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Ever heard of the English expression "as mad as a hatter"?
Actually, there's nothing funny about it.
In 18th and 19th century England mercury was used in the production of felt, popular in the manufacturing of hats common of the time. Factory workers exposed to mercury fumes given off during the hat making process, often suffered the so-called "mad hatters disease", which caused dementia, confused speech and distorted vision inflicted by mercury poisoning. Thus originated the phrase "mad as a hatter" as a popular means to refer to someone perceived as insane.
Fortunately, nowadays there's nothing "mad" about "hatters" anymore.
Well, probably just that one tiny thing…
Ever chanced upon The Bates Gentleman's Hatter boutique during your Rue Rivoli walk in Paris?
A window shop with an astounding variety of headwear awaits, making the marriage between "a head" and "a hat" all the more realistic.
You can find your "funny Valentine" among:
Silk Toni, DeerStalker, Sinatra, Poet, The Indi, Baker Boy, Peach Bloom Fedora, The Pioneer, Weekender, Regent, The Burlington, Grafton, Pork Pie, The Rancher, The Townsend, Boater, The Forester…
In case you were wondering, those were all hat names.
You risk to get lost in the picture dictionary of all things "hat" displayed on this London-like vitrine.
But one thing is for sure.
That certainly is a sight to see!
Go raise your hat to them at 252, Rue De Rivoli, Paris
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Casper trials quintet
By Simon Fudge
Last Updated: 01/01/70 1:00am
Bury boss Chris Casper has handed trials to five players this week.
Bury boss Chris Casper has handed trials to five players this week.
The League Two side are running the rule over former Burnley defender Duane Courtney, who was recently released by The Clarets.
Former Stockport County midfielder Mickael Wolski has also arrived at Gigg Lane after an unsuccessful trial at League Two rivals Chester City.
Former Bristol Rovers, Leyton Orient and Exeter City midfielder Wayne Carlisle is also looking to earn a contract with Casper's side, as is former Chester defender Scott McNiven.
Former Walsall winger Daryl Taylor is also on trial with The Shakers, despite signing a month-to-month contract with League One club Bournemouth back in June.
All five players appeared in Bury's reserves on Wednesday afternoon.

subset: commoncrawl


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The Bermuda Police Service can now confirm the death of 62 year old American cruise ship visitor Yvonne Aites and extends sincere condolences to her family and friends.
Ms. Aites, from Massachusetts, apparently fell off of a Jet Ski into the water near Cambridge Beaches, Sandys parish Monday morning (June 4th) during a Jet Ski tour and became unconscious.
Despite lifesaving efforts on the water which continued as she was rushed to King Edward VII Memorial Hospital via ambulance, Ms. Aites was later pronounced dead.
A Family Liaison Officer has been assigned to assist the deceased's loved ones at this difficult time.
An autopsy has been completed and the results confirm the cause of death as drowning.


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Obama tells CBS there is still a "big gap" on Iran nuclear talks
U.S. President Barack Obama tells CBS Face the Nation that there is ''still a big gap'' on Iran nuclear talks. Rough Cut (no reporter narration).
ROUGH CUT (NO REPORTER NARRATION) STORY: U.S. President Barack Obama tells CBS Face the Nation that there is "still a big gap" on Iran nuclear talks, and that "we may not be able to get there." He also made it clear that there is no link or trade off between Iran and the U.S. on the nuclear issue in terms of the broader U.S. policy. "We do have a shared enemy in ISIL, but I have been very clear publicly, and privately, we are not connecting in any way the nuclear negotiations from the issue of ISIL," he said. Senior envoys of Iran, the United States and European Union met in Oman on Sunday to tackle stumbling blocks in efforts to defuse the standoff over Tehran's nuclear program. Reiterating Iran's official line, Ali Akbar Velayati, a top aide to Supreme Leader Ayatollah Ali Khamenei, was quoted by Iranian media as saying the Islamic Republic would not abandon its nuclear "rights" but was committed to the negotiations under Khamenei's leadership. Western countries and close U.S. ally Israel suspect Iran has covertly sought to develop the means to build nuclear weapons, and a decade-long confrontation over the issue has raised the risk of a wider war in the volatile Middle East. The discussions, between Iranian Foreign Minister Mohammad Javad Zarif, U.S. Secretary of State John Kerry and EU envoy Catherine Ashton, aim to put verifiable limits on Iran's uranium enrichment work - and any other potential path to a nuclear weapon - in return for a gradual lifting of sanctions.


