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hlupdate · 4 years

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A bathroom figures significantly in the origin stories of at least two classic One Direction songs. The first will be familiar to any fan: Songwriter and producer Savan Kotecha was sitting on the toilet in a London hotel room, when he heard his wife say, “I feel so ugly today.” The words that popped into his head would shape the chorus of One Direction’s unforgettable 2011 debut, “What Makes You Beautiful.”

The second takes place a few years later: Another hotel room in England — this one in Manchester — where songwriters and producers Julian Bunetta and John Ryan were throwing back Cucumber Collins cocktails and tinkering with a beat. Liam Payne was there, too. At one point, Payne got up to use the bathroom, and when he re-emerged, he was singing a melody. They taped it immediately. Most of it was mumbled — a temporary placeholder — but there was one phrase: “Better than words …” A few hours later, on the bus to another city, another show — Bunetta and Ryan can’t remember where — Payne asked, maybe having a laugh, “What if the rest of the song was just lyrics from other songs?”

“Songs in general, you’re just sort of waiting for an idea to bonk you on the head,” Ryan says from a Los Angeles studio, with Bunetta. “And if you’re sort of winking at it, laughing at it — we were probably joking, ‘What if [the next line was] “More than a feeling”? Well, that would actually be tight!’”

“Better Than Words,” closed One Direction’s third album, Midnight Memories. It was never a single, but became a fan-favorite live-show staple. It’s a midtempo headbanger that captures the essence of what One Direction is, and always was: One of the great rock & roll bands of the 21st century.

July 23rd marks One Direction’s 10th anniversary, the day Simon Cowell told Harry Styles, Niall Horan, Zayn Malik, Liam Payne, and Louis Tomlinson that they would progress on The X Factor as a group. Between that date and their last live performance (so far, one can hope) on December 31st, 2015, they released five albums, toured the world four times — twice playing stadiums — and left a trove of Top 10 hits for a devoted global fan base that came to life at the moment social media was redefining the contours of fandom.

It’d been a decade since the heyday of ‘NSync and Backstreet Boys, and the churn of generations demanded a new boy band. One Direction’s songs were great and their charisma and chemistry undeniable, but what made them stick was a sound unlike anything else in pop — rooted in guitar rock at a time when that couldn’t have been more passé.

Kotecha, who met 1D on The X Factor and shepherded them through their first few years, is a devoted student of the history of boy bands. He first witnessed their power back in the Eighties, when New Kids on the Block helped his older sister through her teens. The common thread linking all great boy bands, from New Kids to BSB, he says, is, “When they’d break, they’d come out of nowhere, sounding like nothing that’s on the radio.”

In 2010, Kotecha remembers, “everybody was doing this sort of Rihanna dance pop.” But that just wasn’t a sound One Direction could pull off (the Wanted did it only once); and famously, they didn’t even dance. Instead, the reference points for 1D went all the way back to the source of contemporary boy bands.

“Me and Simon would talk about how [One Direction] was Beatlesque, Monkees-esque,” Kotecha continues. “They had such big personalities. I felt like a kid again when I was around them. And I felt like the only music you could really do that with is fun, poppy guitar songs. It would come out of left field and become something owned by the fans.”

To craft that sound on 1D’s first two albums, Up All Night and Take Me Home, Kotecha worked mostly with Swedish songwriters-producers Carl Falk and Rami Yacoub. They’d all studied at the Max Martin/Cheiron Studios school of pop craftsmanship, and Falk says they were confident they could crack the boy-band code once more with songs that recalled BSB and ‘NSync, but replaced the dated synths and pianos with guitars.

The greatest thing popular music can do is make someone else think, “I can do that,” and One Direction’s music was designed with that intent. “The guitar riff had to be so simple that my friend’s 15-year-old daughter could play it and put a cover to YouTube,” Falk says. “If you listen to ‘What Makes You Beautiful’ or ‘One Thing,’ they have two-finger guitar riffs that everyone who can play a bit of guitar can learn. That was all on purpose.”

One Direction famously finished third on The X Factor, but Cowell immediately signed them to his label, Syco Music. They’d gone through one round of artist development boot camp on the show, and another followed on an X Factor live tour in spring 2011. They’d developed an onstage confidence, but the studio presented a new challenge. “We had to create who should do what in One Direction,” Falk says. To solve the puzzle the band’s five voices presented, they chose the kitchen sink method and everyone tried everything.

“They were searching for themselves,” Falk adds. “It was like, Harry, let’s just record him; he’s not afraid of anything. Liam’s the perfect song starter, and then you put Zayn on top with this high falsetto. Louis found his voice when we did ‘Change Your Mind.’ It was a long trial for everyone to find their strengths and weaknesses, but that was also the fun part.” Falk also gave Niall some of his first real guitar lessons; there’s video of them performing “One Thing” together, still blessedly up on YouTube.

“What Makes You Beautiful” was released September 11th, 2011 in the U.K. and debuted at Number One on the singles chart there — though the video had dropped a month prior. While One Direction’s immediate success in the U.K. and other parts of Europe wasn’t guaranteed, the home field odds were favorable. European markets have historically been kinder to boy bands than the U.S.; ‘N Sync and Backstreet Boys found huge success abroad before they conquered home. To that end, neither Kotecha nor Falk were sure 1D would break in the U.S. Falk even says of conceiving the band’s sound, “We didn’t want it to sound too American, because this was not meant — for us, at least — to work in America. This was gonna work in the U.K. and maybe outside the U.K.”

Stoking anticipation for “What Makes You Beautiful” by releasing the video on YouTube before the single dropped, preceded the strategy Columbia Records (the band’s U.S. label) adopted for Up All Night. Between its November 2011 arrival in the U.K. and its U.S. release in March 2012, Columbia eschewed traditional radio strategies and built hype on social media. One Direction had been extremely online since their X Factor days, engaging with fans and spending their downtime making silly videos to share. One goofy tune, made with Kotecha, called “Vas Happenin’ Boys?” was an early viral hit.

“They instinctively had this — and it might just be a generational thing — they just knew how to speak to their fans,” Kotecha says. “And they did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.”

Social media was flooded with One Direction contests and petitions to bring the band to fans’ towns. Radio stations were inundated with calls to play “What Makes You Beautiful” long before it was even available. When it did finally arrive, Kotecha (who was in Sweden at the time) remembers staying up all night to watch it climb the iTunes chart with each refresh.

Take Me Home, was recorded primarily in Stockholm and London during and after their first world tour. The success of Up All Night had attracted an array of top songwriting talent — Ed Sheeran even penned two hopeless romantic sad lad tunes, “Little Things” and “Over Again” — but Kotecha, Falk and Yacoub grabbed the reins, collaborating on six of the album’s 13 tracks. In charting their course, Kotecha returned to his boy band history: “My theory was, you give them a similar sound on album two, and album three is when you start moving on.”

