RESERVATIONS

HATS are pleased to announce that we are now taking reservations for our January Winter Show!

Please click the link below to avoid the rush and book your tickets now!

Winter Show Reservation Form

Please note, tickets will also be available on the door prior to performances. All payment taken on the door.

THE WINTER SHOW DETAILS

We are delighted to invite you to an evening of theatre and music featuring two exciting new plays by members of the society: surrealist comedy ”Feet” by Gregor Shanks, and Rob Salvin’s noir-pastiche “The Spy Who Came Down with a Cold”.

And as if that’s not enough, the plays will bookend a live musical interlude from Edinburgh’s very own Italian-accented jazzsters The Bicycle Thieves!

The Pleasance Cabaret Bar, Edinburgh / 28, 29 & 30 January 2010 – 7.30 pm / Tickets: £6 (£5 concessions)

See you there!

View my official productions portfolio at:

or at vivianwongproductions.com.

Marea tells the story of Maria, a woman obsessed with classic Italian cinema, chianti and photography.  As her relationship with her partner Claudia unravels, she begins hearing noises behind a mysterious locked door in their apartment.  Soon, the appearance of a mysterious woman wielding a straight razor, a surprise visit from her maniacally religious grandmother, and a laced cup of tea unravel Maria’s reality and send her on a hallucinogenic journey from New York to Miami to Havana to discover the truth behind a tragic family secret.

4 performances only!

tickets

PACKAWALLOP PRODUCTIONS
Scott Ebersold and Alejandro Morales, Artistic Directors

presents
a work in progress presentation of

MAREA
a play by Alejandro Morales
directed by Scott Ebersold

featuring:
Maria-Christina Oliveras*
Polly Lee*
Maggie Bofill*
Judith Delgado*

scenic design by Jo Winiarski
costume design by Jennifer Paar
lighting design by Scott Bolman
video and projection design by Daniel Heffernan
sound design by Brandon Wolcott
properties by Buist Bickley
production stage management by Josh Parken-Ring*
casting by Judy Bowman
production management by Julian Stetkevych
assistant director Laura Pestronk

artistic associates:
Marc Solomon
Susan Louise O’Connor
Polly Lee
Julian Stetkevych

*appears courtesy of Actors Equity

When a mysterious woman wielding a straight razor appears in Maria’s apartment, reality unravels and she is sent on a hallucinogenic journey from New York to Miami to Havana to discover the truth behind a tragic family secret.

December 3, 4, 5 at 7PM
December 6 at 2PM
Tickets $18

for tickets: www.here.org or call 212-352-3101

www.packawallop.org

alright alright, maybe you did just a little (finally):

prove us right mr fiasco

Pour être sûr d’obtenir du financement, faut-il en demander trop ? / To make sure you get funding, do you have to ask for too much?

http://rightbrainproductions.wordpress.com/

[English below]

Kevin Smith a tourné Clerks, un classique du cinéma indépendant, pour moins de 30 000 $ dans le dépanneur où il travaillait. Faute de moyens, ils ont dû tourner la nuit et ont inventé un prétexte pour garder les volets fermés afin de cacher le fait qu’il faisait nuit dehors (dans le film, le personnage perd la clé).

Le film Paranormal Activity a tourné pendant sept jours et a coûté environ 11 000 $.

Blair Witch Project a été fait pour la modique somme de 22 000 $. Ses rendements phénoménaux lui ont valu une place dans les records Guinness.

Il y a beaucoup d’autres exemples de films financés avec des cartes de crédit, tournés avec un caméscope bon marché, réalisés pour quelques milliers de dollars pour un long métrage, voire moins de cents dollars pour un court métrage. Certains (comme les exemples cités plus haut) sont devenus des francs succès auprès des critiques et du public. Il semblerait donc que de faire preuve d’économie et de débrouillardise dans l’élaboration de votre budget vous mériterait des éloges.

Il semblerait que non, bien au contraire.

Pour un cout métrage de 5 à 10 minutes qui devait tourner au printemps 2010, j’avais calculé cinq jours de tournage, huit à dix comédiens de l’Union des Artistes (du premier rôle au figurant), des techniciens de l’AQTIS, des déductions salariales en bonne et dûe forme, la location de l’équipement et des lieux, les assurances, la nourriture, etc. Je me suis même donné un salaire à titre de producteur, réalisateur et monteur (une précaution: ce salaire sert toujours à couvrir les imprévus). J’ai ensuite gonflé le budget d’environ 20% pour lui donner une marge de sécurité. Au total : 40 000 $. Ma première réaction fut de réviser le montant à la baisse de peur que les agences de financement ne s’indignent d’un tel excès, mais j’ai résisté. Je pourrais toujours remettre le montant inutilisé.

