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Originally written on Fox Sports Florida | Last updated 2/2/13
TALLAHASSEE, Fla. The Duke Blue Devils have moments where they look fallible. Losses to NC State and Miami diminish their resume. But then Duke shows just how good they are, how dominating they can really be for 40 minutes. And it shows just how tough a matchup the Blue Devils will be for anyone in the NCAA tournament. No. 5 Duke put on a basketball clinic Saturday afternoon, shooting 62.1 percent from the floor in the first half. The Blue Devils put up 42 points the most Florida State had allowed in the first 20 minutes of a game this season and were ahead by 20 at halftime. Seth Curry scored 21 points knocking down five 3-pointers and Quinn Cook added 18 points as Duke crushed Florida State 79-60 at the Donald L. Tucker Center. The Blue Devils held the Seminoles to just 28 percent shooting in the first half, and Florida States Michael Snaer had only seven points in the game. Our guys played a terrific basketball game, Duke coach Mike Krzyzewski said. The defense was supe...
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Casino takes people-pleasing route with Wild Earth Cucina Italiana
Hurray for second acts. They make it possible to admire a spin on wedge salad, inhale a flatbread topped with delicious house-made sausage, savor duck with wine-fig sauce and delight in an elegant little pear crostata for dessert.
Potawatomi Bingo Casino reopened its Wild Earth restaurant in September. The first incarnation, which closed in 2009, had an intriguing menu highlighting state foods and American Indian dishes, but it never really took off. »Read Full Article(1)
This is the final weekend for most Milwaukee County Parks pools
Milwaukee County Parks pools will begin closing after this weekend as lifeguards begin heading back to campus.
Deep-well pools will remain open through Sunday. Those are the pools in Hales Corners, Holler, Jackson, Kosciuszko, McCarty, Oak Creek Parkway, Sheridan, Washington and Wilson parks. »Read Full Article(4)

subset: commoncrawl


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Wilbur Walter White
Position: B
Height: 6-0 Weight: 167 lbs.
Born: April 30, 1912 in Seibert, CO
Died: April 1968
High School: Fort Collins
College: Colorado St. (school history)
Weighted Career AV (100-95-...): 0 (14747th overall since 1950)
Sponsor this page for $5 and help Pro-Football-Reference.com provide this service. Your message will replace this ad.
Output includes all games from 1920 to 2014.


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"So the person who paid the money is indeed the sole owner."<quoted text> Here in the USA where we have a Republic god dont get a say so. The US counstition & laws of the land apply. So the person who paid the money is indeed the sole owner. and that sole owners counstitional rights cannott be overridden by the wishes & wants of the many. I may not agreee with a lot of things people do but I would fight to defend their counstitional & god given right to do them. A example would be to divide up a farm into a subdivision.
One would think so. Why then, do I not have a right to the minerals under my land if the previous owner says they are still his, even though I paid money for the property? In fact, why can the previous owner tell me I am NOT allowed to cut the trees even though I paid money for the property? Property owners rights don't mean much in our republic.


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2016 History Fair
More information about the 2016 NHD theme (Exploration, Encounter, Exchange in History) will be available soon.
Fair Dates:
February 25-26, 2016
Registration Information
Weather Delays: Schedule
Snow / Ice / or other unexpected emergency
HOTRHF Handbook 2015
HOTRHF Handbook - 2015 Rules & Guidelines
National History Day has updated the rules for 2015. Please read the NHD Contest Rule Book.
The 2015 HOTRHF is now over. Thanks to everyone who participated this year! We look forward to seeing everyone again at the 2016 HOTRHF on February 25-26, 2016!
The Heart of Texas Regional History Fair (HOTRHF) offers students in Central Texas opportunities to study history in exciting and creative ways. Each year, students from throughout our fourteen-county region come to the Baylor University campus to display the results of their original historical research and to compete for prizes, scholarships, and the opportunity to compete in state and national fairs.
To participate in the Heart of Texas fair, students in grades six through twelve choose topics related to a yearly theme and compete in writing papers, creating exhibits, presenting performances, compiling documentaries, and designing Web sites. Projects are judged by historians and educators, and winners are announced in a public ceremony at the conclusion of the fair.
Fifth-grade students also have the opportunity to participate in the regional fair. They may compete as individuals or members of groups in a separate fifth-grade exhibit category.
Participation in the Heart of Texas Regional History Fair develops academic, artistic, and social skills that provide lasting benefit to students in all areas of study. HOTRHF encourages teachers to use our program as an aid in teaching not only history, but also writing and research skills. History fair projects can also be the key to meeting test requirements in several curricular areas.
For more information, please e-mail firstname.lastname@example.com
Find us on Facebook at http://www.facebook.com/hotrhf/
Find us on Twitter at http://www.twitter.com/hotrhf/
Contact the office: (254) 710-3783 or firstname.lastname@example.com. See HOTRHF Office Information for more information.
HOTRHF Note: The National History Day rules listed on this website have been updated for 2015.


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Yellowstone Grizzly RV Park
No prices found through our partners. Please contact the business directly or check some of our recommended alternatives.
How has this campground rated in the past?
- Pets allowed
Travelers also recommend:
TravelPod Member ReviewsYellowstone Grizzly RV Park West Yellowstone
A nicely kept park right in town. The only real RV park in West Yellowstone and they still have a nice facility with decent prices.
This review is the subjective opinion of a TravelPod member and not of TravelPod.com.
This was the first place we had hooked up our new RV and it snowed on us overnight -- in June! We were surprised and unprepared, but the staff helped us get unhooked and out the door in the morning. It's pricey, but I guess that's to be expected so close to such a major tourist attraction.
This review is the subjective opinion of a TravelPod member and not of TravelPod.com.
TripAdvisor Reviews Yellowstone Grizzly RV Park West Yellowstone
Travel Blogs from West Yellowstone
Yellowstone National Park-----WOW
Yellowstone National Park! The grand daddy of all National Parks. The park is so big and has so many things to see that it is overwhelming. We spent four days here and met up again with our friends Linda and Vaughn from Nature Coast Landings, It was especially fun for Craig since he worked at the Old Faithful Inn 45 years ago. We drove to Old …
Yellowstone National Park Day 1
The rain has subsided as we rise at 6:30 am. We just seem to always get up early no matter what. As we are not in a rush, we start to stow gear and hook up the car and head out about 8:00. We are only going a few miles for our first stop to the Flying J to top off on fuel. We stopped here in 2012 with the Millross's and they have added RV lanes …
Yellowstone National Park day 2
The morning starts with sun in the eastern sky. Sun does make it warmer. Temperatures overnight was in the 30's. The furnace was working and keeping us warm. We have heard that the car traffic can be bad so that is why we are leaving early to get to the Grand Canyon of Yellowstone. As we see cars stopped, we see an elk by the side of the road. Well …
Almost at Yellowstone!
By the time we reached the little town of West Yellowstone, we were feeling really tired. The drive from Anaconda took us down some pretty tricky, but quite beautiful, mountain roads. Larry has gotten really good at maneuvering his way along under-construction one lane roads, but it is still stressful. We were in need of a maintenance day for …
Yellowstone! Home of Yogi
We left the campground (I forgot to take a picture) and went to breakfast at a real fun cafe. They even had a Cello player playing in the background. We left and my stupid GPS tried to take us over the Teton Pass again but I said no way! So we toured into the south entrance to Yellowstone instead. We made a stop at Colter Bay Resort where my Dad …


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The Denver Botanic Gardens' big art play is surely the larger-than-life sculpture show "Catalyst," but don't forget to take in the temporary indoor exhibits that will come and go as summer moves through. One to look for: "Day and Night," a show of paintings by Ana Maria Hernando. Boulder-based Hernando works in multiple forms, creating everything from installations to poetry, but she always has interesting things to say. With these mostly oil paintings, she uses solid lines and complex backgrounds to speak of the life cycle of flowers, but also the strong women in her family and the overlooked roles women play in our culture. The work is just right in the garden as it hits its peak. 1007 York St. $12.50. 720-865-3500 or botanicgardens.org.