Still, there was the inherent pressure of the second album to contend with. The label wanted a “What Makes You Beautiful, Part 2,” and evidence that the 1D phenomenon wasn’t slowing down appeared outside the window of the Stockholm studio: so many fans, the street had to be shut down. Kotecha even remembers seeing police officers with missing person photos, combing through the girls camped outside, looking for teens to return to their parents.

At this pivotal moment, One Direction made it clear that they wanted a greater say in their artistic future. Kotecha admits he was wary at first, but the band was determined. To help manage the workload, Kotecha had brought in two young songwriters, Kristoffer Fogelmark and Albin Nedler, who’d arrived with a handful of ideas, including a chorus for a booming power ballad called “Last First Kiss.”

“We thought, while we’re busy recording vocals, whoever’s not busy can go write songs with these two guys, and then we’ll help shape them as much as we can,” Kotecha says. “And to our pleasant surprise, the songs were pretty damn good.”

At this pivotal moment, too, songwriters Julian Bunetta and John Ryan also met the band. Friends from the Berklee College of Music, Bunetta and Ryan had moved out to L.A. and cut a few tracks, but still had no hits to their name. They entered the Syco orbit after scoring work on the U.S. version of The X Factor, and were asked if they wanted to try writing a song for Take Me Home. “I was like, yeah definitely,” Bunetta says. “They sold five million albums? Hell yeah, I want to make some money.”

Working with Jamie Scott, who’d written two songs on Up All Night (“More Than This” and “Stole My Heart”), Bunetta and Ryan wrote “C’mon, C’mon” — a blinding hit of young love that rips down a dance pop speedway through a comically oversized wall of Marshall stacks. It earned them a trip to London. Bunetta admits to thinking the whole 1D thing was “a quick little fad” ahead of their first meeting with the band, but their charms were overwhelming. Everyone hit it off immediately.

“Niall showed me his ass,” Bunetta remembers of the day they recorded, “They Don’t Know About Us,” one of five songs they produced for Take Me Home (two are on the deluxe edition). “The first vocal take, he went in to sing, did a take, I was looking down at the computer screen and was like, ‘On this line, can you sing it this way?’ And I looked over and he was mooning me. I was like, ‘I love this guy!’”

Take Me Home dropped November 9th, just nine days short of Up All Night’s first anniversary. With only seven weeks left in 2012, it became the fourth best-selling album of the year globally, moving 4.4 million copies, per the IFPI; it fell short of Adele’s 21, Taylor Swift’s Red and 1D’s own Up All Night, which had several extra months to sell 4.5 million copies.

Kotecha, Falk and Yacoub’s tracks anchored the album. Songs like “Kiss You,” “Heart Attack” and “Live While We’re Young” were pristine pop rock that One Direction delivered with full delirium, vulnerability and possibility — the essence of the teen — in voices increasingly capable of navigating all the little nuances of that spectrum. And the songs 1D helped write (“Last First Kiss,” “Back for You” and “Summer Love”) remain among the LP’s best.

“You saw that they caught the bug and were really good at it,” Kotecha says of their songwriting. “And moving forward, you got the impression that that was the way for them.”

Like clockwork, the wheels began to churn for album three right after Take Me Home dropped. But unlike those first two records, carving out dedicated studio time for LP3 was going to be difficult — on February 23rd, 2013, One Direction would launch a world tour in London, the first of 123 concerts they’d play that year. They’d have to write and record on the road, and for Kotecha and Falk — both of whom had just had kids — that just wasn’t possible.

But it was also time for a creative shift. Even Kotecha knew that from his boy band history: album three is, after all, when you start moving on. One Direction was ready, too. Kotecha credits Louis, the oldest member of the group, for “shepherding them into adulthood, away from the very pop-y stuff of the first two albums. He was leading the charge to make sure that they had a more mature sound. And at the time, being in it, it was a little difficult for me, Rami and Carl to grasp — but hindsight, that was the right thing to do.”

“For three years, this was our schedule,” Bunetta says. “We did X Factor October, November, December. Took off January. February, flew to London. We’d gather ideas with the band, come up with sounds, hang out. Then back to L.A. for March, produce some stuff, then go out on the road with them in April. Get vocals, write a song or two, come back for May, work on the vocals, and produce the songs we wrote on the road. Back to London in June-ish. Back here for July, produce it up. Go back on tour in August, get last bits of vocals, mix in September, back to X Factor in October, album out in November, January off, start it all over again.”

That cycle began in early 2013 when Bunetta and Ryan flew to London for a session that lasted just over a week, but yielded the bulk of Midnight Memories. With songwriters Jamie Scott, Wayne Hector and Ed Drewett they wrote “Best Song Ever” and “You and I,” and, with One Direction, “Diana” and “Midnight Memories.” Bunetta and Ryan’s initial rapport with the band strengthened — they were a few years older, but as Bunetta jokes, “We act like we’re 19 all the time anyway.” Years ago, Bunetta posted an audio clip documenting the creation of “Midnight Memories” — the place-holder chorus was a full-throated, perfectly harmonized, “I love KFC!”

For the most part, Bunetta, Ryan and 1D doubled down on the rock sound their predecessors had forged, but there was one outlier from that week. A stunning bit of post-Mumford festival folk buoyed by a new kind of lyrical and vocal maturity called “Story of My Life.”

“This was a make or break moment for them,” Bunetta says. “They needed to grow up, or they were gonna go away — and they wanted to grow up. To get to the level they got to, you need more than just your fan base. That song extended far beyond their fan base and made people really pay attention.”

Production on Midnight Memories continued on the road, where, like so many bands before them, One Direction unlocked a new dimension to their music. Tour engineer Alex Oriet made it possible, Ryan says, building makeshift vocal booths in hotel rooms by flipping beds up against the walls. Writing and recording was crammed in whenever — 20 minutes before a show, or right after another two-hour performance.

“It preserved the excitement of the moment,” Bunetta says. “We were just there, doing it, marinating in it at all times. You’re capturing moments instead of trying to recreate them. A lot of times we’d write a song, sing it in the hotel, produce it, then fly back out to have them re-sing it — and so many times the demo vocals were better. They hadn’t memorized it yet. They were still in the mood. There was a performance there that you couldn’t recreate.”

Midnight Memories arrived, per usual, in November 2013. And, per usual, it was a smash. The following year, 1D brought their songs to the environment they always deserved — stadiums around the world — and amid the biggest shows of their career, they worked on their aptly-titled fourth album Four. The 123 concerts 1D had played the year before had strengthened their combined vocal prowess in a way that opened up an array of new possibilities.

“We could use their voices on Four to make something sound more exciting and bigger, rather than having to add too many guitars, synths or drums,” Ryan says.

