-definition televisions have a built-in tuner to receive local high-definition broadcasts. These are referred to as having "HD Built-In." Sets without an integrated tuner are "HD-Ready" and need a set-top box to decode the high-definition signal. Starting next year, many digital televisions will come with a high-definition tuner and the cable box built in, simplifying the connection for consumers.

* Sound: Most people don't realize that the high-definition television format incorporates digital 5.1 surround sound into high-definition broadcasts, giving you that "in the middle of the action" feel. For a truly engaging viewing experience, it is important to get a sound system that is comparable in quality to your television.

* Assembly: To tie it all together, you need to make sure you have the right cables and accessories to connect your system. Many consumers prefer using service personnel to deliver and set up the system at home - making sure everything is in place, connected and calibrated for the optimal home theater experience.

So how much does a home theater system cost? A wide range of prices are available, depending on an individual's needs and desires. For example, high-definition televisions sold at Best Buy start at less than $500 and go all the way up to $10,000, with numerous models in between.

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We spoke with Laurie Gayle Stephenson, Star of The Phantom Of The Opera, to discuss performing on Broadway and for Corporate Audiences.

HOB: You starred on Broadway in Phantom. How do audiences relate to songs from the show?
LGS: Seeing the Broadway cast of any show is very appealing to an audience – going to any Broadway show is an event since the cast is “The Real Deal!” In a show like Phantom, even if they are not familiar with the show, they have heard the music.

HOB: How is performing for corporate audiences different from Broadway?
LGS: A Broadway audience knows exactly what they are getting. A corporate audience may know nothing about what they are about to see. For that reason, it is critical that the audience is immediately brought in and completely WOWED!

In my experience, I always find that these corporate audiences love the luxury experience of Broadway and enjoy meeting and taking photos with the cast after the show. As a performer it is a very fulfilling and gratifying experience.

HOB: What is one of your favorite experiences from a corporate event?
LGS: At a Hot On Broadway performance last month, our cast performed for 400 of the top leaders and scientists from a major pharmaceutical company. As Broadway performers, we were honored to be entertaining and meeting some of the most renowned scientists and doctors in the world. They expressed equal enthusiasm for our work and performance. The evening of Broadway songs incorporated a specific thematic message: we celebrated their global efforts in drug research and the ongoing efforts in finding cures for diseases including cancer and diabetes. It was a powerful and rewarding experience.

Laurie Gayle Stephenson has enjoyed an acclaimed career on Broadway in many shows including The Secret Garden, The Phantom of the Opera, The Music of Andrew Lloyd Webber, and continues to perform as a soloist across the country. www.lauriegayle.net

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Some of the most thrilling aspects of stage performances involve combat. For example, what would Hamlet be without its numerous battles? What would Gilbert and Sullivan's Pirates of Penzance be without its piratical swashbuckling? Whether the performance is a comedy or tragedy, a "straight" play or a musical, there may be scenes of combat.

Of course, real fighting on stage is not advisable, simply because it would be highly dangerous for the performers involved. Theater creates convincing illusions; combat is no exception to this. Therefore, an entire array of practices has been developed by directors and choreographers. Usually, they incorporate actual moves from martial arts or other disciplines, but change them to be less dangerous for the actors involved. These techniques are collectively known as "stage
combat."

One of the more common types of stage combat is stage fencing. Stage fencing uses many of the moves and techniques common in traditional fencing, but modifies them. For example, a move may be altered so that the sword used does not travel near the actor's face.

Stage fencing may incorporate several different weapons. Among these are the stage foil, which resembles a regular foil, the dagger, and the broadsword. Rapiers may also be used. Stage combat moves vary depending on what sword is used; for example, a rapier fight will be more "nimble" than one using larger weapons. The swords may either be real, or props constructed to look like weapons. The latter, of course, is less dangerous for the actors, but requires more work to seem real.

In most productions, the stage fencing routines are developed by the choreographer of the play or musical. For larger scale productions, or for routines involving many intricate techniques, a separate fight choreographer may be used. These
choreographers are trained especially in stage combat, and are more skilled in developing flashier routines.

Stage combat, when executed in the theatre, is highly routine. Although the moves may seem thrilling and immediate, they have been rehearsed time after time at varying speeds. Improvisation cannot be a part of swordfights on stage, simply because it would be dangerous to introduce an unexpected change when swords are involved. Despite this routine, however, when done well, stage combat can be spectacularly done and extremely convincing.

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When I set up Dreamz Unlimited the logic was to start a company where everybody was well-fed, got their money and were self reliant. The idea behind Arclightz was to have an equipment unit which would back up Dreamz Unlimited.

We saw things in perspective. The only way you can make a film without compromising is to make a film cheap. The simplest way to make a cheap film is to have a backend equipment company. So that’s Arclightz. And how will Arclightz run? We will earn our equipment cost within three or four hirings and by the third film we will have no equipment costs. So that film will be cheaper. It will not be much cheaper but will at least save a crore of rupees on a seven crore budget.

And then some of the set props we make can be used again. And everything is backend. We don’t spend 35 lakhs on the publicity, we spend 25 lakhs and own the unit. Today if I buy publicity equipment, it will cost me 25 lakhs. But now that I have made the investment, I will have that equipment free to make the next film. So slowly, slowly there will come a time when I won’t have to spend any money on too many things.

Going Digital

Internet is a medium which is there for the taking right now. Like television was at one point. I want to there when that medium happens. This time I won’t let go of the opportunity, like I did with television. I have a camera and filmmaking equipment. Tomorrow, if I’m not making a film for 20 days and if this medium catches on, then I may make a 10-minute film for this medium. All the companies are finally going to tie up.

So then the entire unit may finally turn out to be self reliant. And mutually beneficial if all my partners think alike. It is not about just about making the Internet company successful. At the backend is software, which comes from the creative team at Dreamz Unlimited. For the equipment we have Arclightz. So all three should be interdependent which I believe is the correct model to have.

I see a huge studio with post-production facility on one floor and equipment storage on one floor and the office of the creative on top. So when you come in, you get the three mediums under one roof. And if that company can be a five-star hotel with a multiplex inside and three floors of office, it would be great. And that, without being pompous, is the dream behind SRKWORLD.

Dreamz Unlimited

The logic of Dreamz Unlimited is not to make money but to make different films and to make sure not to lose money. We should not have to sell our houses to run the company. So when I decided to join hands with Aziz and Juhi for Dreamz Unlimited I was very clear that the company should be self-reliant. I was not aiming to be the biggest film producer in the world but I wanted that we should be able to make our kind of films without being dependant on producers who were not like-minded.

Our first film, Phir Bhi Dil Hai Hindustani, was not as successful as we would have liked it to be, but the publicity has made us a name in the market within a year. Today, if I ask you what is the name of Sunny Deol’s production company, you would probably not recall Vijeyta Arts. But everyone knows Dreamz Unlimited.

TV

Since I entered films through television, I do have a soft corner for the medium. A few years ago, I was trying so hard to convince all my friends to get a headstart in television but no one thought it was good idea. In fact, I had spoken of doing a game show, but everyone around told me that people won’t accept a big screen star who appears on the small screen. So now, a little late perhaps, we are starting to provide software for television, though not necessarily featuring me. Once again, the idea is to make the kind of programmes that we would like to watch, programmes which don’t insult your intelligence. We know we can provide content which is at least a little above the average.

Vision

My childhood was not a wealthy one, but a contented one. My family was not rich but then we never saw poverty either. Since my father had been a freedom fighter he had a lot of connections and he could have gone on to become a lawyer or a politician, but he tried to set up his own business. He tried his hand at many businesses but he was too nice to make money at someone else’s expense, so he was never very successful. He was never depressed or unhappy though. I call him the most successful failure.