Ray Mark Rinaldi


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So much for the relief rally.
After all the hand-wringing, grandstanding and political showmanship this past week over the debt ceiling, you'd think the Dow would be more grateful than the 145 pop it gave on the open this morning.
Alas, immediately following the open… it sank. As we write, it's down 45 points.
The culprit? The ISM manufacturing survey tumbled in July from 55.3 to 50.9 — a two-year low.
To say the number violated the Street's expectations is, um, an understatement: Among 80 economists polled by Bloomberg, the lowest guess was 52.0. Every component of the index indicated slowing growth… and new orders fell into outright contraction.
Whether Congress votes on this deal to raise the debt ceiling or not… there's plenty of real concerns in the economy to give stock traders the willies.
Likewise, commodities traders are feeling a chilly wind. Manufacturing in China slowed for the fourth straight month.
The June figure of 50.9 fell to 50.7 in July, according to the China Federation of Logistics and Purchasing (FLP), the ISM's counterpart in the Middle Kingdom.
Within the FLP report new orders look promising… mostly chalked up to domestic demand, not exports. But a separate unofficial gauge of Chinese manufacturing issued by HSBC slipped into negative territory.
Given comments we heard during the symposium last week, we expect an "official" decline in Chinese manufacturing… which, as we noted a few days ago , would drive down prices for the 11 commodities of which China is the largest consumer.
We'll spare you play by play on the bipartisan deal making its way to the floor of both houses for a vote, possibly tonight. But here are a few cogent plotlines:
• The $2.5 trillion in spending cuts are, in the immutable logic of Washington, not cutbacks at all… but limits to the planned rate of spending increases
• Even better, they don't don't kick in until 2013. At that time, a new Congress will be in place, unbound by the promises of the current one.
There's also a "last minute" mechanism by which $1 trillion of the "cuts" are to be specified now, while the remaining $1.5 trillion — including Social Security and Medicare fixes — are to be hashed out by a special 12-member congressional committee.
It gets better.
The committee will issue its recommendations by Nov. 23 — the day before Thanksgiving. Congress would then vote on the recommendations by Dec. 23 — the Friday before Christmas.
Even if this deal gets the votes it needs, the White House and Congress have done their best to give the can a good swift boot… but made only a glancing impact. The can will have barely moved.
Now the rating agencies face another challenge to their credibility. The big three have spent the last several weeks threatening to downgrade Uncle Sam's AAA bond rating unless the deal actually gets spiraling debts and deficits under control.
"$4 trillion would be a good down payment," said John Chambers, the head of S&P's sovereign ratings committee. The number in the proposed agreement is $2.5 trillion.We daresay that if S&P wants to continue to attract business… it will have to follow through on its threat.
"Eventually, there's a downgrade coming," Pimco's Bill Gross said yesterday. "It just depends on Moody's, S&P and Fitch, and they're very slow-moving. This country has $10-12 trillion worth of outstanding debt. In addition, however, we've got about $60 trillion worth of liabilities.
"I call this Debt Man Walking."
"A downgrade from AAA is a matter of when, not if," writes our short strategist Dan Amoss. "In it's wake, the dollar index will fall and gold prices will explode on the upside. Such a downgrade would speed up a slow-moving process that has long been under way: the loss of the U.S. dollar's role as the primary reserve asset for central banks.
"Even the most radical forecasts are off base.
"The Fed will have to ensure that there is no liquidity squeeze — perhaps even reopen the commercial paper funding facility it started after the Reserve Primary Fund 'broke the buck' in 2008.
"In short, foreign creditors should accelerate their diversification out of Treasuries and into tangible assets when even the slowest money starts realizing that the positive attributes of the Treasury market — liquidity — are far outweighed by the negatives — never getting repaid in honest money."
Of the $2.2 trillion in revenue the Treasury pulls in each year, about 10% is going for debt service.
"We've had higher numbers before," said veteran analyst Adrian Day on Friday during our symposium in Vancouver. "But rates are now at 70-year lows. And more of the new debt Treasury is issuing these days is of short duration… because those rates are lower."
Just a reversion to "normal" interest rates… never mind a downgrade… would quickly drive up debt service to 30% of revenue.
This is a reality foreigners already recognize… which is why they're buying fewer U.S. Treasuries. China's Dagong rating agency gives its top ratings to Norway, Denmark, Luxembourg, Switzerland and Singapore. Among the world's nations, Dagong ranks the United States No. 13.
If foreigners got serious about fleeing Treasuries, the heavy lifting would fall once again to the Federal Reserve. As yet, the Fed has already bought up 80% of Treasury debt issued in 2011.
"There's something dramatically wrong when one arm of the government is creating money to buy the debt of another arm of the government."
Amen, Mr. Day.
"This whole wrenching effort to shrink the debt may actually increase the debt," explained an AP story anticipating a downgrade.
A downgrade "could increase the cost of borrowing for the government — hence more interest and debt — not to mention for everyone else." Not the least of which are state and local governments who received 80% of the last round of stimulus.
Addison Wiggin,
For The Daily Reckoning
Addison Wiggin is the executive publisher of Agora Financial, LLC, a fiercely independent economic forecasting and financial research firm. He's the creator and editorial director of Agora Financial's daily 5 Min. Forecast and editorial director of The Daily Reckoning. Wiggin is the founder of Agora Entertainment, executive producer and co-writer of I.O.U.S.A., which was nominated for the Grand Jury Prize at the 2008 Sundance Film Festival, the 2009 Critics Choice Award for Best Documentary Feature, and was also shortlisted for a 2009 Academy Award. He is the author of the companion book of the film I.O.U.S.A.and his second edition of The Demise of the Dollar, and Why it's Even Better for Your Investments was just fully revised and updated. Wiggin is a three-time New York Times best-selling author whose work has been recognized by The New York Times Magazine, The Economist, Worth, The New York Times, The Washington Post as well as major network news programs. He also co-authored international bestsellers Financial Reckoning Day and Empire of Debt with Bill Bonner.
I hope Treasury yield go up and debt interest payment go up as well. This just might wake up most of the population that are not asleep but just stupid. But I maybe asking too much because stupid are always stupid and cannot think logically. I guess what I really want to see is more of these numbskulls marching in Washington, DC demanding more handouts much like Greece or Argentina in 2002.
well this should be interesting. even if you do downgrade me, I'm still the big dog. without me, you've got nothing.you need me more than i need you. i mean really , where you gonna put your money ? norway, denmark, luxembourg, switzerland, singapor ? please, let's get real ! as i go, the world goes. the best thing you can do is to bet on red, white, & blue. what else is there. besides, if need be, i can always take what i want. i'm not sweating it, cause i know when things get bad enough, you'll come crawling back to the stars & stripes. like i said this should be interesting.
"well this should be interesting. even if you do downgrade me, I'm still the big dog. without me, you've got nothing.you need me more than i need you. i mean really , where you gonna put your money ?"
exactly precisely correct. they can downgrade all they want, but there is nowhere else to go but the dollar.
it's the dollar or nothing. and it may very well wind up being nothing.
Intrinsically, the debt ceiling looks more like a transitional formula than any sensible mode to any pragmatic cut. Still hunting for a pragmatic cut to no avail. When I make a spot check, the asbesto-free ceiling sheet has gone up three times over the 10-year period. I can't even get my damaged ceiling fixed up.
@ filonn1,
You go ahead and bet Red, White, and Blue, but I am betting Siver and Gold!
Silver, silver and gold
Silver and gold, silver and gold
Ev'ryone wishes for silver and gold
How do you measure its worth?
Just by the pleasure it gives here on earth
The market, the market, kneel to the great god market. And we all know gold and silver will save us. How surreal.
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Most U.S. citizens subscribe to an idea called the American dream - working hard on a level playing field so you can "get ahead" in life. But that's not what the original "American dream" was all about. As Chris Mayer explains, that term originally referred to a completely different, yet equally important goal. Read on...