“They were so much more dynamic and subtle, too,” Bunetta adds. “I don’t think they could’ve pulled off a song like ‘Night Changes’ two albums prior; or the nuance to sing soft and emotionally on ‘Fireproof.’ It takes a lot of experience to deliver a restrained vocal that way.”

Musically, Four was 1D’s most expansive album yet — from the sky-high piano rock of “Steal My Girl” to the tender, tasteful groove of “Fireproof” — and it had the emotional range to match. Now in their early twenties, songs like “Where Do Broken Hearts Go,” “No Control,” “Fool’s Gold” and “Clouds” redrew the dramas and euphorias of adolescence with the new weight, wit and wanton winks of impending adulthood. One Direction wasn’t growing up normally in any sense of the word, but they were becoming songwriters capable of drawing out the most relatable elements from their extraordinary circumstances — like on “Change Your Ticket,” where the turbulent love affairs of young jet-setters are distilled to the universal pang of a long goodbye. There were real relationships inspiring these stories, but now that One Direction was four years into being the biggest band on the planet, it was natural that the relationships within the band would make it into the music as well.

“I think that on Four,” Bunetta says with a slight pause, “there were some tensions going on. A lot of the songs were double — like somebody might be singing about their girlfriend, but there was another meaning that applied to the group as well.”

He continues: “It’s tough going through that age, having to spread your wings with so many eyeballs on you, so much money and no break. It was tough for them to carve out their individual manhood, space and point of view, while learning how to communicate with each other. Even more than relationship things that were going on, that was the bigger blanket that was in there every day, seeping into the songs.”

Bunetta remembers Zayn playing him “Pillowtalk” and a few other songs for the first time through a three a.m. fog of cigarette smoke in a hotel room in Japan.

“Fucking amazing,” he says. “They were fucking awesome. I know creatively he wasn’t getting what he needed from the way that the albums were being made on the road. He wanted to lock himself in the studio and take his time, be methodical. And that just wasn’t possible.”

A month or so later, and 16 shows into One Direction’s “On the Road Again” tour, Zayn left the band. Bunetta and Ryan agree it wasn’t out of the blue: “He was frustrated and wanted to do things outside of the band,” Bunetta says. “It’s a lot for a young kid, all those shows. We’d been with them for a bunch of years at this point — it was a matter of when. You just hoped that it would wait until the last album.”

Still, Bunetta compares the loss to having a finger lopped off, and he acknowledges that Harry, Niall, Liam and Louis struggled to find their bearings as One Direction continued with their stadium tour and next album, Made in the A.M. Just as band tensions bubbled beneath the songs on Four, Zayn’s departure left an imprint on Made in the A.M. Not with any overt malice, but a song like “Drag Me Down,” Bunetta says, reflects the effort to bounce back. Even Niall pushing his voice to the limits of his range on that song wouldn’t have been necessary if Zayn and his trusty falsetto were available.

But Made in the A.M. wasn’t beholden to this shake-up. Bunetta and Ryan cite “Olivia” as a defining track, one that captures just how far One Direction had come as songwriters: They’d written it in 45 minutes, after wasting a whole day trying to write something far worse.

“When you start as a songwriter, you write a bunch of shitty songs, you get better and you keep getting better,” Ryan says. “But then you can get finicky and you’re like, ‘Maybe I have to get smart with this lyric.’ By Made in the A.M. … they were coming into their own in the sense of picking up a guitar, messing around and feeling something, rather than being like, ‘How do I put this puzzle together?’”

After Zayn’s departure, Bunetta and Ryan said it became clear that Made in the A.M. would be One Direction’s last album before some break of indeterminate length. The album boasts the palpable tug of the end, but to One Direction’s credit, that finality is balanced by a strong sense of forever. It’s literally the last sentiment they leave their fans on album-closer “History,” singing, “Baby don’t you know, baby don’t you know/We can live forever.”

In a way, Made in the A.M. is about One Direction as an entity. Not one that belonged to the group, but to everyone they spent five years making music for. Four years since their hiatus and 10 years since their formation, the fans remain One Direction’s defining legacy. Even as all five members have settled into solo careers, Ryan notes that baseless rumors of any kind of reunion — even a meager Zoom call — can still set the internet on fire. The old songs remain potent, too: Carl Falk says his nine-year-old son has taken to making TikToks to 1D tracks.

There are plenty of metrics to quantify One Direction’s reach, success and influence. The hard numbers — album sales and concert stubs — are staggering on their own, but the ineffable is always more fun. One Direction was such a good band that a fan, half-jokingly, but then kinda seriously, started a GoFundMe to buy out their contract and grant them full artistic freedom. One Direction was such a good band that songwriters like Kotecha and Falk — who would go on to make hits with Ariana Grande, the Weeknd and Nicki Minaj — still think about the songs they could’ve made with them. One Direction was such a good band that Mitski covered “Fireproof.”

But maybe it all comes down to the most ineffable thing of all: Chance. Kotecha compares success on talent shows like The X Factor to waking up one morning and being super cut — but now, to keep that figure, you have to work out at a 10, without having done the gradual work to reach that level. That’s the downfall for so many acts, but One Direction was not only able, but willing, to put in the work.

“They’re one of the only acts from those types of shows that managed to do it for such a long time,” Kotecha says. “Five years is a long time for a massive pop star to go nonstop. I know it was tiring, but they were fantastic sports about it. They appreciated and understood the opportunity they had — and, as you can see, they haven’t really stopped since. Most of them weren’t necessarily musicians before this happened, but they loved music, and they found a love of creating, writing and playing. To have these boys — that had been sort of randomly picked — to also have that? It will never be repeated.”

#harry styles #louis tomlinson #one direction #1d ten #220720

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lagombraofficial · 5 years

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Well hello!

Just to introduce myself, I’m Jonathan! I live in Sweden and is a huge musical and theatre fan :) currently obsessed with, as you can tell, beetlejuice the musical (as well as the cartoon). BUT big fan of Something rotten, Book of Mormon, Wicked, Phantom, A gentleman’s guide to love and murder & Everybody’s talking about Jamie ect.

I’m here to provide the beetlejuice fandom on tumblr! I’m more than happy to take requests for beej hc & prehaps more in the future. (Suggestions are welcome)

I’ll be doing incorrect quotes & just ask if you have anything on your pretty little minds :) Now...

God I hope your ready for a blog about death!