At the Asia ‘72 Expo, he got permission to set up a chola batura stall. He hired a small staff to prepare the dish and it was a huge hit because it was right next to the Russian Centre, which had samples of mud from the moon. We made money from it but he distributed it amongst the people who worked with him. Then, he had a transport business but his partner cheated him. He had a refinery business. He also had a huge furniture business. My mother felt that he was too nice a man. He couldn’t take advantage of people. He would just give out money. At one point he used to also run the canteen at the NSD. To date, actors like Mr. Raj Babbar and others owe him some money.

That’s the way he lived and that’s the nature I have too. But I also saw my mother suffer because of his niceness. I realised when my mother died that there is a reasonable essential quality about money. Since then I have always remembered one thing: you should do business to the extent that you have a position of choice. You get that position of choice when you fulfil your basic needs. It should not be that you don’t marry because you don’t have enough money. That is my basic line of thought when it comes to business. Even when I price myself, I don’t go according to my stardom or the market rate. My price is based on how much I require. There are a lot of times when I have been underpaid because of this attitude and there are a lot of times when I have been overpaid too.

Secondly, at heart I’m a retailer. It should never be that you have to sell your personal belongings to make the business run. It should pay for itself. This is the basic premise of a retailer. If you open a shop it should pay for the electricity bill, the water tax and the staff salary at least. It may not make crores, but it should be self-sufficient.

Also, I believe that you should not take interest money. I believe in the Islamic principle that you should not take money if you don’t deserve it. You should work for it. I don’t dabble in shares. Nor do I dabble in speculation, lottery, gambling. I know it’s an old-fashioned thought but I believe that money is no good money. I don’t think I deserve it unless I have wrestled for it, boxed for it, run for it, made a painting for it…I like that money.

These four principles cover my business philosophy: You should work for it, you should not lose money in any business, you should make enough money so that you are in a position of choice. And finally, if you start a business employing a lot of people, the end result, regardless of whether it made money or not, should be that all those people involved should be happy that they gave it a shot.

Many people say creative artists should not do business. But I don’t do business at that level. Then again, a lot of people tell me I’m a very good businessman, but that’s not true either. I believe in simplicity and clarity in business. I believe in honesty and quick decision. And I am ready to give more than what you expect from me. But what you promise should be delivered otherwise I feel cheated because I invariably give in more than what was negotiated for, whether it’s a film, an ad, a TV serial or the production of a film.

Also it should have some newness to it. It should not be the done path. I have never taken amazing big risks in business as I have done in my career…which also became a business at one time. It should be a little bit different from what others are doing. If I find that everyone is opening a toy store, I would like to open a toy store with one special toy which nobody has.

One of the greatest gifts of God to me is that I have never felt a lack of money. God has given me a lot of things - name, talent, fame, looks, success - but the one aspect he has given me for which I am most grateful is that I have never had to ask for money. Even in my growing years, I remember I once told my mother, ‘Mom, can I have a car?’ not knowing whether she could afford one, but the next day she would tell me, ‘You know, Shah Rukh, while going through the accounts I realised that an FD is lying with me.’ And from that money I would find a car standing outside the door.

When I wanted to buy a flat, Ratan Jain gave me cheque of seven lakh rupees. When I wanted to buy a bungalow, star prices suddenly shot up so much that I had the money to buy the bungalow. When I couldn’t afford a Pajero, the dealer gave it to me at half the cost. It has always been like that. If I have wanted something it has always come to me. That’s why I never wish for material things. Maybe God has said that He will grant my wish only 48 times in his lifetime so I don’t want it to run out.

I have not been greedy for wrong things. But in a different context, I think greed is the mainstay of life. I believe that you should have a greed for knowledge, for money so that you can have choice, greed for love. Greed is the core of mankind’s existence. Greed is what makes me what I am. I am greedy for doing more than what I am doing. I am geedy for more money too. I have enough money right now, but I will never let go of a chance to make money. Opportunity knocks only once. And if you don’t let her in she walks past and knocks on the other door. Opportunity is like a lady. Dad used to say ‘waqt ki choti aage hoti’. Opportunity is like a woman and her braid is in the front, so if you let her pass you can’t catch hold of her. You have to hold her when she is facing you. So I believe in initiative and in striking when the iron is hot.

Before me, no actors and actresses used to do ads. Friends of mine like Anil Kapoor and Juhi used to say I was stupid. I take the credit for bringing honour to stars doing advertising. Now every star is doing it. No medium is too small for me. I will dance at weddings, I will dance on the street, on stage, on TV… Today, Amitabh Bachchan is the biggest star, thanks to the small screen.

I did ads because I need the money. And I find nothing wrong in having money. It is a proud moment for me when I earn money through my work. With the money I earn at weddings, I get the choice of not doing a film I don’t want to do. Many actors have done 70 films out of which 30 are just for the money. Like, many actresses are stuck with films they did only for money.

I am very proud of the fact that I never did a film because I wanted money. Even Guddu was to be directed in a very fine way by Lekh Tandon, though it didn’t eventually work out that way. I never did a film because I wanted to buy a house. A person who does a film because of money will dislike the film when it does not do well. This doesn’t happen with me. There is not a single film from the 35 films which I dislike. As a matter of fact, I have made it a point not take money when I do guest appearances. So that door of making money is closed for me. There is no easy money for me. That is my business philosophy. You should only earn money with your hard work.

Whatever business I do will be in some way connected to entertainment. I dream of one day owning a five-star hotel with a multiplex cinema and a bowling alley. I think there is some entertainment value attached to the hotel business. It forms a part of the entertainment industry. I like people to watch me shoot at Marine Drive and to have a smile. Similarly I would want people to come out of my hotel with a smile on their faces.

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You will find many different people who act in various roles on Broadway musicals and shows. For these people there is nothing more exhilarating than to be in one of these productions and to know that a show is in great demand. The people who can be seen the most in these various shows are the Broadway dancers.

The many different Broadway dancers are chosen for different shows based on their ability to perform in the auditions. Now as there are many dancers the casting of these people will come only if they are good for the role. As almost all of the Broadway shows are musicals it is an added bonus if the Broadway dancers have the ability of singing under their belts too.

In these various plays you will only notice the Broadway dancers as being a background element to the show. These individuals help to bring the different shows alive with their talent and vibrant moves. The fantastic costumes are also a good way of enhancing the vibrancy of the play these Broadway dancers are in.

One of the first things that you will notice about Broadway dancers is the fact that these individuals are both male and female. The dances which they are part of, helps to highlight the story the central characters are showing to us. For instance many of the “cats” in the hit Broadway musical Cats were extremely talented dancers. The limber movements of these people helped you to imagine the world of the Broadway Cats.

In musicals like Lion King barring the main characters the other cast members are all Broadway dancers who have been chosen to help bring the magic of this movie onto the stage. One of the really interesting facts about these dancers is that while we may not really see them, these people are one of the real reasons a play has so much character. Without these many people you would just have a play that is lacking in vital details and depth.

With their extraordinary ability to sing and dance these very talented individuals will let you experience the best of Broadway. For this reason the next time that you go to see a Broadway play or a musical you might want to take some time to admire the background scenery, the fantastic music and of course the fabulous Broadway dancers. These people will let you see the real story unfolding before your eyes.

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There are various shows which you see on Broadway. These shows have all of the excitement which you may need. You can see these shows when you buy the appropriate Broadway show tickets. There are some people who love collecting these tickets as memories. You can choose the Broadway shows which you might like to see.

While the internet is a place where you can get almost anything, the Broadway show tickets may be ones that you would like to buy from the entrance to the hall. When you select your movie you will be bring some really great memories to your life.