America is a country like no other. Comprised of people from all corners of the globe, America exists solely because people chose to become Americans. But what does that mean? And how does it influence the concepts of liberty and freedom Americans feel so entitled to? Bill Bonner explains...
People tend to believe they are endowed with a few specific "rights" - property, liberty, happiness, etc. Unfortunately, as Harry Browne explains, rights only exist in theory. In practice they don't accomplish much - no matter how much people may discuss them. Read on...
British North America was likely the freest society ever seen on earth, as long as you were not a slave of African descent. The Fourth of July isn't worth celebrating unless one wants to cheer an unnecessary revolution that ushered in more tyranny and taxation than existed before that revolution's "success".
Byron King updates his "Fifth Domain of War" thesis… and recommends what he considers the best cybersecurity play today...
Our economy, consumer society, and retirement programs are all in jeopardy in the face of a looming demographic dilemma. Read on to learn about the dire situation with pensions and social security, and what you can do to protect yourself...
David Stockman follows up on his first dispatch, making the case for Greece to default and leave the euro. He details the impact of such a move and more...
Charles Hugh Smith explains that promises made in flush times cannot be kept in lean times, especially when it comes to pension plans...


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A Greek Default Would Spread Debt Contagion
European leaders insist they will take all necessary measures to ensure Greece does not default on its debt. A default would throw Greece's economy — and the European banking system — into deeper crisis. But many financial experts are advocating an orderly default. They argue it will be painful but preferable to round-after-round of painful austerity measures and more uncertainty.


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[Update 7 May: There have been amends for performances of The Nutcracker on 2 (matinee), 6, 9 (matinee) and 13 January]
Casting for Royal Ballet performances during Autumn Season 2015/16 has been announced.
Principal casting for all performances will be updated on the relevant production pages today, but in the interim can be downloaded here.
Booking for Autumn Season performances opens to Friends of Covent Garden on 16 June 2015, with General Booking opening on 14 July 2015.]]>
The 2015/16 Live Cinema Season will see a total of 12 Royal Opera House productions relayed live to more than 1,500 cinemas in over 35 countries. The screenings include six Royal Opera and six Royal Ballet productions.
Romeo and Juliet, 22 September at 7.15pm
The Royal Ballet
By Kenneth MacMillan
Music: Sergey Prokofiev
Le nozze di Figaro, 5 October at 6.45pm
The Royal Opera
Wolfgang Amadeus Mozart
Dir: David McVicar
Cond: Ivor Bolton
Cast includes Erwin Schrott and Anita Hartig
Viscera / Afternoon of a Faun / Tchaikovsky pas de deux / Carmen, 12 November at 7.15pm
The Royal Ballet
By Liam Scarlett / Jerome Robbins / George Balanchine / NEW Carlos Acosta
Music: Lowell Liebermann / Claude Debussy / Piotr Il'yich Tchaikovsky / Georges Bizet
Cavalleria rusticana / Pagliacci NEW, 10 December at 7.15pm
The Royal Opera
Pietro Mascagni / Ruggero Leoncavallo
Dir: Damiano Michieletto
Cond: Antonio Pappano
Cast includes Eva-Maria Westbroek, Dimitri Platanias, Aleksandrs Antonenko and Carmen Giannattasio
The Nutcracker, 16 December at 7.15pm
The Royal Ballet
By Peter Wright, after Lev Ivanov
Music: Pyotr Il'yich Tchaikovsky
Rhapsody / The Two Pigeons, 26 January at 7.15pm
The Royal Ballet
By Frederick Ashton
Music: Sergey Rachmaninoff / André Messager, arranged by John Lanchbery
La traviata, 4 February at 6.45pm
The Royal Opera
Giuseppe Verdi
Dir: Richard Eyre
Cond: Yves Abel
Cast includes Venera Gimadieva and Saimir Pirgu
Boris Godunov NEW, 21 March at 7.15pm
The Royal Opera
Modest Musorgsky
Dir: Richard Jones
Cond: Antonio Pappano
Cast includes Bryn Terfel, Kostas Smoriginas and John Tomlinson
Giselle, 6 April at 7.15pm
The Royal Ballet
By Marius Petipa, after Jean Coralli and Jules Perrot
Music: Adolphe Adam, revised by Joseph Horovitz
Lucia di Lammermoor NEW, 25 April at 7.15pm
The Royal Opera
Gaetano Donizetti
Dir: Katie Mitchell
Cond: Daniel Oren
Cast includes Diana Damrau and Charles Castronovo
Frankenstein NEW, 18 May at 7.15pm
The Royal Ballet
By Liam Scarlett
Music: Lowell Liebermann
Werther, 27 June at 7.15pm
The Royal Opera
Jules Massenet
Dir: Benoît Jacquot
Cond: Antonio Pappano
Cast includes Vittorio Grigolo and Joyce DiDonato
Opera and music fans will be treated to five productions new to Covent Garden during autumn, including a world premiere of Georg Friedrich Haas's Morgen und Abend. Eminent British conductor John Eliot Gardiner returns with his much-admired English Baroque Soloists and Monteverdi Choir, and the internationally acclaimed Hofesh Shechter Dance Company, for John Fulljames and Hofesh Shechter's production of Gluck's Orphée et Eurydice. In addition, Damiano Michieletto brings Cavelleria rusticana/Pagliacci to the ROH main stage, while Donnacha Dennehy and Enda Walsh present The Last Hotel, an intense psychological thriller, in the Linbury Studio Theatre.
Notable transfers include Opera Holland Park's Alice's Adventures in Wonderland and The Tiger Lillies and Laura Caldow's Opera North production of Lulu: A Murder Ballad. In addition, The Royal Opera will return to the Sam Wanamaker Playhouse with a new production of Luigi Rossi's baroque opera Orpheus from director Keith Warner.
Audiences will also have the chance to meet the Jette Parker Young Artists during Meet the Young Artists Week, of which the highlight is a fully-staged production of Peter Maxwell Davies's The Lighthouse, directed by former Jette Parker Young Artist Greg Eldridge.
Ballet and dance productions include the world premiere of Carlos Acosta's Carmen on the main stage, performed alongside Liam Scarlett's Viscera, Jerome Robbins's Afternoon of a Faun, and George Balanchine's Tchaikovsky pas de deux in a mixed programme. Other main stage works during autumn include Kenneth MacMillan's masterpiece Romeo and Juliet, performed in the year of its 50th anniversary and a Frederick Ashton double bill featuring Monotones I and II and The Two Pigeons.
A note from Kevin O'Hare on ballet casting for Autumn Season (updated 29/04/15)
Some patrons have asked about casting details for Autumn Season. As it becomes increasingly difficult to create accurate detailed information so far in advance of the published performances I feel that it is preferable to delay announcing casting in order to try and minimize the likelihood of changes. I am now pleased to be able to confirm that the casting will be released on 5 May in advance of booking opening.
Dance productions in the Linbury include contemporary Québécois company Cas Public's Symphonie Dramatique, which forms part of the Deloitte Ignite 2015 programme. Alessandra Ferri returns to the Royal Opera House in Chéri. Martha Clarke's impassioned work of dance-theatre is based on the novels by Colette and was created with Ferri and Herman Cornejo, who both reprise their roles. Performed in the Linbury Studio Theatre, the piece tells the story of a love affair between a woman and a man half her age in belle-époque Paris.
View more details of the 2015/16 Season:
Winter | Spring | Summer | ROH Live Cinema
View the Autumn Season Seating Plan (PDF 1MB)
Booking for Autumn Season 2015/16 opens to Friends of Covent Garden on 16 June 2015 for dance productions and 17 June 2015 for opera productions. General booking opens on 14 July 2015.]]>
Autumn Season
Deloitte Ignite 2015
Curated by ROH Learning and Participation
Romeo and Juliet
By Kenneth MacMillan
Music: Sergey Prokofiev
A tragic tale of star-crossed lovers: Kenneth MacMillan's groundbreaking ballet is a 20th-century classic.