#beetlejuice the musical #beetlejuice #beetlejuice x reader #beetlejuice fanfiction #beetlejuice headcanon #beetlejuice cartoon #beetlejuice beetlejuice beetlejuice #beetlejuice incorrect quotes #incorrect quotes #beetlejuice hc

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mitchbeck · 4 years

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CANTLON'S CORNER: WOLF PACK TRAVEL TO PA TO BREAK STREAK

BY: Gerry Cantlon, Howlings HARTFORD, CT - Kris Knoblauch, the Hartford Wolf Pack's (11-4-0-5) first-year head coach, is taking the Wolf Pack’s first losing streak, currently three games, as calmly as he took their nine-game winning streak to open the season, calm, cool and collected. “Not changing too much. Guys are still happy to come to the rink, and that’s good. We're balancing things right now. The hard work continues.” Knoblauch didn’t highlight any one area that needed cleaning up. “We weren’t as sharp as we had been (defensively), and we had scoring chances and couldn’t finish. Our passing was spotty. We encourage our team to get faster, keep the feet moving, and how well you defend plays a big part in how other parts of your game are doing,“ Knoblauch commented. On Wednesday, Knoblauch ran a hard hour-long game that simulated one-on-one battle drills perhaps stressing that level of intensity that might have ebbed a bit over the last three games. It didn’t faze veteran Matt Beleskey. “Of course your gonna have moments like these (losing streaks). It's all about taking forward steps, not backward ones. We still have good energy in the room, if we keep playing hard, good things will come to us. Coach said it best this morning. 'Things that don’t take talent helps you win.' The tape-to-tape pass, winning that one-on-one battle and when you do the little things as a group, good things will happen.” As a veteran, Beleskey was able to understand what it was and draw parallels with tough practices in the past. “That was a tough practice hour-long battle drills, but he made it fun. That keeps guys competitive. It can be seen as a punishment, but it wasn’t. You could view it as a punishment, but there isn’t one guy in that room who doesn’t want to win and do better. It is, in its own way, a team-building (moment) and learning to come together as a group." When queried about one very nasty bag skate the Wolf Pack suffered under former head coach, Keith McCambridge, last year upon their return from an unsuccessful Canadian road trip on a Monday - the traditional off day in hockey. “I missed that practice by a week getting reassigned by the Rangers, but no question it left a really bad taste with players for two or three weeks afterward. It took the wind out of our sails. You feel you're being punished, and you're trying to win. It wasn’t a good atmosphere. Today doesn’t resemble that at all. It was a tough practice, yes. It was competitive. It was an hour-long battle to get better-together. I think it’s a good way to work toward breaking a losing streak.” The goaltending duo of Igor Shesterkin and Adam Huska did their usual split of playing time, but Shesterkin played his first back-to-back games in North America, and the formula will remain this week when they visit Lehigh Valley (Allentown, PA ) on Saturday, and Hershey on Sunday. “Both will play, but we really haven’t decided what our rotation will be for this weekend yet." Line changes may see some minor changes with Boo Nieves recalled, and Tim Gettinger returning after two games in New York. The biggest change is the addition of Shawn McBride, who was recalled from Norfolk (ECHL) where he was reassigned from Maine to get playing time for the injured Lewis Zerter-Gossage (upper body, out for the weekend), but are hoping he’ll be back next week. “I’m very happy we were able to recall a natural center and not convert one of our wingers.” He will likely be anchoring the fourth line. NOTES Knoblauch’s bench will be shortened-on the coaching-end this weekend. In an out-of-left-field move, Assistant Coach, David Cunniff, officially resigned this morning and took the Head Coaching/GM job with the Worcester Railers (ECHL), the Islanders Double AA affiliate. The team relieved their first-ever head coach, Jamie Russell, and assistant coach, Derek Army (Kent Prep), of their duties. “We knew for about two days. On Monday, they sought permission from the Rangers' Jeff (Gorton) or Chris (Drury) not sure who, to speak to David about the job. It was really a job he couldn’t pass up. He has been an assistant coach for many years, so he gets his first head coaching job and couldn’t be happier for him, but we're gonna miss him.” Beleskey echoed his sentiments “That’s close to home for him to be a head coach good for him. We're really gonna miss him because he was one positive guy on the bench. He was always talking and encouraging everybody. We all wish him the best.” He was an assistant coach for eight years with the Worcester Sharks under Roy Sommer, the all-time winningest AHL head coach. He was an interim head coach in Iowa for a period of time. His debut at the DCU Center in Worcester Wednesday night wasn’t a good one, a 4-1 loss to the Newfoundland (St. John’s) Growlers. When asked if he had a replacement in mind for Cunniff, Knoblauch responded, “Too fresh and too early for that. Gord Murphy is more than capable of handling more responsibility. We'll be able to handle things this weekend.” There's a troika of possibilities to take over for Cunniff. It could be Jed Ortmeyer, Tanner Glass, or perhaps assistant GM Pat Boller, who was on ice assistant under Ken Gernander, could dust off the skates and be in the mix. Defenseman Yegor Rykov was skating with the group in his non-contact jersey, #57. He is very close to returning as he was going to the doctor’s in the afternoon seeking medical clearance. “If he is cleared as we hope, he won’t this weekend, but hopefully next weekend,” said Knoblauch. Rykov hasn’t played since the Traverse City tournament in September where he suffered a nasty high ankle sprain. With his left arm in a sling, Gabriel Fontaine was actually feeling pretty good five days after his surgery on his left shoulder. "It was actually a lot less pain than I expected. It's not great, getting better every day, but its a tough break for sure." Sleeping has got to be a gymnastic feat. "I've been able to stay on my back, but when I try to go my left side, oh you feel it," Fontaine said with a smile as he rolled his eyes. Tough to have a season cut short at 13 games for one of the nicer players. The hottest team currently in the AHL is the Milwaukee Admirals. They have won ten in a row. The Admirals second-leading scorer is ex-Pack captain Cole Schneider with 19 points in 21 games. The Pack is now the sixth-best in the AHL behind Toronto, Milwaukee, Tucson, Rochester, and Providence. Ex-Pack, John Gilmour, was sent to Rochester. He has played only four games in Buffalo in the first two months of the season and last week just 7:53 in his last game. Ex-CT Whale, Jayson Megna, was sent to the Colorado Eagles by the parent Colorado Avalanche. Former CT Whale, Alex Krushelnyski, was loaned to Rockford after starting the year with Indy (ECHL). Ex-Pack goalie, Brandon Halverson, was returned to Norfolk (ECHL) by Providence. Former QU Bobcat, Craig Martin, gets a weather upgrade from Adirondack (ECHL) to Jacksonville (ECHL). -Jaxon Stauber, son of former Wolf Pack and New Haven Nighthawk goalie Robb Stauber after one NCAA game with the University Minnesota-Mankato a victory 4-1 win over University of Alabama-Huntsville (WCHA) returns to Sioux City Stampede (USHL) for the rest of the year. It preserves his NCAA eligibility and he returns to the defending USHL Clark Cup champions where Stauber had an 11-1 post-season mark win playoff MVP honors. Former Wolf Pack captain, Mat Bodie, is not having a good time in Sweden. He lost his assistant captain status, his ice time, and was then traded from Vaxjo HC (Sweden-SHL) to IK Oskarshamn (Sweden-SHL) Former Sound Tiger, Casey Bailey, leaves South Carolina (ECHL) for Vaxjo gaining the team’s import player license as it's known in Europe. Ex-Pack, Zdenek Bahensky, has gone from Mulhouse (France-FREL) to Cracow (Poland-PZIHL). Read the full article

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madlori · 7 years

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Lori gives herself a test for no reason.