Deux mois plus tard j’essuyai le refus de la SODEC. Bien qu’ils aient adoré le scénario (” Un véritable coup de cœur ! ” ont-ils dit), c’est le montant du budget qui fit couler le projet. J’en étais sûr ! J’avais été trop avare en voulant dépenser impunément les fonds publics ! ” Quarante-mille nous semble trop peu. ” me dit au contraire la représentante, qui a plutôt l’habitude de voir des budgets de soixante-quinze mille dollars pour des courts métrages. Je restais bouche bée alors qu’on m’invitait à présenter le projet à nouveau après avoir doublé le budget.

Trop peu d’argent ! J’examinais à la loupe chaque sous déboursé, alors que j’aurais dû dépenser sans compter. Sans doute mon approche du cinéma indépendant diffère-t-elle un peu de la norme : j’ai dû, par nécessité, porter les chapeaux de producteur, réalisateur, caméraman, éclairagiste, preneur de son, monteur, etc., et ce faisant j’ai appris l’importance d’être débrouillard et, surtout, économe. Pour La Porte, j’ai transformé mon salon en logis de chambreur : une fausse porte donne en réalité sur un mur de brique; la peinture et le papier peint ont été offerts par un commerçant; le faux mur est construit à partir de vieux panneaux publicitaires qui vantent les voyages dans le sud; et les meubles sont prêtés par l’Armée du Salut. Par contre, un petit café du coin a été loué dernièrement par une production québécoise pendant vingt-quatre heures au coût de 3 000 $. Le cachet unique en valait bien la peine, me suis-je dit, mais j’ai appris par la suite que tous le décor a été refait à grands frais pour les besoins du film.

La SODEC désire, d’abord et avant tout, financer des productions qui engagent des artisans en leur payant des salaires selon les normes de l’industrie – une noble et respectable initiative. Mais pourquoi louer un café et refaire tout le décors, alors qu’on peut louer un local commercial pour le sixième du prix ? Pourquoi louer des projecteurs quand il coûte moins cher de les acheter ? Pourquoi construire à grand frais un décor qui finira au dépotoir après le tournage, quand on peut réutiliser des matériaux dont veulent se débarrasser des entreprises locales ?

Je songe à ces petites productions artisanales de quelques minutes dont le budget dépasse le salaire annuel de la majorité des gens. Je m’étonnais devant le générique qui prenait presque aussi longtemps que le film lui-même à faire défiler les noms des assistants, des premiers assistants, des seconds assistants et même des assistants pour les assistants. Je me demandais comment ils avaient bien pu mettre tout ce monde à l’ouvrage pour une si courte production. Maintenant je crois qu’ils ont plutôt dû trouver un moyen de dépenser le double de ce qu’ils avaient vraiment besoin afin de se faire prendre au sérieux.

N’importe quel cinéaste au Québec et au Canada vous dira qu’il est difficile – très difficile ! – de financer un film. Et si on parvenait à couper de moitié les budgets, n’arriverions-nous pas alors à en faire deux fois plus ? Il s’agit de faire preuve d’un peu d’imagination et de débrouillardise.

◊◊◊◊◊

Kevin Smith shot Clerks, a classic of independent cinema, for less than $30,000 in the convenience store where he worked. Because they had to film at night, they had to invent a pretext to keep the shutters closed to hide the fact that it was dark out (in the film, the character loses the key).

Paranormal Activity shot during seven days and cost about $11,000.

Blair Witch Project was made for the ridiculous sum of $22,000. The phenomenal return on that investment earned it a place in Guinness World Records.

There are several more examples of films financed with credit cards, shot on a consumer camcorder, produced for a few thousand dollars for a feature and less than a hundred dollars for a short. Several of them (such as the examples listed above) went on to receive critical and financial success. It should then follow that being frugal and self-reliant when budgeting a film would earn you extra points.

On the contrary, it would seem.

For a short film of about 5-10 minutes that would have been made in the spring of 2010, I had planned five days of shooting, eight to ten actors from the guild, AQTIS technicians, proper payroll deductions, equipment and location rentals, insurance, catering, etc. I even gave myself a salary as producer, director and editor (a formality, as this usually serves to cover unexpected expenses). I then added an extra 20% as a safety margin. The grand total: $40,000. My first impulse was to lower the budget for fear that the funding agencies balk at such extravagance, but I resisted the urge. I could always give back any unused amount.

Two months later, I received word that SODEC had turned down my application. Although they loved the script (“A favourite!” they called it) it was the amount of the budget that ultimately sank the project. I knew it! I’d let greed get the best of me and tried to squander public funds! “Forty thousand seems so little” said the representative unexpectedly , who is more accustomed to budgets of around seventy-five thousand dollars for a short film. I remained speechless as she proposed that I apply again, this time with double the budget.

Too little money! I was counting every penny when I should have been spendthrift. My approach to independent filmmaking probably differs from the norm: I’ve had, out of necessity, to act in turn as producer, director, cameraman, lighting technician, sound technician, editor, etc. and as a result I’ve come to appreciate the necessity of self-reliance, and most of all frugality. For The Door I transformed my living room into that of a boarding house: a door actually conceals a brick wall; paint and wallpaper were donated by a local business; a fake wall was built from old advertising billboards promising a tropical paradise; and the furniture was on loan from the Salvation Army. Alternately, a local café was recently rented for 24 hours by a Quebec production at the considerable cost of $3,000. I thought the considerable charm of the place made it worth it, until I learned that the interior décor was entirely re-done at great expense to fit their needs.