19 September at 7pm
22* | 24 | 26 September at 7.30pm
1 October at 2pm and 7.30pm
3 October at 12.30pm
9 | 23 | 29 October at 7.30pm
17 October at 7pm
3 | 5 | 11 | 20 | 23 November at 7.30pm
1 | 2 December at 7.30pm
*Live cinema relay
Symphonie Dramatique (Linbury Studio Theatre)
By Hélène Blackburn
Music: Martin Tétreault
Québécois company Cas Public dance their vibrant, contemporary reimagining of Shakespeare's Romeo and Juliet.
23 | 24 | 25 September at 7.45pm
26 September at 12.30pm and 5pm
Chéri (Linbury Studio Theatre)
By Martha Clarke
Martha Clarke's impassioned work of dance-theatre, inspired by Colette's novels, charts the doomed love affair between a woman and a man half her age in belle-époque Paris.
September and October
Connectome / Raven Girl
By Alastair Marriott / Wayne McGregor
Music: Arvo Pärt / Gabriel Yared
A mixed programme of ballets inspired by science and fairytale, featuring works from two British choreographers closely associated with The Royal Ballet, Alastair Marriott and Wayne McGregor.
6 | 8 | 12 | 20 | 22 October at 7.30pm
10 October at 1pm
24 October at 12.30pm
Viscera / Afternoon of a Faun / Tchaikovsky pas de deux / Carmen
By Liam Scarlett / Jerome Robbins / George Balanchine / NEW Carlos Acosta
Music: Lowell Liebermann / Claude Debussy / Piotr Il'yich Tchaikovsky / Georges Bizet, arranged by Martin Yates
Carlos Acosta's new ballet on Bizet's tragic tale of jealousy and desire concludes this mixed programme, with works by Liam Scarlett, Jerome Robbins and George Balanchine.
26 | 28 October at 7.30pm
2 | 6 | 9 | 12* November at 7.30pm
31 October at 1.30pm and 7pm
*Live cinema relay
Mixed Programme (Linbury Studio Theatre)
Phoenix Dance Theatre
By Itzik Galili / Sharon Watson / Caroline Finn
One of the UK's leading contemporary dance companies presents an exciting mixed programme featuring works by Sharon Watson, Caroline Finn and Itzik Galili.
11 | 12 | 13 | 14 November at 7.45pm
Mixed Programme: The Anatomy of a Passing Cloud (Linbury Studio Theatre)
Royal New Zealand Ballet
by Javier De Frutos / Neil Ieremia / Andrew Simmons / Andonis Foniadakis
The national ballet company of New Zealand performs a mixed programme of contemporary dance that celebrates New Zealand and Pasifika culture.
17 | 18 | 19 | 20 November at 7.45pm
21 November at 2.30pm and 7.45pm
Monotones I and II / The Two Pigeons
By Frederick Ashton
Music: Erik Satie / André Messager, arranged by John Lanchbery
Ashton's sublime modernist ballet is a counterpoint to the much-anticipated revival of his charming comic romance.
18 | 19 | 24 | 27 November at 7.30pm
4 December at 7.30pm
5 December at 1.30pm and 7pm
The Nutcracker
By Peter Wright, after Lev Ivanov
Music: Pyotr Il'yich Tchaikovsky
A young girl's enchanted present leads her on a wonderful adventure in this classic ballet, danced to Tchaikovsky's glittering score.
8 | 9 | 11 | 14 | 16* | 18 December at 7.30pm
12 December at 7pm
17 December at 2.30pm and 7.30pm
21 | 22 | 24 | 29 December at 12.30pm
23 | 28 December at 2pm and 7pm
31 December at 12 noon and 5pm
2 January at 12.30pm
5 | 6 | 8 | 13 | 14 January at 7.30pm
9 January at 1pm
*Live cinema relay
Winter Season
Elizabeth (Linbury Studio Theatre)
By Will Tuckett and
Alasdair Middleton
Music: Martin Yates
Will Tuckett's opulent full-length work fuses dance, music and theatre in its exploration of the life and loves of Queen Elizabeth I.
Rhapsody / The Two Pigeons
By Frederick Ashton
Music: Sergey Rachmaninoff / André Messager, arranged by John Lanchbery
Ashton's celebration of virtuoso dance creates an elegant counterpoint to his charming, light-hearted romance.
16 | 30 January at 12.30pm
20 | 26* | 28 January at 7.30pm
23 January at 2pm and 7pm
*Live cinema relay
After the Rain / NEW Christopher Wheeldon / Within the Golden Hour
By Christopher Wheeldon
Music: Arvo Pärt / Mark-Anthony Turnage / Ezio Bosso
The Royal Ballet celebrates the acclaimed choreographer Christopher Wheeldon with this mixed programme of three one-act ballets, including one world premiere.
12 | 16 | 17 | 19 February at 7.30pm
13 February at 12.30pm
10 | 11 March at 7.30pm
By Marius Petipa, after Jean Coralli and Jules Perrot
Music: Adolphe Adam, revised by Joseph Horovitz
The greatest of all Romantic ballets, Peter Wright's production of Marius Petipa's classic is a tale of betrayal, the supernatural and love that transcends death.
26 February at 7.30pm
27 February at 7pm
17 March at 2.30pm and 7.30pm
19 March at 12.30pm
22 | 23 | 29 | 31 March at 7.30pm
28 March at 2pm and 7pm
1 | 6* | 9 | 15 April at 7.30pm
2 April at 7pm
*Live cinema relay
Spring Season
The Winter's Tale
By Christopher Wheeldon
Music: Joby Talbot
Christopher Wheeldon's three-act ballet adaptation of Shakespeare's tale of love, loss and reconciliation is a triumph for The Royal Ballet.
12 | 13 | 18 | 20 | 21 | 27 | 28 April at 7.30pm
16 April at 12.30pm
30 April at 1.30pm and 7pm
21 May at 7pm
1 June at 7.30pm
4 June at 12.30pm
7 June at 2pm and 7.30pm
Frankenstein NEW
By Liam Scarlett
Music: Lowell Liebermann
The world premiere of Liam Scarlett's new full-length ballet, inspired by Mary Shelley's Gothic masterpiece.
4 | 6 | 17 | 18* | 20 | 24 | 25 | 27 May at 7.30pm
7 May at 1.30pm and 7pm
*Live cinema relay
Summer Season
NEW Wayne McGregor / The Invitation / Within the Golden Hour
By NEW Wayne McGregor / Kenneth MacMillan / Christopher Wheeldon
Music: Esa-Pekka Salonen / Mátyás Seiber / Ezio Bosso
Three ballets from three very different choreographers, all closely associated with The Royal Ballet: a world premiere from McGregor, dark drama from MacMillan and acclaimed ensemble work from Wheeldon.
28 May at 7pm
31 May at 7.30pm
3 | 10 June at 7.30pm
11 June at 1.30pm and 7pm
The Royal Ballet School Summer Performance
9 July at 11.30am
'Whatever I have done, I have always felt a rebel.' Pushing the boundaries of classical ballet to confront the gritty realities of the human condition, Kenneth MacMillan breathed new life into the art form, and created some of its most treasured masterpieces. Among the many taboo topics he dared to explore, death – and its effect on those left behind – recurs time and again.
This focus is perhaps unsurprising, given MacMillan's personal experiences. His mother suffered chronic epilepsy, and died in 1942 when he was just 12 years old. In 1946 his father died of pneumonia, and 13 years later his sister Jean was killed in a car crash. Losing those closest to him was a recurring theme in MacMillan's life – and death a preoccupation in his work.
Some of the choreographer's most poignant depictions of death occur in his narrative ballets. The famous endings of his Romeo and Juliet (1965) and Manon (1974) illustrate the hopeless anguish of their male protagonists at the passing (whether real or artificial) of their beloveds. In both instances, they cling desperately to their partners, painfully dragging them through steps that recall their previous pas de deux. Earlier in Romeo and Juliet, Lady Capulet's gut-wrenching reaction to the death of her nephew Tybalt is portrayed more naturalistically – illustrating the pain of loss with vivid and harrowing understanding.