I am going to test the extent of my Hockey Knowledge and attempt to name the captains of all 30 NHL teams without looking. Wish me luck.

Vancouver Canucks - ummmm. Is it one of the Sedins?

Los Angeles Kings - Anze Kopitar

San Jose Sharks - Joe Pavelski

Anaheim Ducks - Ryan Kesler? (not sure about this one)

Arizona Coyotes - Shane Doan

Colorado Avalanche - Gabriel Landeskog

Winnipeg Jets - ummm. Yeah I got nothing.

Ottawa Senators - *blank stare*

Chicago Blackhawks - Jonathan Toews

St. Louis Blues - GODDAMMIT I KNOW THIS no it is not Tarasenko DAMMIT I KNOW HIS NAME WHAT IS IT

Nashville Predators - fuck.

Columbus Blue Jackets - Nick Foligno

Detroit Red Wings - shit shit shit

Pittsburgh Penguins - Sidney Crosby

Florida Panthers - sigh.

Tampa Bay Lightning - um, is it Stamkos? He’s been out on injury for like a million years.

Carolina Hurricanes - Jeff Skinner (I’m not sure it’s him but I feel like this is one of those where I thought it was NOT him and then found out I was wrong and it WAS him and now I can’t remember if yes or no was right)

Washington Capitals - Alex Ovechkin

Philadelphia Flyers - Claude Giroux

New York Islanders - John Tavares

New York Rangers - Ryan McDonagh

Buffalo Sabres - *head in hands*

Boston Bruins - Zdeno Chara

Minnesota Wild - Ryan Suter (ugh I think this is wrong)

Montreal Canadiens - Max Pacioretty

Toronto Maple Leafs - all anybody talks about is their rookies, I can’t remember who the cap is OH WAIT I think they’re one of the two teams that have no captain, just alternates. THEY DON’T COUNT.

Edmonton Oilers - Connor McDavid

Dallas Stars - Jamie Benn

Calgary Flames - sigh

New Jersey Devils - yeah no idea

Okay. I am now going to go grade myself.

It is one of the Sedins! I couldn’t remember which one tho so I’ll give myself half credit. (for the non-hockey among you, Daniel and Henrik Sedin are identical twin brothers from Sweden who both play for the Canucks. It’s Henrik who’s the captain, Daniel is an alternate)

Correct!

BUZZER NOISE. It’s Ryan Getzlaf. I had the first name right...? And Kesler is one of the alternates.

Correct!

It’s Blake Wheeler. I swear Wikipedia just made that up. I have never heard that name. Oh wait, I think he was part of a bad checking incident that resulted in a suspension. Don’t remember if he was the bad guy or the victim.

Erik Karlsson. I should have just guessed, he’s the only player on that team I know, or that anybody knows, really, and the Senators are one of those teams everybody forgets exists, except for Karlsson who is one of the best defensemen ever.

Correct!

DAMN YOU PIETRANGELO I forgot your name.

Mike Fisher? Who’s that? Are you sure that isn’t the name of one of the Preds’ accountants?

Correct! That’s one of MY TEAMS damn right I know.

Zetterberg. I should have remembered that one.

Like I’d miss that one.

Derek MacKenzie. Another name I’ve never heard before.

It’s Stamkos! I’ll give myself half credit for that.

The Canes are the OTHER team with no captain, but Skinner is one of the alternates. I’m going to take the Canes and the Leafs out of contention because no captain.

Correct

Brian Gionta. Dammit we played them TONIGHT. Fail.

Correct

Wrong, it’s Mikko Koivu, but Suter is an alternate.

Correct

Out of the list! NO CAPTAINS, WE DIE LIKE MEN.

Correct

Mark Giordano. Okay, then.

Andy Greene. Another fine member of the accounting staff.

I think I should get extra credit for having been able to name all 30 NHL teams without help. Also I’m giving myself half credit if I named a guy who’s not the captain but IS an alternate.

But anyway I scored 34/56 using 2 points per answer and getting half credit for #1, #16, #4 and #24

why did I do that, again.

NEXT UP, PRIMARY GOALIES

#hockey #lori does pointless things

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dani-qrt · 6 years

Text

'Maybe we won't get this opportunity again', says Southgate

REPINO, Russia (Reuters) – England came into the World Cup with low expectations from their fans and much talk of building for the future but as they face a quarter-final with Sweden on Saturday, manager Gareth Southgate says this generation might not get a better chance to triumph.

Soccer Football – World Cup – England Training- England Training Camp, Saint Petersburg, Russia – July 6, 2018 England manager Gareth Southgate during training REUTERS/Lee Smith

England have the most inexperienced squad left in the tournament and should, in theory, be hitting their peak at the European Championships in 2020 or the World Cup in Qatar in 2022, but Southgate believes it would be a mistake to adopt that thinking.

“Although our team will be better in two years with more life experience, maybe the cards on injuries and things won’t fall as kindly and we won’t get this opportunity again,” he told ITV News.

Soccer Football – World Cup – England Training- England Training Camp, Saint Petersburg, Russia – July 6, 2018 England’s Harry Kane and Jordan Henderson during training REUTERS/Anton Vaganov

“It’s dangerous if I start to get carried away, but I’m proud of the way we’re playing,” he said.

Should England get past a resilient Swedish side, they will face the winner of the quarter-final between hosts Russia and Croatia in the last four.

The dramatic penalty shootout win over Colombia in the last 16 caused wild celebration back in England and the team have captured the country’s imagination.

While his players have been watching social media videos of the celebrations, Southgate says he is delighted to see the impact of his team.

Slideshow (4 Images)

“It’s a huge privilege to be able to send everybody to work happy, to be able to make a difference to people lives,” he said.

“Football can bring connection through a country and I’m delighted we are exciting people, bringing enjoyment and we want to keep it going,” added Southgate, who himself has risen to prominence during the tournament with his calm style earning plaudits.

England will probably be without their back-up striker Jamie Vardy for Saturday’s game, due to a groin strain, although injury worries for Ashley Young and Kyle Walker appear not to be so serious.

But Southgate says it can be tricky to rely on players for honest opinions about their fitness at this stage of the tournament.

“The lads would always be prepared to risk injury for these games, but that can’t be to the detriment of the performance level. When it gets to these games, they’re not always as honest as they might be about how fit they are. So you’ve got to have a racehorse trainer’s eye at times to really try and sort that out,” he said.

