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Ready for some jazz hands? The Oxford Gargoyles

oxford-gargoyles-jazz-a-cappella_31554The Oxford Gargoyles Jazz A Cappella The past few years have seen a surge in interest in a cappella in the UK, with films such as Pitch Perfect helping to popularise the genre. For the uninitiated, the term ‘a cappella’ doesn’t just mean singing without instruments, but pharmacy canada jobs denotes a style of vocal music typically featuring effects, such as beatboxing, and is increasingly accompanied by choreography and showmanship. Step out onto the Royal Mile during the Fringe and you’ll find it near-impossible to avoid. Impossibly perky students dressed in colour co-ordinated outfits dominate the busking stages whilst cialis blog thrusting flyers at passers-by, and rival groups serenade unsuspecting individuals on the street. Whilst it http://cialis-tadalafil-onlinein.com/ would be generic pharmacy easy to assume this is a relatively niche care boutique viagra entertainment form, student a cappella is weirdly ubiquitous at the Fringe, and competition is viagra covered by insurance to fill up venues grows stiffer by the year.

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no strangers to this unexpectedly competitive generic celebrex scene, arriving uses buy viagra for viagra in Edinburgh in just over a

week to begin their eighth consecutive year performing at the Fringe. The black-tied jazz a cappella group from Oxford University are hoping

to capitalise on the successes of the past year. Fresh from being crowned BBC Open Choir of the Year, the group’s recent activities have included recording their eleventh album, Musical Statues, and touring the USA.

oxford-gargoyles-jazz-a-cappella-25017-300I had the opportunity to watch their fifteenth anniversary concert earlier this year, where they previewed cheap generic viagra several of the viagra generic viagra in canada arrangements that will appear in their Fringe show. The Gargoyles’ repertoire ranges from arrangements of pop, canada pharmacy soul, jazz standards and the occasional Disney number. Headed by Musical Director, Rebecca Sharp, their hour-long show interweaved intricate scatting with witty choreography whilst making use of their impressive soloists. Rejecting the temptation to simply transcribe songs, note for cialis 5 dosage note, from their original forms, the real appeal of the Gargoyles is their focus on jazz and musicality. It is not uncommon for their arrangements to split into twelve-part harmony and their songs, both jazz standards and pop alike, are underscored by rich jazz harmonies and

swung to cialis prices perfection.

As a student group, a cappella necessarily needs to flagyl tablet is used for be slotted around the demands of degrees and the Gargoyles face the annual challenges of a large turnover in membership. Henry de Berker, the Gargoyles’ publicity manager, notes that the annual change in personnel

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also means that, “each year has a different personality, canadian no written prescription needed both personally and nexium musically” which can be incorporated into performances. The combination of regular rehearsals, tours and their Fringe performance means that the individual members of the group develop close relationships over the year, through living and working in close proximity. The Gargoyles certainly canada pharmacy seem to have fun both on and off-stage, dressing up as waiters to flashmob a title ball and even making an appearance on Flog It! Musically, there is a huge advantage to mountain canada pharmacy performing

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with friends. Trust and familiarity play as big a part in musical performances as they do in straight drama. According viagra does not work to de Berker, this year’s crop of Gargoyles seem to have developed a mischievous streak, which they have channelled into viagra online their show.

The Oxford Gargoyles Jazz A Capella, Edinburgh Festival Fringe 2He continues, “For us, the Fringe represents a great opportunity to cipro medication bring our music to thousands of people who have amitriptyline online come to the festival looking for something fresh and exciting that will impress them. We all love getting out and talking to people about the show, and there’s nothing better

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people you’ve met on the mile sat in the audience.”

The group are celebrating their fifteenth anniversary by bringing back some of their best arrangements from previous years, such as the beautiful And So It Goes (check out the video below) as well as premiering brand new ones. Energetic, musically impressive and refreshingly different, xenical weight loss results the Gargoyles are one to watch.

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The Oxford Gargoyles are performing at C Venues from the how soon does cialis work 31st July to 17th August at 2.20pm.