Mayerling, MacMillan's 1978 ballet based on the true story of Crown Prince Rudolf and his teenage mistress, presents death from a very different perspective. Here, it pervades every aspect of the ballet. Rather than causing anguish for the protagonists, death is an obsession – even a fetish – building towards the frenzied pas de deux that ends in their nightmarish double suicide.
MacMillan also created several one-act ballets that consider the end of life with more optimism. The choreographer's own summary of his 1965 Song of the Earth was 'A man and a woman; death takes the man; they both return to her and at the end of the ballet, we find that in death there is the promise of renewal.' Set to, and inspired by, Mahler's Das Lied von der Erde, the work illustrates death not as an evil force but as a gentle, ever-present figure. As the curtain falls, the couple walks hand-in-hand with The Messenger of Death towards eternity, accepting their fate with a sense of calm inevitability.
Requiem – a tribute to MacMillan's friend and colleague at Stuttgart Ballet, John Cranko – addresses the agony of loss but again depicts death with serenity. The 1976 ballet was created on the Stuttgart company, whose torment is expressed by a huddle of dancers who begin the ballet drumming their fists with rage, mouths wide open in silent screams of grief – and by a solo woman who suffers with them. However, as Fauré's sacred score unfolds, there are sublime moments of optimism – such as the woman's solo to the 'Pie Jesu' – and at the end of the ballet the dancers gather round a pool of glowing light as if witnessing the transfiguration of a soul to heaven.
Even in Gloria – which was inspired by Vera Brittain's World War I-set Testament of Youth – MacMillan finds ways to affirm life amid the horror of death. There is suffering in the work: the male dancers are dressed in costumes that recall blood-stained soldiers' uniforms, and the choreography features awkwardly splayed limbs and hands covering faces in grief. But MacMillan introduces a sense of transcendence and joy amid the sorrow – particularly with the angel-like female dancers.
Through these and other works, MacMillan confronted a topic that choreographers before him avoided. He gave ballet a voice on this crucial human experience – both its pain and anguish, and the power of hope through life.
Song of the Earth runs 27 March–14 April 2015. Tickets are sold out, but returns may become available and there are 67 day tickets available for each performance.
The Royal Ballet will also perform Song of the Earth 29 May–4 June 2015. Tickets go on general sale on 31 March 2015.]]>
Christopher Wheeldon's award-winning Royal Ballet production of Alice's Adventures in Wonderland will be broadcast on Sky Arts 1 tonight (16 March) at 7.50pm GMT.
The broadcast, starring Sarah Lamb, Edward Watson and Federico Bonelli, is one of several Royal Opera House productions scheduled this Spring.
Other broadcasts over the coming months include:
Alice's Adventures in Wonderland
16 March at 7.50pm; 21 March at 8am; 9 June at 2pm; 10 June at 8am on Sky Arts 1
23 March at 7.30pm; 28 March at 7.45am on Sky Arts 1
15 April at 8pm; 16 April at 1.40am; 16 April at 2pm; 17 April at 9.25am on Sky Arts 2
18 April at 2am on Sky Arts 2
The Metamorphosis
22 April at 8pm; 23 April at 2:10am; 23 April at 2pm; 24 April at 10am on Sky Arts 2; 14 June at 7.55am on Sky Arts 1
Romeo and Juliet
27 April at 8pm; 2 May at 8am – Sky Arts 1; 3 June at 8pm; 4 June at 2pm; 5 June at 8am on Sky Arts 2
28 April at 8pm; 29 April at 2pm; 2 May at 8am on Sky Arts 2
La donna del lago
7 May at 8am on Sky Arts 2
La bayadère
18 May at 7.50pm, 23 May at 8am on Sky Arts 1
La bohème
27 May at 8pm; 28 May at 2am; 28 May at 2pm; 29 May at 8am on Sky Arts 2
27 May at 2am on Sky Arts 2
Les Patineurs
10 June at 11.30 on Sky Arts 1
If you have a Sky account, many of the broadcasts are available on demand.]]>
It's the time of year when card shops, chocolatiers and florists go into overdrive. Valentine's Day is here. To celebrate we've picked out our favourite romantic ballets, famed for their passionate pas de deux and amorous adagios:
Romeo and Juliet
Ultimately doomed, yes, but Kenneth MacMillan's stunning adaptation of William Shakespeare's iconic play deserves its place at the top of any Valentine's Day ballet list, such is the allure of (possibly) the greatest love story ever told. A lesser choreographer might struggle to reflect the passion and lyricism of the Bard's writing in movement, but in creating moments like the intensely tender Balcony pas de deux, MacMillan's Romeo and Juliet is as vital and thrilling as the play it was based upon:
The Sleeping Beauty
Marius Petipa's iconic Sleeping Beauty offers up an enchanted world of princesses, fairy godmothers, magic spells and a charming prince, the ballet includes many memorable moments including technically demanding choreography such as the famous - and influential - Rose Adagio. But for heartwarming romanticism, few moments beat the Awakening scene, in which dashing Prince Florimund breaks Aurora's spell-induced slumber:
Don Quixote
Packed full of sunny Spanish flair, Don Quixote shifts the focus from bumbling knight Don Quixote - as in Cervantes's 17th-century novel - to the sparky relationship between young lovers Kitri and Basilio. Ludwig Minkus's score incorporates some appropriately Iberian touches, including seguidilla and habanera rhythms, and the clack of castanets, as seen in this pas de deux from Act II:
La Fille mal gardée
Frederick Ashton's pastoral ballet may appear whimsical on first glimpse, but La Fille mal gardée packs a virtuoso punch, featuring some of its creator's most brilliant choreography. Inspired by Ashton's love of the Suffolk countryside, it contains a series of energetic pas de deux for Lise - the wayward daughter of the title - and her farmhand lover Colas. Chief among them is the pas de ruban, a ribbon dance that captures the elan of young love:
Alice's Adventures in Wonderland
The most recently-created inclusion on this by no-means-exhaustive list, Christopher Wheeldon's Alice's Adventures in Wonderland is largely faithful to the source material of Lewis Carroll's much-loved novel. One addition in the balletic adaptation however, is the inclusion of a love interest for Alice, who is depicted as a teenager instead of the younger girl of Carroll's original text. Jack (otherwise known as the Knave of Hearts) is on the run for stealing the Red Queen's tarts and sweeps Alice off her feet, culminating in a tender, loving pas de deux in the penultimate scene:
Something of a wildcard (to put it mildly) in this list, MacMillan's intense adult drama Mayerling is an exploration of the darker side of love based on the true story of Crown Prince Rudolf of Austria-Hungary, who, following a downward spiral of drug abuse and violence, committed suicide with his mistress Mary Vetsera in 1889. The Prince's emotional decline is charted through a series of shocking, highly-charged pas de deux, which push the limits of classical ballet:
Which are your favourite romantic ballets?
La Fille mal gardée runs 16 April-5 May 2015. Tickets are still available.
The production is staged with generous support from Mrs Aline Foriel-Destezet, the Paul Ferguson Memorial Fund, Celia Blakey and Marina Hobson OBE and Peter Lloyd.
Tutus, tiaras, pirouettes and pas de deux – that's what ballerinas are made of. Or are they? Alongside the fairies, princesses and girlish heroines stand another group of women who defy the mould. Encompassing parts that range from protective mothers to powerful sorceresses, these so-called 'character roles' make use of acting and mime in addition to dance. And they're often as vital to the drama of a narrative ballet as that decorated leading lady.
At The Royal Ballet, most character roles are undertaken by Character Artists. These dancers tend to have performed with the Company for several years and risen through the ranks. They therefore bring to their roles an understanding of the movement and characterization inherent to classical ballet – Genesia Rosato, one of the Company's current Principal Character Artists, explains that performing character parts is 'just an extension of what we have been taught classically'. However, without the technical framework of a fully danced role to fall back on, these performers must go beyond choreographed steps to create convincing personas – they must, as Rosato explains, have 'a natural feeling for acting'.