SODEC insists first and foremost on funding productions that hire professionals and pay them fair salaries – a noble and commendable initiative. But why rent a café and redo the interior when empty commercial space can be had for 1/6^th the cost? Why rent equipment when it’s cheaper to buy? Why spend a small fortune to build a set that will end up at the city dump once the shoot is over, when local businesses are only too willing to be rid of materials that can be re-used?

I’m reminded of the countless independent productions lasting only a few minutes of screen time with a budget in excess of most people’s annual salary. I used to be baffled by the credits that lasted almost as long as the film itself, listing all the assistants, first assistants, second assistants and even assistants to the assistants. I would wonder how they managed to keep everyone busy on such a short production. Now, I rather suspect they had to find a way to spend twice the money they actually needed in order to be taken seriously.

Any filmmaker in Canada and Quebec will tell you how difficult it is to get funding for a film. But by cutting budgets in half, we could fund twice as many projects. All it requires is a little imagination and self-reliance.

This is Terminal A. The mixtape i worked on with A.P. This is the first track they’re letting off called frequent flyer.  check it out.

A.P. – Frequent Flyer

COMPLETE STAGEOGRAPHY

PRODUCTION: The Trojan Women 2.0
AUTHOR: Charles Mee
ROLE: Ray Bob (secondary)
DIRECTOR: Nick Saldivar
PRODUCING COMPANY: Project Spotlight
VENUE: UCF Theatre- Orlando, FL
YEAR: 2010

PRODUCTION: The Pirates of Penzance
AUTHOR: W.S. Gilbert and Author Sullivan
ROLE: Pirate (ensemble)
DIRECTOR: Brian Vernon
PRODUCING COMPANY: UCF Conservatory Theatre
VENUE: UCF Theatre- Orlando, FL
News-Journal Center- Daytona Beach, FL
YEAR: 2009

PRODUCTION: Our Great Declaration
AUTHOR: Armando Rivera and Vincent S. Hannam
ROLE: George Washington/ Stage Manager (principal)
DIRECTOR: Armando Rivera
PRODUCING COMPANY: General Mischief Productions
VENUE: St. Cloud Amphitheater- St. Cloud, FL
YEAR: 2009

PRODUCTION: As You Like It
AUTHOR: William Shakespeare
ROLE: Sir Oliver Martext (secondary)
DIRECTOR: Karen Loftus
PRODUCING COMPANY: St. Cloud High School
VENUE: Harmony High School- St. Cloud, FL
YEAR: 2009

PRODUCTION: A Few Good Men
AUTHOR: Aaron Sorkin
ROLE: Daniel Kaffee (principal)
DIRECTOR: Donald Rupe
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
Tampa Theatre- Tampa Bay, FL
YEAR: 2008- 2009

PRODUCTION: Woman at a Threshold, Beckoning (One Act)
AUTHOR: John Guare
ROLE: John (principal)
DIRECTOR: Donald Rupe
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School PAC- Kissimmee, FL
Eau Gallie High School- Melbourne, FL
Tampa Bay Performing Arts Center Black Box- Tampa Bay, FL
YEAR: 2008- 2009

PRODUCTION: God’s Favorite
AUTHOR: Neil Simon
ROLE: Sound Board Operator
DIRECTOR: Armando Rivera
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2009

PRODUCTION: Kittens, Puppies, and Ponies: A Story by Andy Griffiths (Original One Act)
AUTHOR: Joshua Rios
ROLE: Andy Griffiths (principal)
DIRECTOR: Josiah Peterson
PRODUCING COMPANY: N/A
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2008

PRODUCTION: Digital Love (Original One Act)
AUTHOR: Christian Stanley
ROLE: Anthony (principal)
DIRECTOR: Christian Stanley
PRODUCING COMPANY: N/A
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2008

PRODUCTION: The Midnight Hour (Original One Act)
AUTHOR: Vincent S. Hannam
ROLE: Playwright/ Stage Manager
DIRECTOR: Armando Rivera
PRODUCING COMPANY: General Mischief Productions
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2008

PRODUCTION: A Midsummer Night’s Dream
AUTHOR: William Shakespeare
ROLE: Peter Quince (secondary)
DIRECTOR: Meaghan Fenner
PRODUCING COMPANY: Osceola Center for the Arts
VENUE: Osceola Center for the Arts- Kissimmee, FL
YEAR: 2008

PRODUCTION: Big River: The Adventures of Huckleberry Finn
AUTHOR: William Hauptman and Roger Miller
ROLE: Tom Sawyer (secondary)
DIRECTOR: Donald Rupe
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2008