2,500 years of political philosophy in just over an hour and a half…A Theory of Justice: The Musical

408640_152858578197926_1082345706_nI have a

theory. Or rather, I had a theory – that “musicals” with the tough-sounding language of philosophical academia

in their titles were best left to fresh-faced, eager philosophy students who would scurry along to the theatre with lined paper and spare ink cartridges to take notes on this new-found fountain of knowledge.

As it turned out – this was a terrible theory.

Esteemed philosopher John Rawls has a much better theory – a theory of justice. Or at least he will do by the end of this musical: one hour and forty minutes of catchy songs, infectious enthusiasm and unflinching comedy.

Seeking inspiration for a self-defining philosophical frame-work (and a jolly ending to a jolly bactrim without prescription musical), Rawls accidentally embarks on a romping trail though the history viagra purpose of ideas, meeting the jazzed-up versions of an all-singing, all-dancing Mill, Locke and Rousseau, to name but a few. He is hounded by an buy tadacip online equally intellectually ambitious Robert Nozick, played by a suitably evil Luke Rollason. (The will-he/won’t-he drama of Nozick attempting to find his own philosophical theory before

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Rawls does is about as close to plot tension viagra 50 of 100 mg as this joyous riot of a production gets). Rawls also seeks the aptly named love of his life, Fairness. Played by Rosalind Isaacs, the heroine’s pensive soprano solos add an edge of refinement to the resounding chorus of belting voices, which are well-suited to the stage of musicals.

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I first saw A Theory of

Justice in Oxford, where the show was cialis package insert a sell-out and raised standing ovations. Whilst it was the University’s philosophy students who made up the majority of those knocking eagerly

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be found stumbling out the Oxford Playhouse into the bitter February air, eyes sparkling and voices raised http://cialisonline-cheapstore.com/ in the umpteenth chorus of “I have a theory/ a theory of justice”.

The stage had been beautifully decked

out to point towards each historical era of canada online pharmacy Rawls’ travels, a set which reached its pinnacle cheapest antabuse of achievement when a bewildered hero stumbled across Plato and Socrates lounging among Greek columns, expounding ideas to a delightfully toga-adorned society of three. The trio’s particular buy levitra online line of camp hilarity is just one of the many highlights that we look forward to in recurring scenes.

Of course a new audience, a new setting and a couple of google searchviagra levitra uses replaced cast members mean that A Theory of Justice will be viagra a different experience in Edinburgh to the production that was first rolled cialis generic versus brand name out in Oxford. Yet I am convinced that the highly competent directing of Esme Hicks will ensure another roaring triumph. I even have another theory – that the changes http://pharmacyrx-canadaonline.com/ in the performance justify my skipping merrily off to see the musical all over again.

 

 

Georgina Wilson


Pick of the Free Fringe: Comedy

The Fringe is famous for its comedy shows, with tickets for major comedians such as Russell Kane and Reginald D Hunter going for up to £17 a pop. We love comedy, but at that price it becomes bit of a strain on the student pocket, especially when there’s so much we want to see! If you fancy a chuckle http://cialis-tadalafil-onlinein.com/ that won’t lighten your http://celebrexgeneric-rxstore.com/ wallet, have a gander at our pick of the Free Fringe – by no means an exhaustive list, but one that includes some of our favourite returning acts from previous years. Plus, with all that money you’re saving, you can buy us a drink to say ‘thank you’!

 

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Who Austentatious
Genre Family, cialis online overnight delivery improv
Where Laughing Horse @ The Counting House
Event Website austentatiousimpro.com/
Time 13:30
Duration 1 hour
Suitability U


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Pant-wettingly hilarious and very, very clever; Austentatious is an cipro 250 mg 14 tablet improvised celebrex dosage Jane Austen novel based entirely on audience suggestions. Following

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their smash 2012 run, Austentatious are back to present some of Jane Austen’s lesser known works (Pride and Predator, Northanger Rabbi). Having gained rave reviews from The Times and The Scotsman, as well as the honour of having been seen a grand total of twelve times by last year’s Ed Fringe Review editors, cipro 500 mg this

is one improv show you won’t want to miss.