Reporting by Simon Evans; Editing by Amlan Chakraborty

The post 'Maybe we won't get this opportunity again', says Southgate appeared first on World The News.

from World The News https://ift.tt/2lZNe6g via Online News

#World News #Today News #Daily News #Breaking News #News Headline #Entertainment News #Sports news #Sci-Tech

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newestbalance · 6 years

Text

'Maybe we won't get this opportunity again', says Southgate

Soccer Football – World Cup – England Training- England Training Camp, Saint Petersburg, Russia – July 6, 2018 England manager Gareth Southgate during training REUTERS/Lee Smith

Soccer Football – World Cup – England Training- England Training Camp, Saint Petersburg, Russia – July 6, 2018 England’s Harry Kane and Jordan Henderson during training REUTERS/Anton Vaganov

“It’s dangerous if I start to get carried away, but I’m proud of the way we’re playing,” he said.

Should England get past a resilient Swedish side, they will face the winner of the quarter-final between hosts Russia and Croatia in the last four.

The dramatic penalty shootout win over Colombia in the last 16 caused wild celebration back in England and the team have captured the country’s imagination.

While his players have been watching social media videos of the celebrations, Southgate says he is delighted to see the impact of his team.

Slideshow (4 Images)

“It’s a huge privilege to be able to send everybody to work happy, to be able to make a difference to people lives,” he said.

England will probably be without their back-up striker Jamie Vardy for Saturday’s game, due to a groin strain, although injury worries for Ashley Young and Kyle Walker appear not to be so serious.

But Southgate says it can be tricky to rely on players for honest opinions about their fitness at this stage of the tournament.

Reporting by Simon Evans; Editing by Amlan Chakraborty

The post 'Maybe we won't get this opportunity again', says Southgate appeared first on World The News.

from World The News https://ift.tt/2lZNe6g via Everyday News

#News #Online News #World News #Today news #health News #Social News #Forex News #World The News

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party-hard-or-die · 6 years

Text

'Maybe we won't get this opportunity again', says Southgate

Soccer Football – World Cup – England Training- England Training Camp, Saint Petersburg, Russia – July 6, 2018 England manager Gareth Southgate during training REUTERS/Lee Smith

Soccer Football – World Cup – England Training- England Training Camp, Saint Petersburg, Russia – July 6, 2018 England’s Harry Kane and Jordan Henderson during training REUTERS/Anton Vaganov

“It’s dangerous if I start to get carried away, but I’m proud of the way we’re playing,” he said.

Should England get past a resilient Swedish side, they will face the winner of the quarter-final between hosts Russia and Croatia in the last four.

The dramatic penalty shootout win over Colombia in the last 16 caused wild celebration back in England and the team have captured the country’s imagination.

While his players have been watching social media videos of the celebrations, Southgate says he is delighted to see the impact of his team.

Slideshow (4 Images)

“It’s a huge privilege to be able to send everybody to work happy, to be able to make a difference to people lives,” he said.

England will probably be without their back-up striker Jamie Vardy for Saturday’s game, due to a groin strain, although injury worries for Ashley Young and Kyle Walker appear not to be so serious.

But Southgate says it can be tricky to rely on players for honest opinions about their fitness at this stage of the tournament.

Reporting by Simon Evans; Editing by Amlan Chakraborty

The post 'Maybe we won't get this opportunity again', says Southgate appeared first on World The News.

from World The News https://ift.tt/2lZNe6g via Breaking News

#News Headlines #News Update #Sports Update #Business Update #World The News

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musicals-in-sweden · 8 months

Text

Production photos (part 1) from Everybody's talking about Jamie - Malmö Opera, 2023.

#everybody's talking about jamie #jamie musical #etaj musical #etaj sweden #etaj malmö #malmö opera #production photos #jonas persson #2023 #musicals #musical theatre #musical theater #musicals in sweden

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londontheatre · 7 years

Link

Full casting has been announced for the West End transfer of Everybody’s Talking About Jamie, directed by Jonathan Butterell and written by Dan Gillespie Sells and Tom MacRae, which will play a limited season at the Apollo Theatre from Monday 6 November following a critically acclaimed run at Sheffield Crucible.

As previously announced John McCrea will return to play the title role of Jamie alongside Josie Walker who reprises her role as his Mum, Margaret. They are joined by the following original cast members from the run in Sheffield Daniel Davids (Levi), Mina Anwar (Rayia ‘Ray’ Begum), Luke Baker (Dean Paxton), Courtney Bowman (Fatimah), Tamsin Carroll (Miss Hedge), James Gillan (Tray Sophisticay), Harriet Payne (Bex), Shiv Rabheru (Cy), Lucie Shorthouse (Pritti Pasha) and Kirstie Skivington (Vicki) along with Alex Anstey (Laika Virgin), Luke Bayer, Marvyn Charles, Ken Christiansen (Jamie’s Dad), Jordan Cunningham (Sayid), Ryan Hughes (Mickey), Daniel Jacob (Sandra Bollock), Cherelle Jay, Rebecca McKinnis, Phil Nichol (Hugo), Chloe Pole and Lauran Rae (Becca).

Fairy tales really do come true. Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation.

Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight. This fabulous, funny, feelgood brand new musical sensation hits London with catchy new songs by lead singer-songwriter of The Feeling Dan Gillespie Sells and writer Tom MacRae. Sixteen: the edge of possibility. Time to make your dreams come true.

Music by Dan Gillespie Sells Book and Lyrics by Tom MacRae From an idea by Jonathan Butterell Directed by Jonathan Butterell Design by Anna Fleischle Choreography by Kate Prince Lighting design by Lucy Carter Sound design by Paul Groothuis Video design by Luke Halls Musical direction by Theo Jamieson Casting by Will Burton

Everybody’s Talking About Jamie Trailer

CAST BIOGRAPHES Alex Anstey plays Laika Virgin and is making his West End debut in Everybody’s Talking About Jamie. Previous theatre credits include Pageant (London Irish Centre) and Peter Pan (International tour). Alex performs around the UK as his drag alter ego Vileda Moppe, and won Drag Idol in 2016.

Daniel Davids is returning to the role of Levi. Previous theatre credits include The Lion King (Lyceum Theatre), A New World: A Life of Thomas Paine (The Shakespeare Globe Theatre), Meet The Adebanjo’s (Broadway Theatre & The Hackney Empire), My Name is Tom (Dugdale Centre), A Harlem Story (Jermyn Street Theatre) and Everybody’s Talking About Jamie (Sheffield Crucible).