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text: On Tuesday, November 30, 2010 07:45 PM, Leonard den Ottolander wrote: > Hello Les, > > On Mon, 2010-11-29 at 12:35 -0600, Les Mikesell wrote: >> If you don't trust your software, run it under a uid that doesn't have >> write access to anything important - or in a VM or a different machine >> for that matter. X has no problem displaying programs running with >> different uids or locations. > > Using a "safe uid" will not stop a buffer overflow from happening and > causing a privilege escalation if such an issue exists in the software. > SELinux will negate most of the damage by disallowing even the escalated > process access to resources it shouldn't touch. > > With the ever increasing complexity of software is there any software > you trust? I know I don't. Are you running your Flash plugin in Mozilla > as a different user than the one you logged into under X? Care to > elaborate how to accomplish such a feat? Or can you provide any > pointers? > Forget it Leonard. He says he has no problem with SELinux but he has strenuously tried to come up with every sort of excuse he can think of to tell others to not bother with it. So it seems to me that he is either trolling or is willing to make himself a soundboard for others to see the need to implement and run SELinux.


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Droolworthy: ZVEX Candela VibroPhase
- By TR Staff @tonereport
- February 29, 2016
- 1 Comments
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From the dank Transylvanian halls of castle Dracula to a mythic fiddler on the roof, Houston's 2012-2013 theater season astounded. The breadth of talent rivaled any theater scene anywhere — and I mean anywhere! — with each subsequent week of the season bringing a stage full of exciting new surprises. Some dear friends disappeared, but others stepped up to take their place.
Retirement, burnout or the wrecking ball can do immense damage, but nothing can, nor ever will, replace the intoxication of live entertainment. Theater marches on. For all of us who revel in Houston theater and know its wonders, the 2012-2013 season was, if nothing else, exceptional. Our job to reward excellence for the 2nd Annual Houston Theater Awards did not get easier. There's such a surfeit of quality work from which to choose the nominees. We listened to our readers and debated heatedly, relishing the chance to relive the season. We at the Houston Press salute all who shine so brightly. You make our work a pleasure. Here's to you, and here's to abiding Houston theater. — D.L. Groover
Editor's note: The following assessments were reached after considering community input and our own attendance at Houston theater offerings and were written by Houston Press theater critics D.L. Groover and Jim Tommaney, Night and Day Editor Olivia Flores Alvarez and Editor in Chief Margaret Downing. Finalists are listed in alphabetical order.
Best Play/Production:
God of Carnage
(Stark Naked Theatre Company)
What's better in the theater than adults behaving badly? How about four of them? And what if the two married couples who seem normal and under control swiftly descend into the most uncivil, screamingly funny behavior? In Stark Naked Theatre's sterling production of Yasmina Reza's Tony Award winner, the laughs and the barbarity didn't just come in waves, they spewed. Scratch these yuppies and you discovered a jungle heart of darkness. This was the fastest one and a half hours onstage, a nonstop, in-your-face comedy that didn't blink and got more outrageous by the minute. Six Flags' cyclone is tame by comparison. Amid Jodi Bobrovsky's sleek set design of African prints and primitive art, these so-called adults corkscrewed downward, overlapping like an M.C. Escher drawing. Outrageous, swinish behavior doesn't get any funnier than when actors Kim Tobin, Drake Simpson, Kay Allmand and John Gremillion, under Justin Doran's meticulously fluid direction, galloped full speed ahead and trampled all in their path. This was an R-rated Punch and Judy show. As in war, alliances merged, changed sides or stood stubbornly apart, hoping the hastily dug foxholes would protect them. If you ever thought civility and good manners could save our world, Reza's comedy, realized through Stark Naked's wondrous clarity, slapped that thought right out of your head.
Finalists: Boom (Black Lab Theatre), Clybourne Park (Alley Theatre) and Henry V (Main Street Theater).