Before you actually choose your Broadway show tickets it is best to know what sort of shows you may like to see. These shows are ones which you might like to share with family and friends. These will range from Disney shows to dramatic plays like My Fair Lady and Sound of Music. One of the best things about collecting Broadway show tickets is that you will have a collection of what was considered as being popular during the different years.

In other words Broadway show tickets are cultural gauges which can be used to showcase the tastes of the different generations. Other than this fact you will find that using Broadway show tickets is a great way to see what sort of plays or musicals catch your eyes. Of course these ticket stubs only indicate that you have gone to see a certain play they will not reveal if you had a great time or if you were bored out of your skull.

Now all of this information aside you will find that Broadway show tickets are your entrance way to having a relaxing time with family, friends or even by yourself. You can find lots of people who have the same tastes in plays as evidenced by the amount of tickets which are produced. While the producers of musicals and plays hope that their productions will become a hit they don’t go into having lots of tickets produced all at once.

As people settle down for an evening of entertainment you will find that live action shows still have the ability of drawing people to them. The glossy tickets like those of Broadway show tickets are the pass which allows these many people to have this magical time out. Unlike a movie show ticket stub a Broadway ticket is one that you will keep with you for many years to come.

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The show must go on and on and the audience should be able to come back for more performances. How can they come without the tickets? One of the most fascinating shows is of Cirque Du Soleil. Some people have been coming for repeat shows and have easy access to tickets online. One can do bookings in bulk, for families and sometimes there are discount tickets also available. There is a choice of becoming a privileged member of the Cirque Du Soleil club. They provide attractive interactive online games and prizes too. Members have the privilege to get tickets faster in any of the cities the shows are held.

There are touring shows, resident theatre and repeat performances also. The media is informed well in advance so that people can do bookings well in time. Some of the shows are lavish in production and rich in costume designing also. Recently it has been announced that one of the biggest Cirque Du Soleil team is due to perform in 2010 in the Kodak theatre in Los Angles where the Academy Awards are held. There is a team of nearly 75 artistes which will grace the huge stage where nearly 3400 patrons can enjoy themselves. There will be 368 performances throughout the year. The entire production is being made at a cost of 100 million USD. Cirque Du Soleil is now an international name in stage entertainment and has been content in amusing patrons through a wide variety of themes on stage.

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While other young adults make their way through high school and college, Brian Nieh, Regina Dong, and Serena Liang spend 14 hours a day training, studying, and dancing with the Divine Performing Arts, a New York based troupe of classical dancers and musicians.

Many of the 100+ performers that make up Divine Performing Arts are young Chinese artists who have lived most, if not all, of their lives outside of China. But despite their western upbringings, they have come to be seen as the torchbearers of traditional Chinese culture.

The genuine traditional arts of China have nearly perished under the last six decades of communist rule, and these performers see it as their mission, having grown up in a free society, to bring the true spirit of their people back to life.

During the Cultural Revolution of the 1960s and 1970s, in particular, China’s 5,000-year-old culture was decimated. Buddhist and Daoist monasteries were destroyed, and traditional arts and music were shunned as relics of the feudal era. Even Confucianism, which had long been the moral philosophy at the heart of Chinese culture, was attacked and replaced with the glorification of violence.

“I didn’t understand Chinese culture before, but if you think about, who does? It is hard for anyone, even the people in China, to know anymore. So we are digging it up and letting the world get to know it,” says 19-year-old Brian Nieh.

“Having grown up in America, being born here, my dad would try to teach me about Chinese culture and read me classical stories,” says Nieh. “But once I joined Divine Performing Arts I realized I didn’t know anything. In preparing for the different dances we learn about Chinese culture, and then the audience learns through us.”

At first glance, it seems strange that American-born teenagers could even properly perform traditional Chinese dances, much less be at the forefront of a movement to revitalize a profound, ancient culture. They grew up on MTV and skateboarding, not Confucianism and ballet, but they somehow beautifully balance this dialectic life of ancient Buddhist principles and texting their friends on their cell phones.

Rediscovering the essence of traditional Chinese arts requires more than just learning the old moves and designing classic costumes, according to Nieh. “You have live a more traditional life, spiritually and morally. It has to come from within.”

“People from communist china have the best techniques and are the most flexible, but their dances are deviated. It’s not about who has the best abilities. We are trying to communicate with the audience. That’s the energy of our group together. The audience is looking at the whole group so we just try to contribute to the group,” states Nieh’s fellow dancer Serena Liang.

Their altruistic approach to life and dance comes from what is known in Chinese culture as “Xiu Lian,” or self-cultivation, an ancient concept describing the process of refining one’s character through Buddhism or Taoism. The performers at Divine Performing Arts say the only way to convey beauty and purity in their performances is to develop it from within themselves by stressing honesty, compassion, and leading virtuous lives.

“Everything comes from cultivation,” says Regina Dong about how she is able to convincingly depict heavenly maidens and Bodhisattvas on stage. “We cultivate to reach their level, learn about them, look at paintings and statues, and try to be in the same state as how we imagine them to be.

“We have to dance with a pure heart in order to accurately portray a Buddha or Bodhisattva,” she says.

Serena says she quietly went into the audience once to watch a part of the show that didn’t require her to be on stage. “The synchronization of the dancers with each other, with their heart and body, they cooperate, you can see their hearts are not for themselves. It was a very pure moment, just watching my friends performing so perfectly.”

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I recently had an email from someone who had visited our website, liked what they had seen, but had a question about our methods and philosophy. The question was this:

“What about if I am an artist and I don’t want to change my profession and also I don’t want to have another job on the side? I want to keep my work and have great benefits from that.”

In other words: I don’t want to do anything apart from my acting career, and I want to get well paid for it. What do you think about that?

My immediate response was a mixture of amusement and irritation. Of course, for everyone pursuing an artistic career, what we all ideally want to do is get paid a ton of money for doing what we love (just make sure you have had your financial education before this happens - you don’t want to end up a morality tale!). If you are a dramatic actor, making $100,000 per episode for being in a high quality night-time drama is about as good as it gets. For a musician, platinum albums generating millions in residual payments is where it’s at. For a sculptor, having ones work on display in private collections and museums world-wide would bring home more than enough bacon for any number of New York apartments and trips to South America. But, assuming that it may be some time before we find ourselves in those enviable positions, what are we going to do about money?

And that, I think, is the problem with thinking along these lines. Sure, there are those, very few, people who are lucky or talented enough to walk out of their acing schools and into full time acting careers, or whatever other artistic endeavours you chose. But, for the rest of us, there will be a period (anywhere from a few months to several years), where we will have to do something else in order to make ends meet, while we wait for the income from our art to allow us to live in comfort.

“Have to”. Those are the operative words in that sentence. Not “want to” or “like to” but “have to”. There is a great line in “Gladiator”:

“Sometimes I do what I want to do. The rest of the time, I do what I have to”.

Now, do you have to have another job while you pursue your artistic career? Not necessarily; but unless you are either supported to willing to live on the streets, then it is something that you seriously need to consider alongside your artist development.

For the person who asked the question above, I would say this, finally: At Abundance Bound we have tools to help you work out exactly how much you need to earn in order to live (email us at mailto:info@abundancebound.com with “Chart of Expenses” in the tag line for help with this). Having gotten that number, you can then find work, be it your own business or a regular job, that will provide that amount in the least time possible, leaving you free to pursue your art around it. If you can sell enough pieces or work enough days to not need anything else, then that is truly great for you, and the focus now becomes what to do with the money you are earning, so as to get the greatest benefit out of it (that is where financial education comes in)

But, for the rest of us, truly consider the options before you. Take control of your financial lives so that you can pursue your art free form the crushing weight of financial stress. Bite the bullet and handle things now, so that they do not get out of control later. And, above all, never stop focusing on your artistic success, because by doing that, all things are possible.