PRODUCTION: Greece (Original One Act)
AUTHOR: N/A
ROLE: Oedipus (secondary)
DIRECTOR: Donald Rupe
PRODUCING COMPANY: Gateway High School
VENUE: Eau Gallie High School- Melbourne, FL
YEAR: 2007

PRODUCTION: Charlotte’s Web
AUTHOR: E.B. White
ROLE: Gander (secondary)
DIRECTOR: Donald Rupe
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center
YEAR: 2007

PRODUCTION: Cinderella
AUTHOR: N/A
ROLE: Production Assistant
DIRECTOR: Clayton Guiltner
PRODUCING COMPANY: The Theatre Experience
VENUE: Community Center- Celebration, FL
YEAR: 2007

PRODUCTION: The Love of Three Oranges
AUTHOR: Hillary DePiano
ROLE: Brighella (secondary)
DIRECTOR: Clayton Guiltner
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2007

PRODUCTION: Honk!
AUTHOR: George Stiles and Anthony Drewe
ROLE: Greylag/Billy/Boy’s Voice/Froglet (secondary, ensemble)
DIRECTOR: Clayton Guiltner
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2006

PRODUCTION: Rumpelstiltskin
AUTHOR: N/A
ROLE: Production Assistant
DIRECTOR: Clayton Guiltner
PRODUCING COMPANY: The Theatre Experience
VENUE: Community Center- Celebration, FL
YEAR: 2006

PRODUCTION: I Hate Hamlet
AUTHOR: Paul Rudnick
ROLE: Andrew Rally (principal)
DIRECTOR: Clayton Guiltner
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2006

PRODUCTION: Into the Woods
AUTHOR: Stephen Sondheim and James Lapine
ROLE: Mysterious Man (secondary)
DIRECTOR: Clayton Guiltner
PRODUCING COMPANY: Gateway High School
VENUE: Gateway High School Performing Arts Center- Kissimmee, FL
YEAR: 2005

—————————————————————————————————————–

COMPLETE  FILMOGRAPHY

FILM: The Creed
AUTHOR: Luis F. Penedo, Jr.
DIRECTOR: Luis F. Penedo, Jr.
ROLE: Suicide Caller
PRODUCTION COMPANY: L.F.P. Productions
YEAR:  2009

FILM: Charlie
AUTHOR: Zack Linder and Luis F. Penedo, Jr.
DIRECTOR: Luis F. Penedo, Jr.
ROLE: Dr. Howard
PRODUCTION COMPANY: L.F.P. Productions
YEAR:  2008

FILM: Bullying
AUTHOR: Armando Rivera
DIRECTOR: Armando Rivera
ROLE: Ben
PRODUCTION COMPANY: General Mischief Productions
YEAR: 2008

Da’wah is marketing.

You got a product that you know is the best, and you’re trying to get it out to everybody. There may be competitors, and even enemies. However, at the end of the day, the best product gets sold.

||~~~||

This past two weekends I attended the “Seerah: The Shepherd’s Path” seminar with Shaykh Abdul-Bary Yahya. I have to say, it was an amazing experience. I’d heard about Al-Maghrib courses before, but had never fully experienced a course (though I did go to two free Fridays of other seminars).

What initially inclined me to learn more about Al-Maghrib was their trailers. I love videos and graphics and all that jazz, which is what caught my eye from the very beginning. It was an Islamic organization, actually advertising Islamic classes, with the medium of video, and taking it to the max! (In Islam, we call that ihsaan).

I learned more, linked up with brother Belal Khan of Leechon Films, the mastermind behind most of the videos. Now, I’m going to explain my views on these videos, from before taking a seminar, to after.

To see some of the videos I’m talking about, search “almaghrib leechon” on youtube, or just click here.

~~~

Before – “This video is amazing!”

Before ever actually attending a class, the Al-Maghrib videos were teasers. They’d give you a preview of this epic experience that you could go through. The purpose they were made for was fulfilled; they got people talking about Al-Maghrib Institute. My thoughts were like this: “Oh my GOD, I HAVE TO GO TO THIS!”. Then I’d quickly click to find out that Al-Maghrib wasn’t yet established in my city. Because of that, I had to wait, and wait, and wait. It kept me on the edge of my office chair, re-watching all the videos, to the point where if I’d heard about anything Al-Maghrib in my area, I’d immediately want to go. Unfortunately, I couldn’t attend the first seminar that came down to Florida (Love Notes, Marriage & Family Life in Islam) due to some naseeha (advice) from my parents not to (as I was 14 years old then). I accepted it, and now, I wanted to go to a seminar EVEN MORE. Until, the Seerah course was coming to Orlando (about a 3hr drive north of me), and I made my du’a and Allah sent me to go.

Here’s a specific video I’d watched before & after taking the seminar. It’s a general branding video for Al-Maghrib.

The first thing I thought (before going to a seminar) when watching this video was, “SubhanAllah, these are some amazing graphics!” At that time, I was actually in a self-study of motion graphics and the details of how one would go about creating a video just like that. I admired all the meticulous details (the plants growing out, the low, yet effective sound effects that added to the effect, and everything). Because of this, it made me have a deeper interest in the organization. That’s the purpose of the videos. The graphics appealed to me, and made me want to learn more about them. The instructors’ well-known names could’ve appealed to someone else, and make them want to learn more, or the amount of cities could’ve made another person more interested. No matter what angle or aspect piqued their interest, the purpose of the video was for them to gain an interest in the organization.

After – “That seminar was amazing!”

After looking at the video again, this time after my first seminar, the only thing I could think of  was “SubhanAllah, it’s so true!” The info presented in the video was what I began relating to. I smiled when I saw Shaykh AbdulBary Yahya’s picture. The part that said “Direct Interaction with your teachers” reminded me of the end of the class. Shaykh AbdulBary, in his last words of the class, said “and I just would like to say that I love you all for the sake of Allah”, and then we lined up and each gave him a big hug in appreciation for the knowledge he’d just presented us.

The video no longer sparked a “man, I wanna go”. Instead, it sparked a “man, I remember such-and-such”. My perspective changed, the video no longer asked me to check out a seminar and see what it’s all about, it invited me to remember my past experience with Al-Maghrib, and still made me want to go again.