Best Musical:
Fiddler on the Roof
(Houston Family Arts Center)
HFAC used the huge stage of the Berry Center to capture the sweep of this epic musical work. The setting is Anetevka, a small Russian village in 1905, where we learn to love the family of Tevye, his wife and his five daughters, but also to love the village itself. With a wonderful cast of 64 headed by Jeffrey Baldwin as Tevye, the production captured the humanity, and the love, sometimes contentious, that infused the community. Baldwin brought excitement to his role and a wonderful voice, and his characterization was flawless, whether he was negotiating with a tradesperson, his wife, his daughters or with God. Excellent sound, haunting lighting, enthusiastic choreography and compelling performances even in minor roles blended together to make this a truly remarkable musical triumph.
Finalists: Road Show (Stages Repertory Theatre), Sweeney Todd (Generations, a Theatre Company) and Sweeney Todd (Stage Door Inc.)
Best Actor:
Jay Sullivan in The Elephant Man
(Alley Theatre)
Strapping, handsome and near naked, actor Jay Sullivan stood sculpted under the white-hot light of a medical school lecture hall. His immense and gruesome physical deformities, like some sort of human nightmare, were described in scientific, unemotional detail. As each more horrible particular was mentioned — gargantuan, lumpy head; bony growths; pendulous flesh; finlike hand; misshapen, useless leg; a face incapable of showing emotion — Sullivan obliged. His head tilted off-kilter, too heavy to hold upright; one shoulder rose; his arm withered; his hip turned inward; his foot bent backward; his back went crooked. In a most magical coup de théâtre, frightening in its simplicity, Joseph Merrick, the infamous "Elephant Man," stood before us. Period photographs of Merrick's actual body were projected on the background, but what we reacted to was Sullivan's beauty transformed. Throughout the play, we never forgot those dreadful images of the real Merrick, but we lost our hearts because of the sublime transmutation from Sullivan. When Merrick spoke, Sullivan emitted a tiny bark beforehand, as if the very act were painful and ill-formed. His face a mask, Merrick couldn't relax; he could barely move. But inside, Sullivan sang. You know what they say about judging a book by its cover. Merrick's sad life is depicted in fascinating detail in Bernard Pomerance's 1979 Tony Award winner, but in his incandescent performance, Sullivan made each episode burst into flame, and us into tears.
Finalists: Jeffrey Bean in Clyborne Park (Alley Theatre), Greg Dean in Waiting for Godot (Catastrophic Theatre), Phillip Lehl in Macbeth (Stark Naked Theatre Company), Benjamin Reed in As You Like It (University of Houston's Houston Shakespeare Festival), Guy Roberts in Henry V (Main Street Theater/Prague Shakespeare Festival) and Colton Wright in Sweeney Todd (Stage Door Inc.).
Best Actress:
Detria Ward in The Nacirema Society
(Ensemble Theatre)
Detria Ward channeled a bit of Rosalind Russell from Auntie Mame for her performance as matriarch Grace Dunbar in the romantic comedy The Nacirema Society at The Ensemble Theatre, but just a tiny bit. Echoes of Russell's statuesque elegance were obvious, but Grace's steel-rod backbone and gritty resolve to make the world around her as genteel as possible — even if she had to connive and conspire with hilarious results to do it — were all Ward. It would have been easy to let Grace, a member of Montgomery, Alabama's African-American upper class during the civil rights era, become a caricature. After all, Grace made manipulation into an art form and spent her time happily imposing her formidable will on everyone around her. But Ward dug deeper. In her skilled hands, Grace became a three-dimensional woman with understandable reasons for her excessive — and comical — need for control. And the epiphany she had at the play's climax became more than just a device to move the action along; Grace grew.
Finalists: Danica Dawn Johnston in Wild Party (Bayou City Theatrics), Rachel Logue in Dollhouse (Stages Repertory Theatre) and Kim Tobin in God of Carnage (Stark Naked Theatre Company).