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Some of the most thrilling aspects of stage performances involve combat. For example, what would Hamlet be without its numerous battles? What would Gilbert and Sullivan's Pirates of Penzance be without its piratical swashbuckling? Whether the performance is a comedy or tragedy, a "straight" play or a musical, there may be scenes of combat.

Of course, real fighting on stage is not advisable, simply because it would be highly dangerous for the performers involved. Theater creates convincing illusions; combat is no exception to this. Therefore, an entire array of practices has been developed by directors and choreographers. Usually, they incorporate actual moves from martial arts or other disciplines, but change them to be less dangerous for the actors involved. These techniques are collectively known as "stage
combat."

One of the more common types of stage combat is stage fencing. Stage fencing uses many of the moves and techniques common in traditional fencing, but modifies them. For example, a move may be altered so that the sword used does not travel near the actor's face.

Stage fencing may incorporate several different weapons. Among these are the stage foil, which resembles a regular foil, the dagger, and the broadsword. Rapiers may also be used. Stage combat moves vary depending on what sword is used; for example, a rapier fight will be more "nimble" than one using larger weapons. The swords may either be real, or props constructed to look like weapons. The latter, of course, is less dangerous for the actors, but requires more work to seem real.

In most productions, the stage fencing routines are developed by the choreographer of the play or musical. For larger scale productions, or for routines involving many intricate techniques, a separate fight choreographer may be used. These
choreographers are trained especially in stage combat, and are more skilled in developing flashier routines.

Stage combat, when executed in the theatre, is highly routine. Although the moves may seem thrilling and immediate, they have been rehearsed time after time at varying speeds. Improvisation cannot be a part of swordfights on stage, simply because it would be dangerous to introduce an unexpected change when swords are involved. Despite this routine, however, when done well, stage combat can be spectacularly done and extremely convincing.

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You are an artist. You may be an actor, a painter, or a writer, but you are an artist. And of course, you are running a business. Or is it a hobby? The biggest question of all is – do you know the difference? Think about what makes a business a business. Think of how a big company runs things. They have a business bank account and business credit cards, they keep records of all business expenses, they keep records of all sales, they pay all their expenses from their business bank account, and they know when they have made money (a profit) and how much. And you would certainly never see the CEO going out and buying printer supplies from his or her personal bank account.

You need to ask yourself, do you run your business like this. If the answer is no, then you are not running a business. If the answer is no, then what you are doing is merely engaging in a hobby, and it may be an expensive one. You might be saying, “But I’m no accountant, I’m an actor.” True. However, as painful as it may be, you can learn to keep proper track of your business finances and keep them separate from your personal finances. This is the kind of thing that is not taught in acting schools, art colleges, or writing seminars, but it should be: it can make all the difference in success or failure as an artist.

At Abundance Bound, Inc, financial education is our priority, and one of the first things we discuss with our clients is their financial starting point, because you need to know from where you are starting in order to know how to get to where you want to go. Having an accurate “snapshot” of your finances as they are is essential as you begin the wealth-building process, and it also allows you to truly see how much, where, and on what your money is going. (If you would like assistance with this, email mailto:info@abundancebound.com and put Chart of Expenses in the subject line. We will send you an Excel chart that allows you to track your monthly income and provides an extremely detailed list of possible expenses to help you remember all of the different ways you are currently spending your money. There are also free tele-seminars that will help you make sense of the financial education process at our website (see below).

The absolute most important thing to do for your business is to separate all your personal income and expenses from your business income and expenses. As we mentioned above, you would not see the CEO of a Home Depot go out and buy printing supplies from his or her personal account, and you should not do this either. This means you need to have a business bank account. If you do not, then all your income and expenses are mixed together and it is far harder to keep track of everything. You can easily start a DBA (Doing Business As) which will allow you to qualify for a business account (for more information visit www.legalzoom.com).

So, you have a personal account and a business account. Now you place your personal earnings (your day job such as waiting tables, tutoring, etc …) in your personal account and you put your business earnings (acting jobs, work sold to a publisher or at an art exhibition, etc …) in your business bank account. Likewise, you would pay for all of your personal expenses (rent, groceries, clothes, vacations, etc …) out of your personal account and you would pay for all of your business expenses (acting school or art classes, head shots, mileage to/from auditions, etc …) from your business account.

This is very straightforward. The thing is it is simple, but not necessarily easy. First, it depends on how organized a person you are and it depends on your desire to do these things. The point is they can, and must, be done if you are to run your artistic business truly as a business. Right now, you may want to say, “STOP! I don’t make enough money from my business to pay for all of my business expenses.” If this is the case, simply make a loan from your personal account to your business account, and make sure you record that loan. When the business becomes profitable, you sell a piece of art, or your acting career takes off, it can then repay the loan. Be sure that it does.

You should also have a separate business credit card (even if the card is in your personal name). You should only be charging personal items to your personal credit card (and hopefully you are paying off the balance every month) and business expenses should only be charged to the card that you have designated as your business credit card - something specifically for artist development. This way, if you are carrying a balance on your business credit card, then the interest will be tax deductible. This is not possible if there is even one personal expense on the card.

Now, what about those expenses that cross the line – sometimes they are personal and sometimes they are business. These are things such as mileage on your car or household expenses if you work from home. For these expenses you must keep very clear records of when and how much of your expenses are personal vs. business. Keep a small book in your car to record business mileage. Make sure you keep all your household bills (mortgage/rent, phone, hydro, etc …) filed away so that you can use them to determine what portion you can write off as a business expense.

There are three reasons why it is important to treat your business like a business and follow the suggestions above. These are:

If your business is not run as such, you will never be successful. And if you do not treat your business as a business, you will never make a business income.

If you do not keep appropriate records, records that clearly indicate you are running a business, then, if you are audited, the IRS may classify your business as a hobby. This could mean loss of tax deductions, and you may even have to pay penalties. Worse, the IRS could go back through previous years returns, and apply the same filter to your deductions (we had a student who, before he started with us, had this happen to happen to him. Needless to say, that was not a happy day for him!). This is not what you need when you are trying to make your business profitable.

You will be able to track the progress of your business easily. You will be able to look back a year from now and say, “Wow! My income went up by that much?” Or, “Yes! I finally turned a profit this year!”

You can do this. Have faith in yourself and your business. It will grow and you will be successful. Just remember to keep the personal separate from the business and keep clear records of the two. Then you can watch your business grow and never look back.

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Highly successful Murder Mystery Weekends are based on exclusive use of a country house hotel for your own private Murder Mystery Weekend House Party, as you will not need to worry about other guests getting in the way of your murder mystery party, so you can set the party mood to be as outrageous as you like. Murder mystery weekends are very well suited to corporate groups, private clients or friends and families wishing to celebrate a special occasion or event.

Your Country House Weekend

Your Murder Mystery weekend should begin with a three course meal on Friday evening with the first whodunnit murder already taken place. Saturday should start with breakfast and the guests should be divided into Murder Mystery groups. As part of a murder mystery team building weekend, you can participate in activities such as quad biking, karting, paintball, golf, fishing, horse riding, clay pigeon shooting, surfing etc, so location and venue are of the upmost important.

The Murder Mystery

The Murder Mystery takes place on the Friday evening when all of the "guests" assemble in costume in the bar for a pre-dinner drink and a "set the scene" briefing. Professionally organised murder mystery weekend whodunnits do not lend themselves to participation by the guests, as they are performed by professional actors. The murder mystery dinner party unfolds over the courses of a three-course evening dinner during both Friday and Saturday nights and is solved on the Sunday morning after breakfast. Your hosting characters could become your personal butler or maid - what else would you expect for your country house murder mystery weekend?

Professionally organised murder and mystery should have a theme and you should be provided with with the character resumes played by the actors. We also suggestthat you consider fancy dress costumes, as they add to the murder party fun. Your organiser should host the murder mystery weekend and participate wherever necessary to ensure that you and your party have an enjoyable Murder Mystery Weekend.