~~~

It’s like when you see a movie trailer.

I was once in the theaters, waiting for my movie to start, and a trailer comes on. It’s an old west movie. Initially, I’m not that interested. Guns, sheriffs, and things like that.

Something shows up on screen, and I suddenly pay attention, and want to see the movie.

What showed up? The name ‘Johnny Depp’. The movie was Public Enemies (which I did end up seeing half-way. I kind of fell asleep).

Though, what happened? I wanted to see a movie, just based on one actor. The reason? I’d already developed a relationship with that actor (I loved the Pirates movies).

So, now when I watch an Al-Maghrib video, I already have a relationship developed with them. I no longer think “Hmm, what’s this all about?” and base my opinion solely on the content of that one video. Now, I think, “Oh, it’s Al-Maghrib, sweet.” I don’t even need to be advertised to anymore., the only thing I have to look for is ‘what awesome new seminar is this advertising’. The brand is already built, so my interest in it becomes natural. Much like when you see a gold ‘M’ (McDonalds) or a little swoosh (Nike) or even an apple with a bite in it (Apple).

Now, the videos have taken on a whole new meaning.

||~~~||

Your goal is to get trust from the person. You want them to be confident in you. Therefore, they’ll accept anything you present.

Da’wah is human relations.

فديو, فيديو كليب انا بيه ورومانسى من فلم, فيلم البيه الرومانسىافلام لك تحميل من

شاهد فديو, فيديو كليب انا بيه ورومانسى من فلم, فيلم البيه رومانسى – سعد الصغير 2009
تحمل وتنزيل فديو, فيديو كليب سعد الصغير من فلم, فيلم البيه رومانسى انا بيه ورومانسى

لمشاهدة وتحميل الفديو, فيديو كليب …

شاهد فديو, فيديو كليب اغنية سعد الصغير انا بيه ورومانسى من فلم, فيلم البيه رومانسى
يو, فيديو كليب سعد الصغير من فلم, فيلم البية الرومانسى – انا بيه ورومانسى

اضغط هنا لمشاهدة الكليب

|اغانى|فديو, فيديو كليب|مقطع|هدف|مسلسل|اعلان|فلم, فيلم|برنامج|حلقة|شاهد|مشاهدة|اون لاين|سرعة عالية |بدون
تحميل|اغانى|عربى|اجنبى|MP3, mp3, ام بي ثري|البوم|
2009|سينجل|نغمات|تنزيل|نزل|شعبي|راب|حمل|موسيقى|MP3, mp3, ام بي ثري

|افراح|فديو, فيديو كليب|راديو||اون لاين|بدون تحميل|مجانا|بدون اشتراك|2010

فديو, فيديو كليب انا بيه ورومانسى من فلم, فيلم البيه الرومانسىافلام لك تحميل من

شاهد فديو, فيديو كليب انا بيه ورومانسى من فلم, فيلم البيه رومانسى – سعد الصغير 2009
تحمل وتنزيل فديو, فيديو كليب سعد الصغير من فلم, فيلم البيه رومانسى انا بيه ورومانسى

لمشاهدة وتحميل الفديو, فيديو كليب …

شاهد فديو, فيديو كليب اغنية سعد الصغير انا بيه ورومانسى من فلم, فيلم البيه رومانسى
يو, فيديو كليب سعد الصغير من فلم, فيلم البية الرومانسى – انا بيه ورومانسى