Best Supporting Actor:
David Matranga in Macbeth
(Stark Naked Theatre Company)
Winning the role of Macduff in Macbeth was just the first hurdle for David Matranga. Then he was faced with the task of breathing life into a complex and important character who spent only a relatively short amount of time onstage. Calling on his training, skill, talent, intelligence and not a little bit of instinct, Matranga did so brilliantly. In one crucial scene, Macduff learns that his wife and children have been killed on Macbeth's orders. Matranga underplayed the character's anguish beautifully, letting the audience feel Macduff's pain through his silence rather than by relying on tears or other physical signs of agony. There is a definite arc to Macduff, who goes from being a loyal and faithful follower of the king to being a ruthless avenger, reckless in his efforts to retaliate. Matranga had just a few scenes to show audiences each step in Macduff's improbable path. That was all he needed.
Finalists: Zach Averyt in I Capuleti e I Montecchi (Opera in the Heights), Ty Doran in Kimberly Akimbo (Mildred's Umbrella Theater Company), John Gremillion in God of Carnage (Stark Naked Theatre Company), Matt Lents in Body Awareness (Stark Naked Theatre Company) and Drake Simpson in Body Awareness/God of Carnage (Stark Naked Theatre Company).
Best Supporting Actress:
Josie de Guzman in The Hollow
(Alley Theatre)
Talk about someone going for it. Josie de Guzman was the brightest spot in the Alley Theatre's production of Agatha Christie's The Hollow. All eyes were on her as Lucy, the dotty Lady Angkatell, anytime she walked across the stage. Despite absentmindly misplacing things as well as forgetting why she'd entered a room, Lady Angkatell was a good judge of character and events and de Guzman made the most of the clever lines she was given. De Guzman threw herself into the role — not in a campy way, but in total belief in her character and what she was doing. As a result, she was the most believable actor onstage and rendered her part a triumph.
Finalists: Joyce Anastasia in The Nacirema Society (Ensemble Theatre), Elizabeth Bunch in Elephant Man (Alley Theatre) and Judy Frow in Company (Texas Repertory Theatre).
Best Breakthrough:
Kenn McLaughlin
(Stages Repertory Theatre)
Producing Artistic Director Kenn McLaughlin took on a different kind of role when he acted the part of Martin Luther in David Davalos's seriocomic play Wittenberg. As one of two professors — the other being hedonist Doctor Faustus — vying for the heart, mind and soul of Prince Hamlet (Ryan Schabach) at Wittenberg University, McLaughlin played the moral leader with the requisite amount of religious fervor and justification, but with nuance as well. He might not approve of Faustus, but they were friends even in competition. McLaughlin hadn't planned to act in the play, but volunteered to read the Martin Luther part during auditions. Director Josh Morrison says the pairing of McLaughlin with Luis Galindo's Faustus clicked immediately and a star was born. "Louie is such a powerful actor, in order for the play to work, I needed to have someone who goes head to head with him," Morrison says. Speaking of heads, McLaughlin went all in for the role, getting his hair shaved in semi-tonsure, which certainly must have attracted attention when he went out into the streets, leaving behind his stage persona.
Finalist: Into the Woods (Bayou City Theatrics)
Best Costumes:
Alejo Vietti for Sherlock Holmes and the Adventure of the Suicide Club
(Alley Theatre)
Spoiler alert! I want that robe — that great swath of a morning coat worn by Jay Sullivan as Russian Prince Starloff. Wondrously over-the-top and shimmering in what looked like the toniest of rich red and yellow brocaded sunbursts, the dressing gown flared out like a cathedral bell. Rich, sumptuous and slightly peculiar, the design was just what the Prince would turn out to be. Vietti, an Alley veteran, knows how to command attention with the perfect look for each character. He gets at their hidden history with cut, pattern and stitch. Holmes was dressed in odd aubergine with open-neck shirt and patterned vest, a colorful Victorian adventurer; the ancient Mr. Richards, in a wheelchair, was arrayed in inky black velvet smoking jacket; Christiane, the lady in distress — so we think — was a pastel eyeful of swirling lace and tightly corseted satin. Her hats alone, swooping with ostrich and egret, were worth the price of admission. If clothes make the man, then Vietti, the constant pro, makes the play. Wearing his sublime apparel, the theatrical world of Victorian gaslight blazed with sartorial rightness.