Mina Anwar is returning to the role of Rayia ‘Ray’ Begum. Mina has previously appeared on stage in Twelfth Night (Royal Exchange), Everybody’s Talking About Jamie (Sheffield Crucible), The Infidel – The Musical (Theatre Royal Stratford East), Hard Times (Library Theatre), Romeo and Juliet and A Midsummer Night’s Dream (Nottingham Playhouse), The Vagina Monologues (West End / Tour), Talent (UK Tour), King Lear (Sheffield Crucible), Skeleton (Soho Theatre), Too Much Too Young (London Bubble), The Iron Man (Young Vic), Hair (Broadway Musical Theatre Company, New York). Film credits include The Infidel and Maybe Baby. Television credits include The Worst Witch, Doctor Who, The A Word, In The Club, Upstart Crow, Marley’s Ghosts, Scott and Moving On, Remember Me, Happy Valley, House of Anubis, A Passionate Woman, The Sarah Jane Adventures 2-5, The Invisibles, Shameless, Birthday Girl, The Flint St. Nativity, The Thin Blue Line.

Luke Baker is returning to the role of Dean Paxton. Previous theatre credits include Sunny Afternoon (Harold Pinter Theatre), Link Larkin in Hairspray (Cork Opera House), I Can’t Sing! (London Palladium), Bare (Greenwich Theatre), Beautiful Thing (Arts Theatre & UK Tour), Aladdin with Paul O’Grady’s Lily Savage at the O2 (Michael Rose Productions), Ultimate Broadway (Shanghai), All The Fun of the Fair (UK Tour), Peter Pan (UK Tour), Sign of the Times (Duchess Theatre) and Salad Days (Riverside Studios).

Courtney Bowman is returning to the role of Fatimah. Courtney’s theatre credits include Martha in Blondel (Union Theatre), Everybody’s Talking About Jamie (Sheffield Crucible) and The Wind in the Willows (UK Tour).

Tamsin Carroll is returning to the role of Miss Hedge. Tamsin’s numerous theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), Shirley in Strictly Ballroom (West Yorkshire Playhouse and Global Creatures), Baroness Bomburst in Chitty Chitty Bang Bang (West Yorkshire Playshouse), Chairy Barnu in Barnum (Chichester Festival Theatre), Rita in Casa Valentina (Southwark Playhouse), Ellen in Miss Saigon (Prince Edward Theatre), The Magistrate (National Theatre), Emma Goldman in Ragtime (Regents Park Open Air Theatre), Titania in A Midsummer Night’s Dream (Regents Park Open Air Theatre), Nancy in Oliver! (Theatre Royal Drury Lane), Magenta in The Rocky Horror Show (ATG and New Theatricals – Sydney and Melbourne), Martha in Company (Kookaburra), Dusty Springfield in Dusty (Dusty Productions), Isabella in Measure for Measure (Bell Shakespeare Co) Rizzo in Grease – The Arena Spectacular (SEL/GFO), Tracy Lord in High Society (The Production Company), Allie/Olivia on Harbour/The Republic of Myopia (STC), Rita in Side Show Alley (Workshop-Pratt Foundation), Rose in Bye Bye Birdie (The Production Company), Sheila in Hair (The Production Company), Nancy in Oliver! (IMG), Marianna Ranate in Shout, Vicki in Long Gone Lonesome Cowboys (Railway Street Theatre), Red Riding Hood in Into The Woods(MTC). Film credits include Goddess, Holy Smoke and Ms Understanding. Tamsin’s television credits include Nicole in Eastenders, A Difficult Woman, Above The Law, All Saints, Heartbreak High and The Three Stooges.

Ken Christiansen plays Jamie’s Dad. Ken’s theatre credits include A Jovial Crew, Anthony & Cleopatra, The School of Night and Misha’s Party (RSC), Mother Courage and Her Children (National Theatre) alongside Diana Rigg, and as Eric Birling in Stephen Daldry’s landmark production of An Inspector Calls (National Theatre/West End), Fool For Love (UK Tour), Handbag (UK Tour), An Absolute Turkey (West End), Unleashed and White Something (Arcola), Lord of the Flies (Regent’s Park Open Air Theatre), Death Takes a Holiday (Charing Cross Theatre), Closer to Heaven (Union Theatre), Pacific Overtures (Union Theatre), The Rise and Fall of Little Voice (Union Theatre) and The Fix (Union Theatre). Television credits include Kingmakers, Picking Up The Pieces, Insiders, Coronation Street, Mrs Hartley And The Growth Centre, The History File: Germany, Cracker, Where The Heart Is, Casualty, Holby City, Dream Team, Peak Practice, Midsomer Murders, Hollyoaks, Doctors, 9/11:Voices From The Air, 50 Ways To Kill Your Lover, Fortitude and The Bill. Film credits include The Selfish Giant, Treacle, War Bride, Fish-Eye, First Love, Last Day on Earth, Gorka, The Obit Woman, Bug, The Resurrection, Cabrón, Empire, Chasing Robert Barker, The Black Prince, Slayers, Breathe Easy. Radio credits include David Grieg’s The Events.

Jordan Cunningham plays Sayid. Previous theatre credits include Ritchie Valens in The Buddy Holly Story (UK Tour), West Side Story (Kilworth House Theatre), Stiles and Drewes Peter Pan: A Musical Adventure (Really Useful Theatres) and Everybody’s Talking About Jamie (Sheffield Theatres).

James Gillan returns to the role of Tray Sophisticay. Full theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), The Donkey Show (Camden Proud Galleries), The Lion The Witch and the Wardrobe (Rose Theatre Kingston), Little Shop of Horrors (Aberystwyth Arts Theatre), The Secret Garden (Birmingham Rep and West Yorkshire Playhouse), Peter Pan (West Yorkshire Playhouse and the Royal Festival Hall), original Boq in Wicked (Apollo Victoria Theatre), Assassins (Sheffield Crucible), Starlight Express (Apollo Victoria theatre and UK Tour), Taboo (UK Tour), Fame (Arena Tour of Sweden), Godspell (Chichester Festival Theatre), Anthony and Cleopatra (Shakespeare’s Globe), Julius Caesar (Shakespeare’s Globe), Pippin (The Bridewell Theatre), Tommy (Shaftesbury Theatre), Joseph and the Amazing Technicolor Dreamcoat (UK Tour) and James and the Giant Peach (UK Tour). Television credits include Doctors, ‘Orrible, Casualty, The Seven Industrial Wonders of the World, The Inbetweeners, The C Word, A Tale of Two Cities and Suspects.

Ryan Hughes plays Mickey and is making his West End debut in Everybody’s Talking About Jamie. Ryan has performed in Groove on Down the Road, Into the Hoods: Remixed and The Mad Hatters Tea Party for ZooNation.