اضغط هنا لمشاهدة الكليب

|اغانى|فديو, فيديو كليب|مقطع|هدف|مسلسل|اعلان|فلم, فيلم|برنامج|حلقة|شاهد|مشاهدة|اون لاين|سرعة عالية |بدون
تحميل|اغانى|عربى|اجنبى|MP3, mp3, ام بي ثري|البوم|
2009|سينجل|نغمات|تنزيل|نزل|شعبي|راب|حمل|موسيقى|MP3, mp3, ام بي ثري

|افراح|فديو, فيديو كليب|راديو||اون لاين|بدون تحميل|مجانا|بدون اشتراك|2010

Recently I was asked to make a promotional video for Zion Chapel in Goshen, IN.  The concept;  Show the mission and values of the church in a 90 second piece.  It was challenging getting all the shots we needed during services and took a few weeks of shoots but with help from the people at Zion and a great voice over effort by a member of the church we have a very compelling piece that promotes the church very well.

www.vibevideoproductions.com

موالى كل الجديد فى عالم النت

LEAVES OF GLASS
Presented by Origin Theatre Co and Stiff Upper Lip

END OF LINES
World Premiere

An evening of five short plays inspired by journey’s on the
New York City Subway

By
Gary Duggan, Pat Kinevane, Morna Regan, Ursula Rani Sarma & Abbie Spallen
Directed by
Julia Gibson, Portia Kreiger, Alyse Rothman, David Sullivan & Fiana Toibin

End of Lines, a collection of five new 25 minute plays written by some of Ireland’s best contemporary playwrights…SOME OF THE MOST THOUGHTFUL AND AFFECTING PLAYS YOU’LL SEE IN NEW YORK THIS YEAR.
- Cahir O’Doherty, Irish Voice

CHARACTERS BLAZE FORTH,GIVING WONDERFUL OPPORTUNITIES FOR THE PERFORMERS
- Karl Levett, Backstage

KIMBERLY HERBERT GREGORY GIVES A POWERHOUSE PERFORMANCE in Evangeline Elsewhere by Pat Kinevane
- Joe Hurley, Irish Echo

URSULA RANI SARMA HITS BULLS-EYE in achieving the End of Lines challenge and delivers a meaningful and touching short play. I ALSO LIKE THE IDEA OF EXPOSING NEW YORK AUDIENCES TO EMERGING IRISH WRITERS
Les Gutman, Curtain Up Review

ABBIE SPALLEN’S enraged and genuinely chilling play, Shaving the Pickle, is a meditation on what life in New York may be like 20 years…..SPALLEN HAS MANAGED TO PACK HER 25 MINUTES WITH SOME OF THE MOST PHILOSOPHICALLY RICH MEDITATIONS ON THE U.S and the culture wars that are shredding the national fabric
Cahir O’Doherty, Irish Voice

MORNA REGAN’S script is PROVOCATIVE, THOUGHTFUL and bracingly unsentimental
Cahir O’Doherty, Irish Voice

THE MISSION BY GARY DUGGAN IS A MASTER CLASS IN WRITING FOR THE STAGE
Cahir O’Doherty, Irish Voice

BRIANNE BERKSON IN A DAZZLING STAR TURN
in The Mission by Gary Duggan
Joe Hurley, Irish Echo

THE PARTING GLASS BY URSULA RANI SARMA CONFIRMS HER AS ONE OF THE MOST DISTINCTIVE TALENTS TO HAVE EMERGED IN IRISH PLAYWRITING IN RECENT YEARS
Cahir O’Doherty, Irish Voice

THE SHAPE OF METAL
by Thomas Kilroy
directed by Brian Murray

ROBERTA MAXWELL IS SO MAGNIFICENT as an aged sculptor in The Shape of Metal …her voice remains fierce as she goes into verbal battle with her angry daughter Judith, THE EQUALLY POWERFUL JULIA GIBSON…..there are terrific contributions to the production, including Lex Liang’s set design.
- The New York Times

RICH THOUGHTFUL AND ACHINGLY HUMAN..another gem in Kilroy’s portfolio
- The Irish Sunday Times

Kilroys The Shape of Metal is A FASCINATING PLAY
- TheatreScene.net

FASCINATING, STIMULATING AND DISTURBING…beautifully constructed
- The Irish Sunday Independent

ROBERTA MAXWELL GIVES A TOUR DE FORCE PERFORMANCE, director Brain Murray also obtains excellent performances from Julia Gibson and Molly Ward
- TheatreScene.net

Brian Murray has worked with Roberta Maxwell four times their familiarity with each other no doubt contributes to the INTIMATE UNFORCED MASTERY of her performance.
- Backstage

To be successful in the theatre world sometimes all you need is one breakout role, one show stopping number…..SUPERIOR TALENT ROBERTA MAXWELL.
- The Washington Square News

The Shape of Metal is AN ARTICULATE BUT FAMILIAR EXPLORATION OF A MONTHER AND DAUGHTER relationship…one senses the mother could have taken on Jackson Pollock in an arm wrestle and won.
- Backstage