Finalists: Tricia Barsamian for The Hollow (Alley Theatre), Colton Berry for The Wild Party (Bayou City Theatrics), Margaret Crowley for Henry V (Main Street Theater), Carl Friedrich Oberle for Don Giovanni (Houston Grand Opera) and Macy Perrone for The Nacirema Society (Ensemble Theatre) and Tartuffe (Rice University).
Best Set Design:
Kevin Rigdon for Clybourne Park
(Alley Theatre)
The set for Clybourne Park was limited to a single living room, but the lack of variety in locale didn't stop Kevin Rigdon from making it an intricate and revealing piece of the show. Seen in the first act in 1959 and in the second, 50 years later, the set started off as a rather sedate, ordinary backdrop for a normal middle-class family. But there isn't anything sedate or ordinary about the people who lived there, and the set reflected that in a dozen subtle ways. The chaos of packing for a move, with nothing where it should be, mirrored the fact that the family members were also desperately out of place. In the second act, the room was empty save for a few pieces of trash that littered the floor. The walls were covered in graffiti, the staircase broken. Neighbors were meeting with the new owners, urging them to respect the home's original dignity, its architectural legacy. It was an uneasy exchange made all the more painful by the room's lack of physical comfort.
Finalists: Marc Anthony Grover for Sweeney Todd (Stage Door Inc.), Ryan McGettigan for Boom (Black Lab Theatre) and Ubu Roi (Classical Theatre Company), Matthew Schlief for Tartuffe (Rice University) and James V. Thomas for The Nacirema Society (Ensemble Theatre)
Best Lighting:
Duane Schuler for Don Giovanni
(Houston Grand Opera)
Although this Göran Järvefelt production debuted at HGO in 1986, the radiant Mozart masterpiece seemed as evergreen as ever thanks to the Baroque elegance of its unit set as lit by master designer Duane Schuler. It was a theatrical Spain like no other as Schuler seduced our eye with the opera's midnight alleyways of Seville, torchlit and angular; a countryside al fresco wedding, caressed and warmed by the afternoon sun; a spooky cemetery, all shadows and silhouettes; nighttime castle gardens, fit for seduction; and ultimately, the fiery demise of legendary womanizer Don Juan as he was dragged into the pits of hell — hot and red, of course. Because of Schuler's immaculately evocative lighting, each place came alive as if it were another character in this rich work. It was so good that Mozart, had he seen it, would've written an aria to honor it.
Finalists: Tyler Frazier for The Wild Party (Bayou City Theatrics) and Kirk Markley for Language Archives (Stages Repertory Theatre)
Best Director:
Guy Roberts for Henry V (Main Street Theater)
Working between sight-blocking poles that hold up the Main Street Theater building, extending his actors and their performances several rows upwards into the audience, and presenting plays that often aren't the first choice of modern audiences (outside of Shakespeare festivals), actor/director Guy Roberts has been able to make the most of his material and the performers he works with. Houston audiences have responded as well, showing up in force this year for Shakespeare's battlefield story (whose run was extended because of demand), and this time, they didn't see the whitewashed version but the one that showed the king with warts and all. The action moved almost seamlessly from battlefields to English and French courts, and sitting on the edge of their seats, audience members didn't want to miss an action or a line. Once more into the breech indeed.
Finalists: Illich Guardiola for Fiddler on the Roof (Houston Family Arts Center), Eva Laporte for Dollhouse (Stages Repertory Theatre), Eileen Morris for Race (Ensemble Theatre) and Jason Nodler for Waiting for Godot (Catastrophic Theatre).
Best Sound Design:
Jim Allman and Ananka Kohnitz for
Dracula (Theatre Southwest)
Did you ever hear the howl of a werewolf? Or the wild wind whipping through the Carpathian Mountains? Crashing waves and whispery Gregorian chant can be easily conjured, but what about fog? I swear I heard the sound of fog at Theatre Southwest, since the overall design by Jim Allman and director Ananka Kohnitz was so eerie and competently wrought. Steven Dietz's melodramatic adaptation of Bram Stoker's 1897 neo-gothic shocker was greatly enhanced by this aural magic. Seamlessly woven into the drama as if it had all been spun by the cleverest of spiders, the sound became one with the story. With bloodsuckers lurking around every parapet, the tale of vampires on the prowl took on the deepest of hues — the color of blood, maybe? Or, better, its sound?