Sunday mornings should for Murder Mystery weekends start with a breakfast, at a time chosen by you to meet the needs of the party after the night before. After which you can make your way home, having enjoyed a memorable murder weekend house party.

The Murder Mystery Party Package Cost

The fully inclusive price of the Murder Mystery package is wholly dependent on the location of your venue and the star rating of your venue, should include two nights dinner, bed & breakfast.Extras to consider are the bar, wine and any additional items or activities.

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Online PC game publisher YNK Interactive announced the open beta date for their highly anticipated massively multi-player online role-playing game, Rohan: Blood Feud. Open beta will begin on Tuesday, May 27th at 6:00pm PST. Having been working around the clock since the end of the Closed Beta fixing bugs and making many refinements and improvements, YNK Interactive has added several of players' suggestions into the game, and will continue to welcome player input during the Open Beta phase.

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London's West End is famous for its theatrical productions, and this year’s programme is as exciting as ever, with three of the hottest new shows being adaptations from the silver screen, books and TV.

All About My Mother is based on the Oscar-winning Pedro Almodóvar film of the same name. It marks the first time one of Almodóvar’s works has been adapted into English and has been given his seal of approval. The story concerns Manuela, played by Lesley Manville; a single mother living in Madrid, who, following the tragic death of her teenage son, decides to travel to Barcelona to meet the father her son never knew. Along the way, she gets caught up in the lives of three different women, including a long-lost transvestite friend, a young nun in search of love and a famous actress, who her son greatly admired. The play deals with complex issues such as sexual identity, AIDS, existentialism and faith, but always with an edge of dark humour.

Elling is based on a trilogy of Norwegian novels about a socially inept man - the eponymous title-character - who has spent his entire life living with his mother, and his subsequent difficulty in dealing with the outside world for the first time after her passing. After spending time in a mental health institution, he and his roommate, the equally socially inept, overweight and sex-obsessed Kjell-Magne, are given a flat in the centre of Oslo by social services, and told to either re-assimilate into society or move back. The story combines some of the darkest and satirical humour with uplifting stories about camaraderie, and starring TV’s John Simms (Life on Mars) as Elling and Adrian Bower (Teachers) as Kjell-Magne; it is well worth seeing.

It might seem unlikely for ITV’s Bad Girls to translate well into a musical, but theatre has always been a medium to defy conventions, and Bad Girls: The Musical is a prime example. The musical, like the show, is set in fictional HMP Larkhall and incorporates characters from the TV show as well as new ones. The plot focuses on the suspicious death of inmate Rachel Hicks and guard Jim Fenner's efforts to rid himself of any implications of his own involvement. The play also includes the subplot of a romance between Wing Governor Helen Stewart and lifer inmate Nikki Wade. After a successful run at the West Yorkshire Playhouse last year, the West End production features some of the actresses reprising their roles from the TV show, including Helen Fraser as Sylvia Hollamby and Maria Charles as Noreen Biggs.

Buying tickets for West End productions can be booked online in advance, or if you are willing to take the chance you can find last-minute discounted tickets to shows at the TKTS ticket booths on Leicester Square. Formerly known as the Half Price Ticket Booth, and operated by The Society of London Theatre, it is the only official discount theatre operation in London and offers a better range and price of tickets than touts.

Booking travel and accommodation for a trip to London can also be done with few clicks online. London is currently serviced by six airports and is also easily accessible by train and bus, giving visitors plenty of choice of travel. Most hotels in London will have a website with information about their facilities and about the local area to help making these decisions easier.

So make the trip now and experience the best modern theatre has to offer. Whether you’re looking for humour, pathos or to simply be whisked away by the music, London’s West End has it all.

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In most plays you will see that the atmosphere for the play is provided by the orchestra and also by the different people who sing certain items in the show. While the acting is an important consideration there are times when singing auditions play a significantly large role of importance. You will find this to be very true when the play in question is that of a musical.

In most plays and musicals there are lots of people who are involved in all sorts of parts of the play. For these people the role requires lots of time spent getting the motions, the words, the songs and even the tones correct. Now this entire process can be thrown into total disarray if the singing auditions don’t provide the right types of singers.

While the auditions for acting and stunts may be found in another part of the rehearsal hall the signing auditions will take place in a room where the acoustics provide a clear sound. The judges for these auditions will sometimes like to see if the prospective singers also have the ability of acting out a role while they are also singing.

The ability to sing and act with emotion and flair will help the selection process. In these situations being able to do both of these tasks will help the prospective actor or singer to have a wider role in the play. This does not mean that plays only have singing parts. For this reason when you are looking at the many details of the plays you can find that the parts where singing is needed is displayed.

Another item that is found in singing auditions is the parts which need to be assigned based on the voices that each successful candidate displays. As some of the parts in the plays can belong to alto singers, contraltos, bass singers and others it is necessary to match the voices to the parts required. The need for the play to continue unhindered, means that you will find an understudy and a main cast member being cast around about the same time.

Since the understudy needs to be prepared to take over at a moments notice, it is best if they memorize their parts as well. In addition to memorizing the singing parts of a play singing auditions for some plays require that the understudy and the main cast character have a familiarity with all of the non singing parts of the play. It is for this reason that you will find that singing auditions are very important.

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"The younger sister Lin falls from the sky, like a light cloud just flying from the back of the mountain." It is probably one of the most popular arias from the Yueju Opera, A Dream of the Red Chamber.

Adapted from Cao Xueqin's novel of the same title, A Dream of the Red Chamber is by far the most popular show in Yueju Opera. It focuses on a love story and the decline of feudal families. Two crossed lovers are destined by fate to be apart.

The story begins with the beautiful Lin Daiyu, who moves in with her grandmother's family after the death of her mother. There, Daiyu meets numerous relatives, one of whom is Jia Baoyu, her mother's nephew. Baoyu was borne with a jade tablet and so, is treated like a fragile egg and is spoiled by his grandmother. He often spends his time with his female cousins and maids instead of concentrating on his studies. One of the cousins he hangs around with is Xue Baochai. Baoyu and Daiyu eventually fall in love with each other, but Daiyu is not very well liked by the family, and instead, the family members favor Baochai.

Ever since it was filmed and released throughout the country in 1962, it has become China's best-selling opera film. The play, starring Xu Yulan as Baoyu and Wang Wenjuan as Daiyu, appealed not only to regular fans in East China's Zhejiang, Jiangsu and Shanghai where the Yueju Opera was born, but people from all over the country.

Wei Xiangdong, in his early thirties, grew up with the melodies of the play as he was raised by his grandmother who loved the soundtrack.

A former host of the local opera channel at Shanghai Cable TV and now at CCTV, Wei rarely missed the Yueju Opera shows and tried to record most of them. But he never dared to think that one day he would produce and direct A Dream of the Red Chamber himself.

In 2006, the Central News Documentary Film Company planned to produce a series of popular repertories to preserve the dying local operas. Gao Feng, director of the company who is also the vice-president of CCTV, immediately thought of Wei to drive the project.

The original plan was to revive the 1962 movie with a cast of young performers. But in early 2000, the Shanghai Grand Theater produced a version featuring new tunes accompanied by the symphonic orchestra. Then a reporter with Shanghai Cable TV, Wei was so impressed by the new production that he recorded the full-length play and made it into a rough movie.

"Though I grew up with that classic version and can sing all the arias, I was fascinated by the new one immediately," says Wei.

"If say, the 1962 movie is my sister, the 2000 production is my wife."

Reserving all the scenes, details and arias of the 1962 movie, the new-filmed classic version features all the major scenes such as Baoyu and Daiyu reading the banned book Romance of the West Chamber; Daiyu burying the fallen flowers; Daiyu burning her love poems manuscripts before her death; Baoyu mourning Daiyu's Death and Baoyu leaving home to become a monk.