Dancers with a flair for acting and mime in fact often take on character parts relatively early in their careers, watching and learning from those who have experience of performing the roles. This tradition is particularly strong within The Royal Ballet; Rosato describes how she was 'taught in my early days in the Company by Julia Farron, Gerd Larsen and Derek Rencher, who nurtured my dramatic tendencies'. Fellow Principal Character Artist Elizabeth McGorian remembers her training in mime with Anthony Dowell – 'a stickler for detail but never afraid to update it or experiment with it' – and Peter Wright, 'who knows everything there is to know about classical mime and is such a perfectionist'.
Christina Arestis – a current Royal Ballet Soloist who performs both dance and character parts – draws on her training to immerse herself in a particular role: 'Monica Mason once said to me, the most important thing when approaching any role is first to consider how that particular character would walk. That is always my starting point. Once you have established that, you can start to build the layers of your character from there.'
Of the many choreographers who include character roles in their narrative ballets, Kenneth MacMillan is particularly revered for the imaginative, complex personalities he created. For McGorian, 'MacMillan was the master. Character roles were such an intrinsic part of all his story ballets and he was groundbreaking with the way he made the storytelling so naturalistic'. She names Lady Capulet from MacMillan's Romeo and Juliet as her favourite role, 'not least because of the heartbreaking, gut-wrenching reaction she has to her nephew Tybalt's death… the build up to that scene and performing it leave me emotionally and physically shattered'.
The female character artist's repertory includes a number of other powerful mother figures: Berthe in Giselle and the Princess in Swan Lake are each complex characters, caring for their children but powerless to avert disaster. Though less prominent, the dignified presence of Madame Larina in Onegin provides valuable background detail for the behaviour of her two very different daughters. But character artists are by no means restricted to depictions of maternal love. The plethora of women they portray range from glamorous, independent figures such as Madame in Manon to the demented, knife-wielding young cook in Alice's Adventures in Wonderland. They can be some of ballets most famous baddies – the wicked fairy godmother Carabosse in The Sleeping Beauty and the witch Madge in La Sylphide.
None of these characters conform to the stereotype of a ballerina. But without them, and the skilled dance-actors who bring them to life, ballet's most famous stories could not be told.
Onegin runs until 27 February 2015. Tickets are still available.
The production is given with generous philanthropic support from Simon and Virginia Robertson, David Hancock, Lady Jarvis, Lindsay and Sarah Tomlinson, Sir Roger and Lady Carr, The Artists' Circle and The Royal Opera House Endowment Fund.
Swan Lake runs 10 February–9 April 2015. Tickets are sold out but returns may become available, and there are 67 day tickets for each performance.
Swan Lake will be broadcast live to cinemas around the world on 17 March 2015. Find your nearest cinema.
The production is given with generous philanthropic support from Celia Blakey, John and Susan Burns, Doug and Ceri King, Peter Lloyd and Gail Ronson. Original Production (1987) and revival (2000) supported by The Linbury Trust.
Within the repertory of The Royal Ballet, John Cranko is by far and away best known for Onegin. Admittedly it's one of his finest works, a captivating retelling of Pushkin's social tragedy. But there's far more to Cranko than just one ballet.
John Cranko was born in Rustenberg, South Africa, in 1927. He began his training there but in 1945 moved to London to study with Ninette de Valois at Sadler's Wells Ballet School (now The Royal Ballet School). Almost as soon as he arrived he was invited to join Sadler's Wells Theatre Ballet (now Birmingham Royal Ballet), to plug the gaps left in their male dancer ranks by World War II. De Valois also encouraged him to choreograph, continuing the interest he'd developed in South Africa.
In 1947 Cranko was transferred to Sadler's Wells Ballet (now The Royal Ballet), the resident company at Covent Garden. Here he worked with Leonid Massine, Frederick Ashton and Robert Helpmann – Massine in particular would be a strong influence on his choreography. But after only three years with the Company Cranko retired as a dancer to accept the position as resident choreographer of Sadler's Wells Theatre Ballet.
Soon after he enjoyed a major popular success with Pineapple Poll (1951), an English seaside comedy with music by Arthur Sullivan arranged by Charles Mackerras. Here Merle Park dances the ebullient title role, in choreography that displays Cranko's inspired incorporation of English traditional dances:
Cranko was now well into his stride. The next few years saw a range of major works across a range of genres – a diversity of taste and inspiration that was to become a hallmark with Cranko. For Sadler's Wells Theatre Ballet he made the whimsical romance The Lady and the Fool (1954); for Paris Opera Ballet he made the Offenbach-inspired La Belle Hélène (1955); and from Sadler's Wells Ballet came his most important commission yet, The Prince of the Pagodas (1957), a new full-length ballet with a newly created score by Benjamin Britten.
In 1958 Cranko was invited to stage a new version of Prokofiev's ballet Romeo and Juliet for La Scala Ballet, Milan. Seven years before Kenneth MacMillan created his version, Cranko invested his Romeo and Juliet with a distinctive realism – often taking his lead from Shakespeare, rather than the Russian choreographers whose versions had until then predominated. Cranko restaged the ballet with Stuttgart Ballet in 1962; here Marcia Haydée and Richard Cragun, two Stuttgart dancers who would be key in Cranko's career, dance the Bedroom pas de deux:
In 1960 Cranko was invited to stage The Prince of the Pagodas in Stuttgart – and by January 1961 he had been appointed ballet director of the Württemberg State Theatres, Stuttgart. That Stuttgart Ballet is now one of Europe's leading dance companies is thanks in large part to Cranko's directorship. He trained a leading group of dancers (Haydée, Cragun, Ray Barra and Egon Madsen among them), supported visiting choreographers (particularly MacMillan, who created Song of the Earth for Stuttgart), those from within the ranks (including Jiří Kylián and John Neumeier) and established Germany's first ballet boarding school, choreographing all the while.
Unable to afford many guest choreographers, Cranko was obliged further to develop his versatility as a choreographer. His Stuttgart works encompass a breathtaking array of genres; but clearly closest to his heart were his full-length narrative works – among them Onegin (1965), The Taming of the Shrew (1969) and Carmen (1971). Many of these works have been taken into the repertories of companies around the world.
Cranko died in 1973 aged 45, after complications from a sleeping pill on a flight from Philadelphia to Stuttgart. His sudden death shocked the ballet world; one of the most heartfelt expressions of loss came from MacMillan, who created the exquisite Requiem in memory of Cranko. Today, Cranko's legacy lives on still – through Stuttgart Ballet and the John Cranko Ballet School, through the works of choreographers he supported, and in his own ballets.
Onegin runs 24 January–27 February 2015. Tickets are still available.
The production is given with generous philanthropic support from Simon and Virginia Robertson, David Hancock, Lady Jarvis, Lindsay and Sarah Tomlinson, The Artists' Circle and The Royal Opera House Endowment Fund.]]>
How do you tell a story without words? If you've ever been embarrassed by how bad you are at charades, you'll know it's no easy feat. But choreographers have been doing it for centuries – sometimes with mime but also without, giving dance its own eloquence. They've sought inspiration from a remarkable range of sources – whether folktales, literature, real life or their own imaginations.
The most longstanding literary ballet must be Don Quixote. Miguel de Cervantes's novel, published 1605–15, has been inspiring ballets since at least 1743, when an unknown choreographer mounted Don Quichotte chez la Duchesse for the Paris Opera. He was the first of many, though the version with the most longevity has proved to be Marius Petipa's 1869 version (used by Carlos Acosta in his production for The Royal Ballet). Balletic Don Quixotes tend to sacrifice Cervantes's philosophical consideration of the human condition for a cheerful rendition of one of the novel's many absurd episodes – in Petipa's, where Don Quixote helps two young lovers get together despite the wishes of her parent.
Another of the oldest ballets still going strong is Jean Dauberval's 1789 La Fille mal gardée (though modern audiences know it best through Frederick Ashton's 1960 version). Unlike Don Quixote, the origins for this are entirely obscure – suggested sources includes an opera of the same title but with a different story and different music, or an 18th-century print of a mother scolding her child. Slim pickings indeed. You might recognize the story, though: Lise loves impoverished Colas; Lise's mother wants her to marry wealthy Alain; the lovers find a way (this time without a wandering knight's help) to get the mother to forget Alain and give her blessing to their wedding.