Finalist: Tim Thomson for Ravenscroft (Mildred's Umbrella Theater Company)
Best Visiting Production/Touring Show: Peter Pan (Theatre Under the Stars)
Cathy Rigby was there not only to soar over the crowd but, thanks to new mechanical devices, to do the kind of flips and twirls that called on her gymnastic skills and delighted the audience. That she was doing it as she turned 60 years old only added to the timelessness of this rejuvenated musical version of J.M. Barrie's tale of the boy who would not grow up. With Brent Barrett as a tony, almost sexy Hook and an exasperated Mr. Darling, and a Vegas-inspired Tiger Lily (Jenna Wright) surrounded by Cirque du Soleil-like Indians, the show moved quickly along, never dull, often adventure-filled and poignant. Great songs like "Tender Shepherd," "I've Gotta Crow," "Flying" "I Won't Grow Up" and "Never Never Land" retain their enduring appeal. And when audience members clapped their hands, it wasn't just to save Tinker Bell.
Finalists: A Chorus Line (Theater Under the Stars), Jersey Boys (Gexa Energy Broadway at the Hobby Center) and Spamalot (Theater Under the Stars)
Best Honorary Houstonian:
Guy Roberts (Prague Shakespeare
Company and Main Street Theater)
Guy Roberts says he has been approached countless times after a Shakespeare play in which he's performed and/or acted and been thanked by audience members for finally making William Shakespeare's work understandable. "I never change a word," he says with a grin. The Texas actor, who fell in love with Prague and started an English-language Shakespeare theater company there, has paired well in repeated visits to Houston with Artistic Director Rebecca Greene Udden's Main Street Theater. After last year's Richard III (and appearing in Tom Stoppard's The Coast of Utopia triology), Roberts returned this year with a Henry V complete with taiko drums and bloody battle scenes. Directing and playing the lead role, he once again produced compelling, exciting theater. The bad news is that he's not due back till February 2014, when he is bringing a production of Macbeth to Main Street Theater.
Finalists: Writer/actor Stephan Fales (Confessions of a Mormon Boy, Missionary Position at Theater LaB Houston) and visiting director Gus Kaikkonen (Paradise Hotel, The Crucible, Wild Oats at the University of Houston).
Best New Theater Company:
Bayou City Theatrics
An incredible and dynamic first season in a variety of venues and under the artistic direction of Colton Berry brought us delight after delight. On Halloween week, the nightclub Vue served up The Rocky Horror Show with Tye Blue lighting up the stage in heels and fishnet stockings. New Year's Eve had a one-night performance of Rent at the Stag's Head Pub, followed in January with two weeks of Into the Woods, with its huge cast and intriguing sets successfully shoehorned into the Midtown Art Center's intimate venue. We met Audrey, the carnivore plant in Little Shop of Horrors, for two weeks in February and March at Frenetic Theater. In May we were given two weeks of Elton John and Tim Rice's Aida, this time at the Barnevelder Movement/Arts Complex, and Bayou City Theatrics returned there for a two-week run of a rarely produced musical, Andrew Lippa's The Wild Party, with a powerful and haunting performance by Danica Dawn Johnston as Queenie.
Best Choreography for a Musical:
Luke Hamilton for Fiddler on the Roof
Fiddler on the Roof creates a sense of family, but equally important is its creation of a community, one struggling with conflicts, rivalries and an ever-present threat of oppression while revered traditions butt head-on with innovative expressions of freedom. The gifted choreography of Luke Hamilton captured this sense of community as the stage filled with lovers courting or villagers celebrating an event. The colorful costumes by Lisa Garza swirled in peasant arabesques, and even in scenes of conflict, the movements were graceful and compelling. The vitality of the good-at-heart emerged in triumphant sweeps, and the fiddler himself leaped from rooftop to center stage to join in the ebullience. And "If I Were a Rich Man" combined a star turn with backup dancers in a delightful blend. With a talented cast of 64, Luke Hamilton had his hands full and succeeded brilliantly where a lesser choreographer might have faltered.