Zheng Guofeng, disciple of Xu Yulan plays Jia and Wang Zhiwen, disciple of Wang Wenjuan stars as Lin.

The symphonic version is almost the revival of that 2000 production, starring Zhao Zhigang as Jia and Fang Yafen as Lin. It features many popular Yueju actresses such as He Ying and Tao Huimin who have been away from the stage for years but remained in Yueju Opera fans' hearts.

"You can expect nothing less than powerful symphonic music, highly elaborate sets, fashionable costumes and an unforgettable performance by a stellar cast," says Wei.

Both films premiered in Shanghai at the end of 2007. The classic version ran for 150 shows at the Shanghai Film Center. According to its staff, the movie even sold better than Ang Lee's Lust Caution.

Now the classic version will run 10 nights at Beijing's Capital Film from May 9 and followed by 10 nights of the symphonic edition from May 20.

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Perhaps you’ve always promised yourself a trip to London to catch a show you’ve always wanted to see, but have never had the time. Well, now is the ideal time as the West End goes through a mini-revival, offering a fabulous choice of productions.

Theatres in London regularly feature exciting new productions, but there are also a handful that have been playing to packed audiences for many years, including one notable mystery thriller that has been performed continuously for well over half a century.

The current longest running production, beating its nearest West End rival by an incredible 23 years is Mousetrap. The classic ‘whodunit’ first opened at the New Ambassadors theatre on 25th November 1952, and after enjoying a 22 year residency moved to the St. Martins theatre where it still thrills audiences today, notching up well over 20,000 performances.

The musical with the longest current run in the West End is Les Miserables, recording 23 years of continuous performances. Close behind comes another classic musical, The Phantom of the Opera. Indeed, musicals account for seven out of the top ten longest running productions in the West End. Here is the top ten, including the genre of the production, and the amount of time they have been packing in the crowds:

Mousetrap (thriller) – 56 years
Les Miserables (musical) – 23 years
The Phantom of the Opera (musical) – 22 years
Blood Brothers (musical) – 20 years
The Woman in Black (ghostly thriller) – 19 years
Chicago (musical) – 11 years
Mamma Mia (musical) – 10 years
The Lion King (musical) – 9 years
We Will Rock You (musical) – 6 years
Stomp (vaudeville) – 6 years

In addition to the phenomenal long-running successes there has also been a glut of new productions over the last two years; many are musicals inspired by high-profile TV reality show competitions in which the public vote for their favourite unknown to appear as the lead in the stage production.

As a result, popular productions such as Grease, The Sound of Music, Joseph and several others are packing them in every night as the UK population clamours to see the stars they voted for to star in the new West End productions in person. The enduring popularity of West End theatre isn’t about to diminish allowing many a hotel in Oxford Street and nearby Piccadilly to cash in on their proximity to the most popular productions.

If a trip to London is on your mind, then make sure that you do your research, get a hotel close to the production that you are going to watch, and book as early as you can.

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Michelle Blakely is an incomparable actress who has worked on Broadway alongside Bernadette Peters and Rosie O'Donnell. An alum of many of our corporate events, we caught up with her to reflect on her life on Broadway.

HOB: You were fantastic in Annie Get Your Gun. What was it like performing in such a beloved musical opposite Bernadette Peters?
MB: Bernadette has always been one of my idols. In one of our scenes, she got the giggles after flubbing a line. Some of the cast started to "break scene" and laugh with her. I was stone-faced and the last hold out until I couldn't stand it anymore and joined in. At this point, the audience applauded wildly and cackled with joy. It was truly an authentic Broadway moment.

HOB: How funny! Do you like getting such a big response from the audience, or is it distracting sometimes when people are singing or clapping along with your song?
MB: Those personal interactions with the audience are the most gratifying part of performing. Whether attendees are a group of scientists, bankers, real estate agents, or doctors, those audience interaction moments are pure energy. You feed off the audience and, in turn, they feed off of you. When you have that synergy, it's very powerful. It's definitely an experience that you won't get at a movie theatre or watching TV!

HOB: Speaking of movies and TV, how do you feel audiences respond to live entertainment, when filmed performances seem to be more prevalent?
MB: At the reception after our recent event for Citi, I met a man who had never seen a Broadway show. He said that he was aware that there would be entertainment throughout the evening, but he was surprised at how engaged he became during the performance. He was thoroughly amazed by the talented singers and dancers, and ended up singing along and bopping to the beat!

HOB: Have you ever had an experience like that with an entire audience?
MB: One of the groups that really stands out in my mind was a Bayer corporate audience in Colorado Springs, many of whom were from Germany. Before going to Colorado, I was concerned that our show may not translate. But the audience was one of the most appreciative and vocal audiences I have ever experienced with a corporate event. After the finale, the CEO made an impromptu speech about our wonderful performance and how the magic of Broadway had influenced his life. It was a very moving night for us all.

HOB: Sounds like a fantastic evening. What are some of your favorite Broadway shows?
MB: There are so many memories I have of brilliant performances that I've seen on Broadway. Jennifer Holliday bringing down the house during a matinee of Dreamgirls, Lilly Tomlin single-handedly mesmerizing the audience with her one-woman show, The Search for Signs of Intelligent Life... Even recently watching Fantasia's star turn in The Color Purple. I'm constantly inspired and reminded why I was drawn to the live theatre.

HOB: One last question, what song from Broadway do you feel a personal connection to?
MB: The song "Something's Coming" from West Side Story is very special to me. It's about how you never know what the future can hold, and what wonderful thing is waiting for you around the corner. I feel it encapsulates the entertainment business, as well as the human experience. The power of the unknown future gives you hope for a better tomorrow.

Michelle Blakely's Broadway credits include Annie Get Your Gun as the standby for Bernadette Peters, later playing opposite Ms. Peters as "Dolly Tate," Grease with Rosie O'Donnell as "Patty Simcox" and understudy for "Sandy," Tom O'Horgan's Senator Joe as "Dorothy Kenyon," and The International Tour of Grand Hotel as "Trude." Her films include You've Got Mail, Mr. Jealousy, and The Twilight of the Golds.

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There have been several high profile musical productions debuting in the West End recently to varying degrees of critical acclaim. But, regardless of whether the autumn openings continue their runs into 2008, musicals look set to dominate the West End box office over the next few years.

Prominent amongst the successful new shows unveiled recently include ‘Hairspray’. The musical opened in late October in London’s West End to rave reviews and has recently extended its run by seven months as a result. First opened on Broadway in August 2002 at the Simons Theatre where it is still playing to packed audiences this American import is now booking until 25th October 2008 at the Shaftesbury Theatre. West End veteran warbler Michael Ball stars as cross-dresser Edna Turnblad with comedian-turned-actor Mel Smith supporting as “her husband” Wilbur and newcomer Leanne Jones plays Tracy, their daughter. Following its success on Broadway, Hairspray has been made into a Hollywood feature film starring John Travolta.

Indeed, productions based on films, or vice-versa, appear to be all the rage in the West End. Dirty Dancing, another recent addition to the West End theatres, has also extended its booking period until April 2009, after a successful opening in late October. Writer of the film’s screenplay Eleanor Bergstein used her own childhood experiences of holidaying with her family in the Catskills in the USA as the basis of the story and has successfully adapted it for this stage production. Josef Brown, who played the lead in the Australian production of 2004, stars as Johnny joined by Sarah Manton as Baby.

Another former film now gracing the West End stage ‘Desperately seeking Susan’, which originally starred Madonna and Rosanna Arquette in the celluloid version, is not doing quite so well in the stage adaptation that features the music of Blondie. The production recently premiered at the Novello Theatre and is currently booking until mid-April 2008, although judging by the unfavourable reviews it may ultimately record a shorter run that that.