Daniel Jacob plays Sandra Bollock. Theatre credits include Joseph and the Amazing Technicolor Dreamcoat (UK Tour), Ragtime (JWC Productions), Aladdin (Blue Genie Entertainment), Bugsy Malone (Future Cinema), Angelina Ballerina the Mousical (UK Tour), Charming Dick (Royal Vauxhall Tavern), The Macbeths (Ferodo Bridges CIC), Rent Party (Darren Pritchard Dance). Daniel also originated the role of The Diva in the award winning play, Testosterone by Rhum & Clay. Screen credits include Piss Off, I Love You and Queer Britain. Daniel is also known by his Drag Queen persona, Vinegar Strokes. John McCrea returns to the role of Jamie New. His theatre credits include The Buskers Opera (Park Theatre), Peter Pan (Adelphi Theatre), Streets and RENT! (Cockpit Theatre), The Sound of Music and Chitty Chitty Bang Bang (London Palladium), Barney’s Colourful World and The King and I (National Tour). John’s television credits include Documental, The Catherine Tate Show, New Tricks, Kerching! and Let’s Roll With Roland Butter. Film credits include God’s Own Country (Sundance Film Festival 2017), Late Night With Albin, Balbita and The Cult (Shorts). Workshops include Stella Boulton in Fanny & Stella, Jez in Philip Ridley’s Moonfleece and Jamie in Everybody’s Talking About Jamie.

Phil Nichol plays Hugo. Theatre credits include The Machine (Manchester International Festival/ The Park Avenue Armory New York), One Flew Over the Cuckoo’s Nest (Gielgud), Twelve Angry Men (Assembly Rooms) and Taboo (Venue Theatre). Telvision and film credits include Man Down, Catastrophe, Siblings, Uncle, Holy Flying Circus, Confetti. Phil is Artistic Director of Comedians Theatre Company, and has produced and starred in over 15 shows in the past 12 years including True West, School for Scandal, Killer Joe, Gagarin Way and Talk Radio. Phil is also a stand-up comedian, and having been twice nominated previously, won the 2006 Edinburgh Comedy Award.

Harriet Payne returns to the role of Bex. Full theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), Charlotte’s Web (Gordon Craig Theatre Stevenage), Snow White (Southport Theatre and Grimsby Auditorium), Sleeping Beauty (Millfield Arts Centre London), The Little Mermaid (Dugdale Centre London), Beauty and the Beast (The Victoria Theatre Halifax), The Wizard of Oz (UK Tour) and Spring Awakening (The Bull Theatre Barnet).

Shiv Rabheru returns to the role of Cy. Shiv’s theatre credits include The Taming of the Shrew (Lazarus Theatre Company), Submission (The King’s Head Theatre and The Edinburgh Fringe Festival), Everybody’s Talking About Jamie (Sheffield Crucible), Prevent Tours (The Bunker Theatre), Cats (UK and European Tour), Sleeping Beauty (Millfield Arts Theatre), Celebrity Cruises (Celebrity Infinity) and Dick Whittington (Imagine Theatre).

Lauran Rae plays Becca. Her theatre credits include Jesus Christ Superstar (Regent’s Park Open Air Theatre), Bugsy Malone (Lyric Hammersmith), Ghost (Asian Tour), Hairspray (Macau), Heathers (The Other Palace), Hairspray (Gordon Craig Theatre), Bare (Greenwich Theatre), Aladdin (Cambridge Arts Theatre) and Get Ready (Assembly Hall Theatre, Tunbridge Wells). Television credits include Ghetto Heaven (TV Pilot).

Lucie Shorthouse returns to the role of Pritti Pasha. Full theatre credits include Roller Diner (Soho Theatre), Everybody’s Talking About Jamie (Sheffield Crucible), The House of In Between (Theatre Royal Stratford East) and The Comedy of Errors (Shakespeare’s Globe). Television credits include Line of Duty, Doctors and The Sound of Music Live.

Kirstie Skivington returns to the role of Vicki. Full theatre credits include Jesus Christ Superstar (Regent’s Park Open Air Theatre), Everybody’s Talking About Jamie (Sheffield Crucible), Side Show (Southwark Playhouse), West Side Story (Salzburg Festival), Bend It Like Beckham (Phoenix Theatre), I Can’t Sing (London Palladium), Viva Forever (Piccadilly Theatre) and Ghost (Piccadilly Theatre).

Josie Walker returns to the role of Margaret New. Her theatre credits include The Plough and the Stars, Husbands and Sons, 3 Winters, The Silver Tassie and War Horse for the National Theatre, Matilda The Musical (RSC and Cambridge Theatre), Enjoy (UK Tour, Gielgud Theatre), Corrie – the Play by Jonathan Harvey (The Lowry Manchester) and The Secret Garden (West Yorkshire Playhouse). Television credits include Midwinter of the Spirit, Call the Midwife, Waterloo Road, Psychoville, Holby City, Eastenders, Blessed, and The Bill. Film credits include Where Hands Touch, Fishbowl and Sleeping Beauty.

Luke Bayer plays Swing. Theatre credits include Yank! The Musical (Hope Mill Theatre), The 12 Tenors (China Tour), Les Miserables (Queen’s Theatre), Out There The Musical (Original YMT Cast). Luke was a finalist in The X Factor 2007.

Marvyn Charles plays Swing. Theatre credits include Thriller Live (Lyric Theatre and International Tours), Milkshake Live! The Magic Story Book (UK Tour), In The Night Garden Live! (UK Tour), Smurfs Live on Stage (Saudi Arabia), Dora the Explorer (International Tours), Red Show (Ferrari World, Abu Dhabi) and Robin Hood (Elgiva Theatre). Film and television credits include Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince.

Cherelle Jay plays Swing. Theatre credits include I Can’t Sing! (London Palladium) and Some Like It Hop Hop (UK Tour and West End) and Into The Hoods (The Peakcock Theatre and UK Tour) for ZooNation. Film and television credits include The Holiday.

Rebecca McKinnis plays Understudy Margaret New, Rayia ‘Ray’ Begum and Miss Hedge. Theatre credits include MAMMA MIA! (Novello Theatre and Prince of Wales Theatre), Women on the Verge of a Nervous Breakdown (Playhouse Theatre), A Small Family Business (National Theatre), Viva Forever (Piccadilly Theatre), Les Miserables (25th Anniversary Tour), We Will Rock You (Dominion Theatre), Fat Pig (Trafalgar Studios), Three Hours After Marriage (Union Theatre), The Taming of the Shrew and Beggars’ Opera (both Changeling Theatre Company), Taboo (UK Tour), Starting Here Starting Now (Upstairs at the Gatehouse), Half A Sixpence and Charley’s Aunt for CMC.

Chloe Pole plays Swing, and is making her West End debut in Everybody’s Talking About Jamie.

EVERYBODY’S TALKING ABOUT JAMIE Apollo Theatre 31 Shaftesbury Avenue London W1D 7ES PREVIEWS FROM : Monday 6th November 2017 PRESS NIGHT: Wednesday 22 November 2017

Tickets on sale from £12.00

http://ift.tt/2sPpWEH LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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