Finalist: Mitzi Hamilton for A Chorus Line (Theatre Under the Stars)
Saddest Theater News:
The Closing of Theater LaB
We knew it had to come eventually to 1706 Alamo, intimate home to Gerry LaBita's Theater LaB Houston. We just weren't prepared for the heartache and the void. The property has been sold, leaving scrappy, innovative TLH scrambling for a home. We've spent countless evenings at the tiny venue on Alamo, almost bumping our head on the lighting grid hanging from the low ceiling, never knowing what wonders LaBita would present. As one of Bayou City's most impressive impresarios — our own theatrical Diaghilev — LaBita showcased the most memorable of new works, golden nuggets he found on his many trips abroad or in New York City. He mined theater's underground and came up with surprising treasures, turning the cramped 65-seat house into the Hippodrome. With its adult fare — musicals, dramas, monologues, revues — TLH consistently sold out, ran in the black for 19 years (an unprecedented record) and presented more than 120 Houston premieres. Just a cursory inventory reveals the depth of its vision: My Children! My Africa!; The Kathy & Mo Show; Assassins and Passion; Box Office of the Damned; Eating Raoul; Shopping & Fucking; My Queer Body; Die! Mommy! Die!; The Tale of the Allergist's Wife; Kiki and Herb; Spymonkey's Stiff; Killer Joe; Top Gun! The Musical; Mrs. Farnsworth; Fat Pig; China: The Whole Enchilada; The Little Dog Laughed; Confessions of a Mormon Boy; and, lest we forget, Debbie Does Dallas. There was definitely something for everybody at 1706 Alamo. Once you saw a show at TheaterLaB, you never forgot it. Provocative and edgy as a razor, Theater LaB was the best of the best. It will be sorely missed. Please reappear soon.
Best Artistic Director:
Enrique Carreón-Robledo
(Opera in the Heights)
The 2012-2013 season saw the relatively small company Opera in the Heights (its home base, Lambert Hall, seats only 300) undertake an ambitious all-Shakespeare season. We can imagine that Artistic Director Enrique Carreón-Robledo, who joined the company in 2011, had an uphill battle convincing first his board of directors and company members and then the public that the rarely performed I Capuleti e I Montecchi by Bellini, a bel canto version of Romeo and Juliet, was preferable to more popular operas such as La Bohème. Or that Otello by Rossini, an almost unrecognizable version of the well-know tragedy Othello, would be more engaging than yet another rendition of Carmen. Luckily he succeeded, and Houston audiences enjoyed every aria and overture. Along with Capuleti and Otello, the season featured Macbeth and Falstaff. Carreón-Robledo, known for his ability to spot talented young singers just before they burst onto the international scene, produced a season of gems.
Finalists: Gregory Boyd at Alley Theatre, Philip Lehl and Kim Tobin at Stark Naked Theatre Company, and Bruce Lumpkin at Theatre Under the Stars.
Best Ensemble:
A Few Good Men
(Alley Theatre)
In A Few Good Men, each character carved out his own identity, but each fit as well into the mosaic that was the world of the military and the specific world of Guantánamo, where the sense of being an intruder on unwelcoming foreign soil hung in the air like the sword of Damocles. Director Gregory Boyd forged a large cast into an exemplary fighting machine, with tension high and deception rampant. The metallic set captured the sense of a Spartan military life, and the closing of the door to a prison cell resonated like something out of Edgar Allen Poe. Boyd allowed moments of passion to emerge as required and achieved the balancing of conflicting arguments from varying value systems, all contained within the rigor of a specific time and a claustrophobic space. It was a marvel of discipline and heart.
Finalists: Clybourne Park (Alley Theatre), Death of a Salesman (Alley Theatre), Fiddler on the Roof (Houston Family Arts Center) and The Nacirema Society (Ensemble Theatre).