Conversely, Grease is taking the West End by storm. Originally a 70’s film musical starring John Travolta and Olivia Newton-John, this production has made a successful transition to the West End stage and looks set to enjoy a long run until the end of the decade.

As well as modern musicals, classics such as Andrew Lloyd-Webber’s Joseph have undergone a successful revival thanks to the BBC talent show ‘Any dream will do’ which has given 26-year-old winner Lee Mead the starring role in his West End debut. That must be one of the best
theatre breaks for a young actor since the last BBC talent winner Connie Fisher captured the lead role of Maria in the Sound of Music!

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The Royal Opera House is the third theatre on the Covent Garden site. In 1728 an actor/manager by the name of John Rich commissioned “The Beggars Opera” from John Gay, a poet and dramatist. The success of this production helped provide the capital for the first Theatre Royal to be built and on the 7th December 1732, it had its opening night.

The theatre was primarily a playhouse for the first hundred years or so, with King Charles II granting John Rich and the Theatre Royal in Covent Garden, as well as the Drury Lane theatre, almost exclusive rights to present drama in London. Rich also began developing pantomime as an art form which led to the tradition of pantomimes being performed every Christmas - a tradition that lasted until the 1930’s at Covent Garden and still continues today at theatres across the country.

The first serious musical works to be performed at Covent Garden were the operas of Handel, who gave regular seasons there from 1735 until his death in 1759. Unfortunately his organ, which he had bequeathed to John Rich, was burned, along with most of the theatre, in a fire in 1808.

The rebuilding of the theatre began at once and, in September 1809, the second Theatre Royal opened in Convent Garden with a performance of Macbeth. To attempt to recoup the costs of rebuilding the theatre, ticket prices were raised. However, after two months of disgruntled theatre goers disrupting performances with booing and hissing, prices were forced back down.

In 1846, a dispute with the management at Her Majesty’s Theatre (the exclusive home to ballet and opera in London at the time), conductor Michael Costa aligned himself with Covent Garden, taking most of his company of singers with him. The auditorium at Convent Garden was completely remodelled and the theatre re-opened in April 1847 as the Royal Italian Opera.

Fire struck again in 1856, completely destroying the theatre, and work on the third and present theatre began in 1857, before re-opening in 1858. Just over thirty years later, in 1892, the theatre officially became the Royal Opera House, with summer and winter seasons of ballet and opera produced regularly. This carried on until the First and Second World Wars, when the Royal Opera House became a furniture repository and a dance hall, respectively.

Several renovations took place in the 1960s including improvements to the amphitheatre, but it was clear that the theatre needed a complete overhaul. Despite being given land adjacent to the theatre to make room for the renovations in 1975, it wasn’t until twenty years later before work began when the newly created National Lottery granted the Opera House £58.5 million towards the rebuilding costs. The new Royal Opera House was opened in December 1999, with two new, smaller performance areas added to the theatre as well as the now historic main auditorium.

Now open all day and not just for evening performances, visitors come from all over the world to the theatre, packing the nearby hotels in London, and enjoying not only the wonderful shows, but also the beautiful interior of a historic building. The views that the Royal Opera House commands across London from the Amphitheatre Terrace have delighted tourists and guests since it’s re-opening, almost as much as the productions performed.

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Stand Up for Sundays
If your Sunday seems dull and boring, and you reminisce of the days when you had some fun entertainment to keep you busy. We have a solution, “Stand Up for Sundays!” A fresh and witty crew of local Stand Up comedians has high jacked the Old Mutual Theatre on the Square and is occupying her stage for a month of Sundays.

The Comedy Shop is not new to the theatre; their previous performance of “Stand Up for Sundays” was in December 2005 and won mass critical praise. The troupe of five comedians offers fresh fast paced humor coupled with audience interaction and smooth roll of the tongue punch lines. The Five piece show includes, Mel Miller, Al Prodgers, Kedibone Mulaudzi, Etienne Shardlow and Alistair Plint.

Al Prodgers, has just returned from Canada, where he represented South Africa in the Yuk Yaks comedy festival. Al is not new to performing abroad he was part of the “Stand Up South Africa” show in London, is regularly seen on stages in Abu
Dhabi and left Dubai in raucous laughter. Al Prodgers is a regular headline act on local stages and was the perfect choice to open for Steven Wrights visit to Cape Town, never the less Al seems eager to be listed as part of the team on “Stand Up for Sundays.”

Kedibone Mulaudzi, has a never ending biography of impressive shows, he was invited to perform for the Archbishop Desmond Tutu’s 50th Wedding anniversary and after the show the Arch bishop went to Kedibone and said “You good, no actually you very good!” he went on to host the Comedy Nine Nine festival, Arts Alive and the Wits He, he festival’s.

Mel Miller has been performing on South African stages for over 40 years, his diverse humor and no topics untouched attitude, wrap together to bring audiences a laugh per minute performance of unstoppable joy! The veteran performer is known in the stand up market as “The Godfather of South African Comedy” and his title is evidently deserved when seen strutting punch line after
punch line from any stage.

Alistair Plint and Etienne Shardlow, are part of the original “Stand Up for Sundays” cast, the two crazy stand up comedians have been hard at work since last they visited the theatre, Alistair a regular show producer, entertainment agent and
comedian, has been responsible for many a successful show including the “comedy supper club”, “five funny guys” and “The shortcut to Pluto”. Etienne’s character “The Schoolboy” stole the hearts of avid television viewers when he won the reality comedy competition on MNets Laugh Out Loud, but that never stopped him, he currently runs two comedy venues and is always surprising
audiences with new characters that you think you’ve met at work.

This team of local comedy stars, will launch into a laugh a millisecond routines and raucous antics at The Old Mutual theatre on the square, in Nelson Mandela Square, Sandton on the 24th February, and through the Sundays in March. You areinvited to join them.

Tickets are available from Computicket and the theatre box office at (011) 883 8606. Fortunately, the show caries a 18 age Restriction, so a cash bar will be available. Should Eskom grace with great service, we may have
a fully enlightening performance. Show starts at 7pm, see you there!

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The Royal Opera House is the third theatre on the Covent Garden site. In 1728 an actor/manager by the name of John Rich commissioned “The Beggars Opera” from John Gay, a poet and dramatist. The success of this production helped provide the capital for the first Theatre Royal to be built and on the 7th December 1732, it had its opening night.

The theatre was primarily a playhouse for the first hundred years or so, with King Charles II granting John Rich and the Theatre Royal in Covent Garden, as well as the Drury Lane theatre, almost exclusive rights to present drama in London. Rich also began developing pantomime as an art form which led to the tradition of pantomimes being performed every Christmas - a tradition that lasted until the 1930’s at Covent Garden and still continues today at theatres across the country.

The first serious musical works to be performed at Covent Garden were the operas of Handel, who gave regular seasons there from 1735 until his death in 1759. Unfortunately his organ, which he had bequeathed to John Rich, was burned, along with most of the theatre, in a fire in 1808.

The rebuilding of the theatre began at once and, in September 1809, the second Theatre Royal opened in Convent Garden with a performance of Macbeth. To attempt to recoup the costs of rebuilding the theatre, ticket prices were raised. However, after two months of disgruntled theatre goers disrupting performances with booing and hissing, prices were forced back down.

In 1846, a dispute with the management at Her Majesty’s Theatre (the exclusive home to ballet and opera in London at the time), conductor Michael Costa aligned himself with Covent Garden, taking most of his company of singers with him. The auditorium at Convent Garden was completely remodelled and the theatre re-opened in April 1847 as the Royal Italian Opera.