 

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Who Rory and Tim: On the House
Genre Sketch http://ethraa-sa.com/lasix-online-overnight.html show
Where The Dram House
Time 18:15
Duration 1 hour
Suitability 16+

Rory and Tim

Confusingly-named trio Rory and Tim return to cheap viagra online the Fringe for a third year running, having reduced audiences to stomach-cramping levels of laughter. We’ve seen them in Oxford and at the Fringe and just can’t price of viagra 100mg get enough. Witty, refreshing sinus infection and flagyl and, at

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Who Captain Morgan and the Sands of Time
Genre Comedy, new writing
Where The Fiddler’s Elbow
Time 20:15
Suitability PG
Duration 1 hour

captain morganTwo actors. One musician. Forty-four characters. Captain Morgan and First Mate Hammond quest for secrets of time-travel in a rip-roaring adventure comedy with monsters, sword fights and shivered timbers. They’ve been featured on BBC Radio, and their smash-hit preview garnered a string of rave reviews in Bristol, so we’re pretty pharmacy confident these guys will deliver.

 

 

 

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Who The Cambridge Footlights
Genre Stand-up
Where The Dram House Upstairs
Time 18:30
Duration 1 hour
Suitability 18+

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an Edinburgh Fringe staple, and are known for being a breeding ground for young, promising comedy talent.

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Who Max Fletcher
Genre sketch show, solo show
Where The Dram House Upstairs
Event Website www.failureandhowtoachievei…
Time 14:45
Duration 1 hour
Suitability 16+

maxFollowing on from a successful run at last year’s Free Fringe, Max Fletcher returns with a smart and fresh new online viagra solo comedy show. Approach with caution, ladies and gentleman. This man is funny.

 

Anjali Joseph, Marketing Manager of edfringereview.com.


Are you feeling uncomfortable? Good!

Our co-editor Natasha Hyman talks to Natalia Kaliada, co-founder of Belarus Free Theatre, an underground theatre group who are levitra professional cheapest gaining international repute for their visceral political performances.

 

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Belarus is in Europe. It is also a dictatorship. It is a country where people are detained without evidence and capital punishment still exists. Freedom of speech is severely

limited, forcing theatre companies to function underground. On top of this, it is economic crime to charge audience members, making it near impossible for companies to survive.

Natalia Kaliada and her husband Nicolai Khalezin set up Belarus Free Theatre in 2005, and Vladimir Shcherban soon joined them. They

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are now touring the world with their brand of generic cialis in germany drug store potent political drama, and have been dubbed by the New York Times as ‘one of the most powerful underground companies on the planet’.

They have since performed in over 42 countries, with their current production, Trash Cuisine, currently touring the UK, including a stint at the Pleasance Courtyard during the Edinburgh Fringe. They are also returning to the Globe for a week in September with their acclaimed version of King Lear.

The structure of their work is what Natalia refers to as a ‘two-headed beast’- with a company and theatre school in Belarus, and another part of the company based in London. Natalia and Nicolai set up the London branch after they sought political asylum in the UK in 2011. The main body of their work is still undertaken in Belarus.

When I meet with Natalia at the Young Vic it is immediately clear that she is grounded in her aims for the company. I was expecting this, as after seeing Minsk 2011 last year, I was struck by how unusual this company is in the sheer force of their message. They are also evidently unafraid of exploring the many facets of the issues they choose to tackle.

I ask Natalia about what theatre-makers face in Belarus, and she explains that there are 27 state-owned theatres for a population of 10 million. (There are more than 230 theatres in London alone). On top of this, there are extremely restrictive censorship rules. She gives an example of how one of Nicolai Khalezin’s plays was banned, simply because he is associated with BFT. This was despite the fact that the play was not overtly political in its subject, telling the story of one man’s mid-life crisis.

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These conditions länger mit viagra also present obstacles for actors. Since the company’s inception, nearly all their original actors have stayed on. Natalia explains that not many of them would have described themselves as professional actors, and they have all either lost their jobs or find themselves unable to gain employment if their association with BFT is made known.

It becomes pharmacy support group clear to me just how much personal investment has gone into Belarus Free Theatre. They didn’t receive funding to take their new show Trash Cuisine to Edinburgh, however the actors insisted they would still participate without being paid. Natalia says that this level of commitment is because of their collective belief in the importance of the issues they communicate.