In fact, much like commedia dell'arte, 19th-century ballet tended to use the same recognizable characters in different contexts – a handy tool for audiences to figure out what's happening. In a ballet fantastique you could expect to find the hero, the good woman, the bad woman and various mischievous magicians to keep the plot going. Petipa's 1877 La Bayadère is a prime example. He took his story from the ballet Sacountala, created by his brother Lucien in Paris in 1858, which itself was based on a 5th-century Sanskrit play by Kālidāsa. None of that really matters, though: all it adds is local colour for a story where the demure Nikia loves the heroic Solor who is tempted by the extremely bad Gamzatti who, with the help of the scheming High Brahmin, eventually brings about her and everyone else's deaths, with the lovers united in paradise.
The same character tropes underpin a key preoccupation of 19th-century ballet – fairytale, determined by the Romantics' obsession with folklore. Théophile Gautier's libretto for Jules Perrot and Jean Coralli's 1841 ballet Giselle was inspired by Heinrich Heine's account of a Slavic folktale, in which the ghosts of jilted maidens dance to the death any man they come across. Tchaikovsky's three balletic masterpieces also have fairytale origins – the Russian-inflected German fairytales of Swan Lake, Charles Perrault's fairytale 'La Belle au bois dormant' for The Sleeping Beauty, and a section of an E.T.A. Hoffmann folk-inspired story for The Nutcracker (director Ivan Vsevolozhsky providing Tchaikovsky's reading list for the last two).
As ballet diversified in the 20th century, so did its influences. Leading the way was the Ballets Russes, who drew not only on a more ambiguous kind of folklore (The Firebird) but also the real world (Les Noces), myth (Daphnis et Chloé) and much else besides. Special mention should also go to Kenneth MacMillan, who adapted familiar tales (Romeo and Juliet, Manon), uncovered less well-known works (Las hermanas), drew on real-life stories (Mayerling, Isadora, Anastasia) and created entirely original works (The Judas Tree).
MacMillan was swimming against the tide, but choreographers today have almost completely free rein – from Christopher Wheeldon's Alice's Adventures in Wonderland and Will Tuckett's The Wind in the Willows to Liam Scarlett's The Age of Anxiety and Wayne McGregor's Woolf Works. The stories these choreographers use might be different, but they're driven by the same desire as their forebears – to tell a captivating story through movement.
Don Quixote runs 25 November 2014–22 January 2015. Tickets are still available.
The production is generously supported by The Friends of Covent Garden.
The Wind in the Willows runs 26 November 2014–17 January 2015. Tickets are still available.
Alice's Adventures in Wonderland will be broadcast live to cinemas around the world on 16 December 2014. Find your nearest cinema.
Swan Lake runs 10 February–9 April 2015. Tickets are still available.
The production is given with generous philanthropic support from Celia Blakey, Doug and Ceri King, and Peter Lloyd. Original Production (1987) and revival (2000) supported by The Linbury Trust.
La Fille mal gardée runs 16 April–5 May 2015. Tickets go on general sale on 27 January 2015.
The production is generously supported by Mrs Aline Foriel-Destezet, the Paul Ferguson Memorial Fund, Celia Blakey and Marina Hobson OBE.


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...I began as a K-12 multi-subject tutor as a senior in high school, and that was when I discovered that I love teaching. Since then, I have taken every opportunity to gain experience and training in the field of education. In music, I taught private lessons for the trumpet, clarinet, and piano in the cities of Westminster, Garden Grove, and Irvine, California for four years.
25 Subjects: including German, English, writing, reading
Modesto, CA
...The first time to get a general understanding and look up words I don't know, a second time to answer questions I am asked.
- I highlight key sentences and main ideas in passages/books, and even key words in questions to make sure I do not stray from the question asked.
- I take thorough notes in...
42 Subjects: including German, English, reading, French
Gilroy, CA
...I can assist in learning for students from Elementary up to Advanced Level. Would be very glad to share all my knowledge with students. I have passed CBEST myself.
9 Subjects: including German, reading, Russian, grammar
Stockton, CA


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Samsung Xpress SL-C410W Wireless Colour Laser Printer with NFC
Special offer
Product information
The Samsung SL-C410W Colour Laser Printer brings NFC compatibility to laser printers, giving you more ways to print from your mobile device. This easy to use wireless laser printer delivers brilliant colour prints, with crisp lines and more vivid colours.
Key Features:
The C410W mkaes printing from mobile devices even easier, thanks to NFC. Simply tap your NFC-enabled smartphone or tablet on the C410W to print virtually anything in seconds.
You can also utilise a Wi-Fi connection and Wi-Fi Direct to print wirelessly on the same network as the printer, or from anywhere in the world with an internet connection using Google Cloud Print.
Samsung's ReCP (Rendering Engine for Clean Page) Technology automatically sharpens the focus of graphics and text to improve the quality and vibrancy of your colour printing. It also overlaps solid objects to eliminate white gaps.
The polymerized toner has smaller and more uniform particles than conventional toner. Meaning, your printouts will have crisper lines and more vivid colours.
Designed for simple and intuitive operation. Just one push of the ECO button and you can save on toner, paper, and energy. Print multiple pages on one sheet, change colour to greyscale or skip blank pages.
Easy to setup, connect quickly and securely to your wireless network with the touch of the WPS button.
Includes pre-installed starter toner.
Ready to print?
Make sure you're never out of ink. Click here to buy ink for the Samsung Xpress SL-C410W.
- Automatic Document Feeder Information Set a scanner or copier to automatically feed multiple pages of a document in for processing, one page at a time.
- Borderless Printing Information Prints a photo without the white border around it
- Brand
- Compatible Inks
- Compatible Operating Systems
- Windows 8 / 7 / Vista / XP / 2008R2 / 2008 / 2003, Mac OS X 10.4 - 10.8, Various Linux
- Dimensions
- H211 x W382 x D309 mm
- Direct printing Information Can connect to a compatible digital camera to print without the need to use a computer.
- Display
- Double sided printing Information Double sided, or duplex printers can print on both sides of a sheet of paper.
- Manual
- Finish
- Grey
- Functions
- Memory Card Slots Information A memory card slot allows you to transfer photos and files directly from a memory card.
- Mobile printing services Information Print wirelessly from compatible smartphones, tablets, and other internet connected devices.
- Mobile Print, Google Cloud Print
- Model name / number
- NFC enabled Information Devices with NFC can be tapped together to establish a wireless connection for sending or streaming files and other data
- Paper format Information The types of paper or other media that this printer can print on
- Plain Paper / Thin Paper / Bond / Pre-Printed / Recycled / Label / CardStock / Thick / Cotton / Coloured / Glossy
- Paper size
- 76 x 152.4mm (3" x 6") ~ 216 x 355.6mm (8.5" x 14")
- Paper tray capacity
- 150-sheet Cassette
- Ports Information Ports used to connect other devices, for example USB to connect peripherals or HDMI to connect to a high definition display.
- USB 2.0, Ethernet
- Printing resolution Information The higher the dots per inch (dpi) the greater the definition of the image
- Up to 600 x 600dpi
- Printing speed Information How many pages or how fast a single photo can be produced per minute. Measured as Pages Per Minute (PPM) or Images Per Minute (IPM)
- Black: up to 18ppm. Colour: up to 4ppm
- Print technology
- Laser
- Scanning resolution Information Can scan a photo or document
- Weight
- 9.9kg
Click & collectFree from John Lewis or Waitrose shops for collection tomorrow from 2pm
369 participating John Lewis and Waitrose shops
- Free
Collect + from a local shop from Saturday - postcode exclusions apply for Collect+ deliveries5000+ participating Collect+ shops
- £3.00
Standard delivery in 5 working days
- Free
Named or Saturday UK delivery
- £6.95
Named day UK delivery pre-10.30am
- £9.95
International delivery not available
We want you to be happy with your purchase. If you're not, depending on the type of product, you can make free returns in the UK via John Lewis shops, Royal Mail, Collect+, or MyHermes. If you need to arrange collection of large or heavy items, call us on 03456 049 049. For international returns queries, call us on +44 1698 545 454. Find out more about returns.