THEATRE LEGEND BRIAN MURRAY DIRECTS STRONG PERFORMANCES
- Nytheatre.com

“A THROUGHLY ENJOYABLE EVENING! Performed with precision and polish, Trousers offers a delightful, uninterrupted 80 minutes of professional theatre! Splendid performances by Gary Gregg and Daniel Freedom Stewart… the chemistry between the two is seamless”
-Jo Ann Rosen, NYTheatre.com

“TROUSERS SET ME THINKING , WHICH IS ONE OF THE MOST IMPORTANT THINGS THEATRE CAN HOPE TO DO , The two actors play their roles quite convincing and naturalistically.”
-Rob Lester, Edge New York

“TROUSERS DELIVERS, particularly when performed by actors as likable as Gary Gregg and Daniel Freedom Stewart!”
-Joseph Hurley, Irish Echo

“‘THE HISTORY BOYS’ ISNT THE ONLY GREAT
BRITISH IMPORT THIS SEASON!”
-New York Magazine

“THE CAST’S ENERGY AND BRISK DIRECTION OF TALYA KLEIN PROPEL THE 20 QUICK TAKE SCENES! Meghan Andrews (who was excellent as the shy young bride in the recent “Trip to Bountiful”) didn’t flinch from portraying the needy, cruel Anne. Catherine Eaton was wholly believable as Caroline, a tough-talking sculptor and neighbor of Trevor. Samuel Adamson’s tonal pitch for these stuck, disappointed people is near perfect!” -New York Times

“BEST BET! If you like your plays sharp, swift and bitingly funny, get tickets to Clocks and Whistles!” -New York Magazine

“RIVALS ANYTHING YOU’LL SEE ON BROADWAY OR OFF THIS SEASON! This import strikes chords of dissonance both haunting and raw! Acted fearlessly, Clocks and Whistles is darkly absorbing!” -Edge New York

“PICK OF THE WEEK! The performers make Adamson’s casual dialogue crackle, turning this into a satisfying trip into 21st-century sexual coupling!” -Back Stage

“INSIGHTFUL, AMUSING AND SOMEWHAT DISTURBING! Samuel Adamson’s Clocks and Whistles affords us an insightful, amusing and somewhat disturbing look into the private lives of a group of young Londoners of a decade ago! All in all, a credit to George C. Heslin and Origin Theatre Company’s 2006 season!” – Irish Echo

“FUNNY AND HEARTBREAKING! A funny, heartbreaking tale of three young Londoners sorting it out artistically/sexually, informed with a lovely sense of discovery and youthful brio!” -Gay City News

Crestfall one of just five plays to receive a starred listing (highly recommended) in the New York Times, Friday Oct 14th 2005…
“three stunningly written monologues with as much sex, violence and cruelty as 10 Quentin Tarantino films… [a] speeding train of a play staged with little fuss by George C Heslin… It was almost as if Mr. O’Rowe had studied Samuel Beckett’s chiseled prose and Martin McDonagh’s outrageous violence… O’Rowe presents something truly unexpected…a picture of pure innocence.”
-Jason Zinoman, The New York Times, October 10 ‘05

Mark O’Rowe enjoys success in his native land (Ireland) and he has even penned a Colin Farrell movie (Intermission) but his plays have been ignored by the off Broadway establishment. Instead, it’s left to Origin Theatre Company to display this glittery, blood-streaked gem… it’s we who should be sorry that his work does not get more support in America.
David Cote, Time Out, October 13 ‘05

Three actresses take the stage in Crestfall… taut performances
The New Yorker, October 24 ‘05

Survival instincts swirl together.. in Heslin’s compelling production… Fiana Toibin gives a feral portrayal of Olive… Barbara J Spence provides a veneer of chilly self righteous remove as Allison.
Andy Propst, Back Stage October 13 ‘05

..Immensely talented Mr O’Rowe…Skillfully acted, intelligently and sparingly directed..
Joseph Hurley, Irish Echo October 19 ‘05

In addition, Andy Probst of Back Stage selected Fiana Toibin’s performance in Crestfall, alongside some of the best broadway talent, as on of the most memorable acting performances of 2005…

“Fiana Toibin’s simultaneously frightening and touching performance in Crestfall blended intense ferocity with innate humanity. Mining Mark O’Rowe’s abstract language for it’s musicality, Toibin used her physicality to beautifully underscore his cadences: a casual, wistful glance one moment, a blood-curdling stare paired with rigid steeliness the next.
Andy Probst, Back Stage, December 29 ‘05

Those committed to new writing should run to see this production of
Rundown by Origin Theatre Company.
Irish Times

A vibrant arrival of a new writer in a fast paced slick production directed by George C Heslin
Sunday Independent

A RIVETING PIECE OF THEATRE! Director M. Burke Walker has elicited uniformly fine performances from his ensemble cast. J. Kennedy gives a highly intense and intelligent portrayal of the inherently angry and frustrated Marcus. A play of great sensitivity
Diana Barth, Irish Voice

EMOTIONALLY GRIPPING! Aidan Mathews amusingly and poignantly investigates the ways in which people derive their spiritual sustenance at the cusp of the millennium. M. Burke Walker elicits sterling performances from his six-member company