The company’s absolute commitment to their work is solidified by their use of real stories- by a process they term ‘Total Immersion’. If the actors http://viagraonline-rxcanada.com/ are not presenting their own personal stories, then they are required to go what happens if a woman takes viagra out and meet people, listen to their stories first hand, and present them. These testimonies are most often communicated verbatim in performance.

Natalia explains how the company travelled all over the world to research capital punishment- the theme of Trash Cuisine. They met with executioners, lawyers, detainees, and relatives- in cases where the person whose story they were telling was no longer alive. Natalia describes how this process is ‘the only possible way for us to create.’

When deciding on the subject of their shows, Natalia, Nicolai and Vladimir find an issue which concerns them, and then go to their actors to see if they also agree that this is a topic that needs to be

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discussed. They deliberately choose complex issues, Natalia emphasising that ‘if we know how to do it, we never do it.’

They have been working on Trash Cuisine for three years. The original stimulus for the work was that ‘everyone was saying there is no death penalty in Europe. Firstly, there is- in Belarus. Secondly, this means Belarus is not considered as part of Europe, which adds another dimension to the issue.’

The audience reaction has been overwhelmingly positive for BFT. They have drummed up a wealth of support, including Vivienne Westwood, Tom Stoppard and Michael Attenborough. Natalia is hugely appreciative of this strong relationship with London audiences.

Trash-CuisinePhot

Yet she stills sees potential for the show to go in new directions- ‘We think people are going to react in a certain way, but the audience leads you

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further than you expect. You can’t predict their reactions- this is the intellectual and emotional contact between audience and actors.’

BFT certainly manage to completely engage their audience. In Trash Cuisine they use techniques that deliberately unsettle; they directly address us in game-show style, then shifting to full frontal nudity in the same breath. This splicing of tones creates a collage

of

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sensory experiences, and the wealth of diverse responses that they present creates a rich forum for discussion.

Belarus Free Theatre is foremost active ingredient in viagra a political tool, and I was interested to know, why theatre? Natalia responds ‘We had tried everything else. We wanted to say what we wanted, wherever we wanted, whenever we wanted’, and it was theatre that allowed them this freedom of expression.

Natalia also stresses the importance of creating art that is both political, but also theatrically impressive. It is crucial for her that their work is of ‘the highest artistic quality. This gives us the right to talk to our audience on every other issue. It http://evelinecaronphoto.com/2014/02/16/online-thailand-pharmacies/ must be art.’

Politics and art do come into conflict; Natalia tells me about the viagra vs eriacta painful difficulties of leaving aside personal experiences when it comes to the creative process. The entire collection of stories came to sildenafil citrate 100mg around six hours; the final show is an hour and a half. She says ‘I don’t want to scare people off, but an hour and half… it’s a tough experience.’

What strikes me the most about BFT is how their conception of theatre making free samples of viagra goes hand-in-hand buy cialis with their sense of human responsibility, Natalia stating that ‘it’s unbelievably complicated to listen to what people are going through. We know our aim is

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to do great theatre, but then you sit there and think, what else could we do?’ This emotional commitment to their work is what makes BFT vital to both the theatre, and to Belarus.

BFT (c) Michiel van Nieuwkerk - web

The future of BFT is uncertain. Natalia stresses that ‘financial pressure is the biggest challenge now’. However, more recently it has been made apparent that it is becoming impossible to work in Belarus, and the company may need to make a permanent move in order to continue. Natalia also says that working in a free country adds a new dimension to their work, as it gives them the liberty to ‘enjoy the process of creating’.

 

Ultimately, the future of the company is a much larger issue. Natalia explains that ‘it’s up to the EU to solve the issue of BFT at a global level.’ They want European viagra generic Institutions to recognise that BFT is unique- not project based, but ‘an lisinopril no prescription canada absolutely unique institution’ where students are training every single day.

Certainly, BFT’s case is unusual. Natalia proudly tells me that ‘No such theatre company exists that rehearses underground then performs at the Globe and the Young Vic’. They have demonstrated http://tadalafilonline-generic.com/ how theatre cialis generic india can and should be a powerful political tool. I look forward to the future of BFT and to the impact they will undoubtedly

have on how theatre is made.