You'll find returns information on your delivery note. Unless faulty, we'd like you to make your return within 90 days of purchase. Exceptions apply to certain products - find out more about our refund policy.
Q & As
UK delivery:
Free Standard delivery in 5 working days
Click & collect
Free Click & collect from John Lewis or Waitrose shops for collection tomorrow from 2pm
£3.00 Collect+ from a local shop from Saturday
International delivery not available:


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Out of Stock
© 2015 Replacements, Ltd. All rights reserved.
With Our "Find This For Me" Service we notify you via email once we have stock!
Piece Code: K2M
Piece Name: Modern Hollow Knife
Size: 9 1/8 in
© 2015 Replacements, Ltd. All rights reserved
Piece Code: K1M
Size: 8 in
Piece Code: F2
Piece Name: Fork
Size: 8 1/8 in
Piece Code: F1
Size: 7 3/8 in
Piece Code: SF
Piece Name: Individual Salad Fork
Size: 7 in
Piece Code: PASF
Piece Name: Pastry Fork
Size: 6 1/4 in
Piece Code: TS
Piece Name: Teaspoon
Size: 6 in
Piece Code: FS
Piece Name: Five O'Clock Teaspoon
Size: 5 1/2 in
Piece Code: TAS
Piece Name: Tablespoon (Serving Spoon)
Size: 8 3/8 in


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Vanguard... what an improvement
View Single Post
mega ultra God Tit Lord
Join Date: Jul 2005
Posts: 8,934
Re: Vanguard... what an improvement
Originally Posted by
I will give the game a go for this month but I gotta tell ya. The idea of running back to your corps naked after you die is stupid. I hate it when developers feel the need to punish people severly for dying. To me this is EQ with a new graphics engine.
To be quite honest, i think the penalties for dieing in Vanguard are rather leniant. You do realize you don't have to go running for your corpse dont you? All you have to do is go to an alter(which is usually RIGHT BESIDE WHERE YOU SPAWN AFTER YOU DIE!) . The alter will summon your corpse to you and a very small degrade in armor durability. Isn't that the exact same way WoW works? I think the penalties for dieing in Vanguard are pretty much non-existant. If anything they need to be cranked up a notch?
EQ with a new engine? hah I wish. In vanguard you are babied ALOT more than in EQ.
The quest systems are very easy. It takes max 20 minutes to finish even the hardest of quests. Thats too long?
The mobs are very easy. Last night my lvl 14 Dread Knight(now lvl 15) took out a 2 dot lvl 19 Wyvern completely solo. He also took out a 3 dot lvl 17 completely solo. On top of all that, dread knights aren't even close to over powered. Pallies and Disciples can do even better than that!
Ability to have horses at a very low lvl, can be twinked very well with next to zero money, can teleport to nearly wherever you want, EVERY class can cast gate...... That sounds like EQ to you? Other than WoW, this is probably the easiest MMORPG I have ever played. Everything is very dumbed down imo..... still fun though.
One thing I will say, is that the graphics engine does need a little bit of work. Compared to when I was in beta(beta 2 3 and up until the release of 4) the performance has increased by ten fold. Its still not great, but they are getting there. I have a feeling alot of the problems this game is having is due to the fact it was made with the physx card in mind. I can have my graphics cranked all the way up and the FPS are nearly the same as very low. Something isn't right.. but I'm sure it will get fixed.
I'm glad you are loving the game UDawg(
). I sent you my info. Hopefully I'll see you on.
Originally Posted by
if tygerwoody says its bad, its bad.
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If you're feeling less than hardcore, maybe boot up this infinite loop of former Microsoft CEO (and current L.A. Clippers owner) Steve Ballmer exhorting you to get better everyday. We made this loop of the meme-worthy Ballmer pumping up fans at a Clippers rally using Coub, a Russian startup that just opened offices in the U.S. Founder Anton Gladkoborodov described Coub to us as GIFs with sound (but easier to make). You can grab footage from YouTube and Vimeo, or upload your own, as well as music. You can also loop Coubs forward and in reverse, as we did with the video of Sarah Palin taking the ice bucket challenge (scroll past the one of Ballmer to see it).
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SHENZHEN, China, Feb. 18 /Xinhua-PRNewswire-FirstCall/ -- Mindray
Medical International Limited (NYSE: MR), a leading developer, manufacturer
and marketer of medical devices in China, today announced that it will
report its financial results for the fourth quarter and fiscal year ended
December 31, 2007, after the U.S. market closes on March 5, 2008. Mindray's
management will hold an earnings conference call at 8:00 PM on March 5,
2008 U.S. Eastern Time (9:00 AM on March 6, 2008 Beijing/Hong Kong Time).
Dial-in details for the earnings conference call are as follows:
Hong Kong: +852-3002-1672
US Toll Free: +1-800-299-9086
International: +1-617-786-2903
Passcode for all regions: Mindray
A replay of the conference call may be accessed by phone at the
following numbers until March 16, 2008.
US Toll Free: +1-888-286-8010
International: +1-617-801-6888
Passcode: 91210390
Additionally, a live and archived webcast of this conference call will be available on the Investor Relations section of Mindray's website at http://www.mindray.com .
About Mindray
Mindray Medical International Limited is a leading developer,
manufacturer and marketer of medical devices in China with a significant
and growing presence worldwide. Established in 1991, Mindray offers a broad
range of products across three primary business segments: patient
monitoring devices, diagnostic laboratory instruments, and ultrasound
imaging systems. Mindray is headquartered in Shenzhen, China, and has 29
local sales and service offices in China, as well as sales and service
offices in Amsterdam, Boston, Istanbul, London, Mexico City, Moscow,
|SOURCE Mindray Medical International Limited
Copyright©2008 PR Newswire.
All rights reserved


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Michael's Salad Nicoise
|Cos lettuce
|1 Small
|Green pepper
|1 Large
|4 Small
|Hard boiled eggs
|Avocado pear
|Tuna fish
|1 Medium
|Anchovy fillet
|Olive oil
|6 Tablespoon
|Wine vinegar
|2 Tablespoon
|Egg yolk
|Dijon mustard
|1⁄2 Teaspoon
|1⁄2 Teaspoon
|1⁄4 Teaspoon
|1 Tablespoon, chopped
Prepare the salad in advance by separating and washing the leaves of 1 head cos lettuce.
Rinse several times.
Dry the leaves by letting them drain in a colander.
Roll in an absorbent towel or paper and store in refrigerator to crisp.
Peel 1 small cucumber, wrap in plastic.
Wash and cut off the top of 1 large green pepper.
Cut in half, remove seeds and cut away white membrane, cut lengthwise.
Put in a plastic container.
Peel and cut into quarters 4 hard-boiled eggs; put in a plastic container.
Cut 4 small tomatoes in quarters and put in a plastic container.
Store all of these in the refrigerator until the time to make the salad.
Put in a jar with a screw top 6 tablespoons olive oil, 2 tablespoons wine vinegar, 1 egg yolk, 1/2 teaspoon Dijon mustard, 1/2 teaspoon salt, 1/4 teaspoon pepper.
Shake well and store in a cool place until serving time.
Towards the evening arrange the salad in a salad bowl.
Cut the leaves of the cos lettuce into smaller pieces and put into bowl.
Add the cucumber cut into cubes, the green pepper cut into strips, the quartered eggs and tomatoes.
Flake a medium-size tin of tuna fish into large pieces.
Cut 4 anchovy fillets into halves.
Peel and cut in thick strips 1 avocado pear.
Add to the green cos lettuce in the bowl.
Sprinkle with 1 tablespoon finely chopped fresh basil.
If not in season dried basil can be used.
Set aside in the refrigerator until serving time.