Fire struck again in 1856, completely destroying the theatre, and work on the third and present theatre began in 1857, before re-opening in 1858. Just over thirty years later, in 1892, the theatre officially became the Royal Opera House, with summer and winter seasons of ballet and opera produced regularly. This carried on until the First and Second World Wars, when the Royal Opera House became a furniture repository and a dance hall, respectively.

Several renovations took place in the 1960s including improvements to the amphitheatre, but it was clear that the theatre needed a complete overhaul. Despite being given land adjacent to the theatre to make room for the renovations in 1975, it wasn’t until twenty years later before work began when the newly created National Lottery granted the Opera House £58.5 million towards the rebuilding costs. The new Royal Opera House was opened in December 1999, with two new, smaller performance areas added to the theatre as well as the now historic main auditorium.

Now open all day and not just for evening performances, visitors come from all over the world to the theatre, packing the nearby hotels in London, and enjoying not only the wonderful shows, but also the beautiful interior of a historic building. The views that the Royal Opera House commands across London from the Amphitheatre Terrace have delighted tourists and guests since it’s re-opening, almost as much as the productions performed.

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Stand Up for Sundays
If your Sunday seems dull and boring, and you reminisce of the days when you had some fun entertainment to keep you busy. We have a solution, “Stand Up for Sundays!” A fresh and witty crew of local Stand Up comedians has high jacked the Old Mutual Theatre on the Square and is occupying her stage for a month of Sundays.

The Comedy Shop is not new to the theatre; their previous performance of “Stand Up for Sundays” was in December 2005 and won mass critical praise. The troupe of five comedians offers fresh fast paced humor coupled with audience interaction and smooth roll of the tongue punch lines. The Five piece show includes, Mel Miller, Al Prodgers, Kedibone Mulaudzi, Etienne Shardlow and Alistair Plint.

Al Prodgers, has just returned from Canada, where he represented South Africa in the Yuk Yaks comedy festival. Al is not new to performing abroad he was part of the “Stand Up South Africa” show in London, is regularly seen on stages in Abu
Dhabi and left Dubai in raucous laughter. Al Prodgers is a regular headline act on local stages and was the perfect choice to open for Steven Wrights visit to Cape Town, never the less Al seems eager to be listed as part of the team on “Stand Up for Sundays.”

Kedibone Mulaudzi, has a never ending biography of impressive shows, he was invited to perform for the Archbishop Desmond Tutu’s 50th Wedding anniversary and after the show the Arch bishop went to Kedibone and said “You good, no actually you very good!” he went on to host the Comedy Nine Nine festival, Arts Alive and the Wits He, he festival’s.

Mel Miller has been performing on South African stages for over 40 years, his diverse humor and no topics untouched attitude, wrap together to bring audiences a laugh per minute performance of unstoppable joy! The veteran performer is known in the stand up market as “The Godfather of South African Comedy” and his title is evidently deserved when seen strutting punch line after
punch line from any stage.

Alistair Plint and Etienne Shardlow, are part of the original “Stand Up for Sundays” cast, the two crazy stand up comedians have been hard at work since last they visited the theatre, Alistair a regular show producer, entertainment agent and
comedian, has been responsible for many a successful show including the “comedy supper club”, “five funny guys” and “The shortcut to Pluto”. Etienne’s character “The Schoolboy” stole the hearts of avid television viewers when he won the reality comedy competition on MNets Laugh Out Loud, but that never stopped him, he currently runs two comedy venues and is always surprising
audiences with new characters that you think you’ve met at work.

This team of local comedy stars, will launch into a laugh a millisecond routines and raucous antics at The Old Mutual theatre on the square, in Nelson Mandela Square, Sandton on the 24th February, and through the Sundays in March. You areinvited to join them.

Tickets are available from Computicket and the theatre box office at (011) 883 8606. Fortunately, the show caries a 18 age Restriction, so a cash bar will be available. Should Eskom grace with great service, we may have
a fully enlightening performance. Show starts at 7pm, see you there!

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Tucked away in the corner of a busy tech room, Ken Chieh Hsu focuses on his computer panel, tapping expertly on it with his electronic pen. On the enormous flat-screen mounted on the wall in front of him, a mythical paradise rises out of the clouds, complete with golden colonnades and marble steps. He taps once, and the clouds at the foot of the screen begin rolling across the scene. Once more, and a shining light appears, slowly descending from a corner of the sky.

You might think that Hsu is animating a scene for the next Hollywood fantasy epic, but he is actually a digital design expert for New Tang Dynasty Television, a non-profit Chinese television network based in Manhattan. Hsu is a four-year veteran of the network’s annual Chinese New Year performances, having worked on the digital backgrounds for the show every year since its inception.

These digital backgrounds are a unique part of NTDTV’s performances, and are especially eye-catching on the gigantic LED screen at Radio City, site of the 2007 Chinese New Year Spectacular. Using the uncluttered set space like a giant canvas, Hsu and his team paint scenes of ancient Chinese palaces, tall mountains and billowing seas, and even a quiet Chinese village on New Year’s Eve—hushed, expectant, and with lantern-hung streets traveling far into the horizon. “Every year,” says Hsu, “we try to make it more detailed, more realistic.”

The end result is breathtaking, but the complex creation of one of these backgrounds is amazing in itself. According to Hsu, the process starts with the artistic director, who comes up with the concept of a performance. Then the needed backgrounds are decided, and the meticulous research begins. The digital designers go through stacks of books, researching paintings from the period and gathering whatever sources they can find in order to make it as authentic and believable for the audience as possible.

But even though many backgrounds are based on traditional images and paintings, there is still plenty of room for innovation. In last year’s performance, the background for the dance “Fairies’ Flutes” was from a classical painting of a Han Dynasty-style palace. The color of the painting, however, had dimmed with age. Hsu learned through his research, as well as though his background in fine arts, that classical Chinese paintings were colorful and bright, but their pigments did not have the staying power of Western oil paints. The designers decided to restore color to the image, creating the soft, radiant feel of a watercolor. In addition, says Hsu, some of the classic paintings have a limited scope, whereas the digital artists need to create a much bigger space.

After the scene is drawn, it is time for the technological wizardry. Each year the backgrounds become more technically challenging, with more scenery changes and more animations. In “Fairies’ Flutes,” for example, the team filmed dancers in rehearsal, then used digital effects to render these three-dimensional images onto the two-dimensional background. In the show, the audience saw distant fairy maidens, flying down from the sky, only to appear on stage moments later.

The ultimate goal of these backgrounds is to use modern technology as a tool to transmit the true spirit of traditional Chinese culture. The audience should feel like the dancer is truly in the place created by the background. The audience does not just see the picture of a ship or ocean but is actually riding across the waves. The background opens the stage, expanding the space beyond its boundaries. In short, it is the creation of a world.

Such a world can only be created through an immense amount of collaboration. After all, the digital background is one part of this whole, along with the costumes, the music, and the performers. The colors of the background must harmonize with the colors of the dancers’ costumes; the animations and scene changes must be timed to shift exactly with the music; the backgrounds must often be tested during the dancers’ rehearsals, and then worked on once again. Each background may go through extensive revisions, but with each the artists reach deeper and deeper levels of meaning in the performances.

This entire process starts seven or eight months before the first show. As the work gets more intensive, Hsu and the ten or so other designers dedicate most of their time to the backgrounds. Hsu may only sleep in his own bed once every three or four days, but while he jokes about his starving-artist ways (“No money, no wife, but it’s still good”), he waxes enthusiastic about his work: “Where else could I do something so wonderful? As an artist, I can reflect the best traditional art through the best modern technology.”

Hsu hopes that the audience will be pleased with what they see at this year’s show, and is confident that it is of the highest quality. “I never knew before that traditional art was so beautiful. I want to tell people: you should really take a good look, because you’ve never seen this kind of beauty before.”

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