Andy Probst, American Theater Web

ORIGIN THEATRE IS TO BE COMMENDED FOR IT’S RISK- TAKING IN THIS FINE PRODUCTION. J Kennedy is witty and compelling, Ean Sheehy is an extraordinary aspect of this fine play
Joe Hurley, Irish Echo

A VIBRANT PORTRAIT OF THE CHALLENGES, REWARDS, AND OCCASIONAL DETRIMENTS OF UNCONDITIONAL LOVE! ‘Communion’ is beautifully brought to life by M. Burke Walker’s sensitive direction and an acting company providing a host of compelling performances. Ean Sheehy and Barbara Sims are especially convincing in their roles, particularly when performing together. Remaining dry-eyed through their final minutes together might rank as one of the season’s most daunting theatrical challenges
Matthew Murray,Talkin’ Broadway

THE CAST FLOURISHES under M. Burke Walker’s careful direction, erudite writing, tackling of big themes
Karl Levett Backstage New York

A DARK AND CEREBRAL COMEDY OF MANNERS! Irish playwright Aidan Mathews engages the subject of illness and dying with a refreshing candor and lack of sentiment. Ably directed by M. Burke Walker, ‘Communion’ is the kind of work that is fun to pick apart afterward, with its latent symmetries and ironies as well as its musings on faith and God. But there are enough comic and heart-pricking scenes to save the play from feeling like a philosophy lesson.
Deirdre McFadyen, OffOffOnline

THE LOW TICKET PRICE DOES NOT REPRESENT THE VALUE OF THE CAST IN THIS FINE PLAY
Budget Broadway

Origin Theatre Company set a new standard in production quality and demonstrate their genuine commitment to bringing new works to the stage.
IRISH VOICE

A powerful performance knocking the audience right of their seats with every outrage and then smoothes them over with a chilling calm
SHOW BUSINESS WEEKLY

David De Becks direction makes the trip through Thomas mind an intriguing journey. The lighting and sound design by Sean Farrell and Zachary are extremely effective.
BACKSTAGE NEW YORK

A well paced absorbing production, with grace style and insight
IRISH ECHO

Zachary Williamson expertly layer sound design and Sean Farrell’s evocative lighting guided by De Becks skillful direction
IRISH THEATRE MAGAZING

MISTERMAN Irish Tour

The acting in Origins production of Misterman is nothing short of extraordinary
THE SUNDAY BUSINESS POST

Origins delivers a cleanly professional production under De Becks well observed direction
THE LONDON GUARDIAN

The acting is deft and fluent , superbly lit and directed
IRISH TIMES

I told J. Cole I had an idea on a remix for his single, “Lights Please”, when we performed at the VH1 Hip-Hop Honors Pre-Party. This was the outcome…

No XV verse. Just Vizzy on the beat! I’m a HUGE fan of this record already, so I didn’t want to mess with what J. Cole already created. So, peep it!

CLICK HERE TO DOWNLOAD/STREAM

]]> http://schwartzscene.wordpress.com/2009/11/19/romeo-and-juliet-opens-tonight/ Thu, 19 Nov 2009 16:23:10 +0000 tconigl1 http://schwartzscene.wordpress.com/2009/11/19/romeo-and-juliet-opens-tonight/

Romeo and Juliet opens tonight!  I love the excitement of opening night and this show has a lot of energy.  Melanie, the director, has taken a totally new approach to the piece and it shows.  Be prepared for a fast-paced show and not your grandma’s Shakespeare!

Check out what I got to preview in dress rehearsal.

-Terry

I cut and graded the trailer with the incredible Larry Gardner mixing audio and helping out with the cut and color.

Post-production has taken longer than expected but we are almost there.  And as post winds down, it logically follows that the sale of The Virgins special edition DVD, with its opportunity to get your name in the credits, will have to soon end.  Go here to see what features will be available in the special and regular edition DVDs.

Also, new production stills are up on The Virgins page.

The screening of our “secret” Public Service Announcement is going to take place on December 4th, 2009. tbh productions + Frugo Productions + Girl on Girl Concepts have shot a PSA promoting the NEW symbol for Women.

Join us for the first ever premiere in Riverside, CA. Meet the producers, the actresses, the filmmakers(that’s us!), and many other like-minded women. (Men are also welcome)

When:  Friday December 4^th, 2009

             8pm

Where: Coffee Roasters

              5223 Canyon Crest Dr. (in the Canyon Crest Towne Center)

              Suite #20

              Riverside, CA 92507

 RSVP:  webmaster@girlongirlconcepts.com     …bring your friends!! (not necessary, but encouraged)

For more info, contact:   webmaster@girlongirlconcepts.com

www.GirlOnGirlConcepts.com

The different casting ethnics and locations were decisive on the client choice of São Paulo for the shooting.

Director: Matthaus Bussmann

Production Company: Sandwick Films (USA)