Best Gem of a Theater:
Stage Door Inc., Pasadena
Discovering Stage Door Inc. is like finding a ruby in a Cracker Jack box. One wends one's way through a rather plebeian indoor shopping mall, and suddenly, next to Sears, is a glass-door entrance to a palace of brilliant entertainment. One is greeted by actors in full make-up and elaborate costuming, in tune with whatever extravaganza, often a musical, Artistic Director Marc Glover has whipped up. Usually it's a thriller, perennial favorites like Evil Dead or the Rocky Horror Show, or this year's superb Sweeney Todd, in which Stage Door's frequent leading actor, Colton Wright, carved his way into a memorable characterization that grabbed one by the throat (dangerous here) and wouldn't let go. And it's not just thrillers, as Glover found all the charm, sweetness and ribald humor in Avenue Q, and the romantic heart and the outlaw desperation in Rent. The price is modest indeed, the popcorn is just a buck, the sets are brilliant, the acting can be inspirational — and the venue has new and very comfortable seats. In short, Stage Door Inc. is a theater-goer's dream.
Best College Theater:
University of Houston
UH's Department of Theatre and Dance brought us not one but two productions of William Shakespeare's As You Like It, one indoors at the university's Wortham Theatre in April and one in July at Miller Outdoor Theatre, the latter in repertory with the bard's Antony and Cleopatra. It opened its season in September with biting insights in Caryl Churchill's satiric Serious Money, skewering the Thatcher era in Britain, followed by an elaborate production of Bertolt Brecht's comedic and epic drama Mother Courage and Her Children. Farcical humor was delivered in spades in Georges Feydeau's Paradise Hotel, while a Hans Christian Andersen fable, The Snow Queen, was staged with some experimental elements. Many of these productions were brilliant, and, where some faltered, the effort and intention remained noble. The award is well earned for distinguished successes, for providing a wealth of theatrical variety and for gracing the Houston theater scene with the UH theater department's towering presence.
Finalist: Rice University
Best Utility Actor/Actress:
David Matranga
He sings, he dances, he acts. No, change that. He acts, he sings, he dances. No, I mean...oh, you get the picture. David Matranga does all three with an abundance of stage presence and tremendous knowhow. Being as handsome as a movie star doesn't hurt, either. He can play anything, from leading man to supporting player (see our Best Supporting Actor category), from contemporary to classical. This season was no exception for this exceptional performer who has a natural gift for improving every play in which he appears. In Jerome Kern's Showboat at HGO, he played Steve, stalwart lover of mulatto Julie, who sucks a drop of her blood to make him, too, part black. As Detective Sergeant Penny in the Alley's Summer Chills' The Hollow, he brought an affable randiness for the housemaid that elicited comfy laughs from the audience. In Stages Repertory Theatre's Dollhouse, Rebecca Gilman's penetrating update of Ibsen's classic, he turned husband Terry into a vengeful control freak, allowing his Nora to be as free as she wants as long as she stays free in their bedroom. Earlier in the season, he abetted another Julie in Classical Theatre Company's Miss Julie as wayward, opportunistic Jean, willing to bed the estate owner's daughter but chillingly unwilling to accept the consequences. And then there was his magnificently emotional Macduff in Stark Naked Theatre's Macbeth, a deftly nuanced performance that anchored Shakespeare in the here and now. Houston theater is proud to call him one of ours.
Finalists: Jeffrey Bean (Alley Theatre) and Drake Simpson (Horse Head Theatre Co. and Stark Naked Theatre Company).
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Best Season:
The Ensemble Theatre
Putting together a cohesive season is an arduous task. It takes the right mix of new and old, daring and safe, comical and dramatic. Organizers have to consider the whims of their public, the range of their actors, the size of their bank account and even the choices of their competitors. This year the Ensemble Theatre scored on all accounts. Pearl Cleage's riotous comedy The Nacirema Society delivered a poignant message wrapped in a punch line. Its large, mostly female cast was a finely tuned ensemble. The show also continued the Ensemble's tradition of bringing new works to Houston. Next was the family musical Cinderella, a much-needed alternative to the seemingly endless Christmas-themed productions. That was followed by Charles Smith's Knock Me a Kiss, a smart show that deftly explored an episode in the life of W.E.B. Du Bois and his family. Then it was Nathan Louis Jackson's family drama Broke-ology and David Mamet's provocative Race, before the season ended with the jukebox musical From My Hometown by Lee Summers, Ty Stephens and Herbert Rawlings Jr.
Finalists: Alley Theatre, Stages Repertory Theatre and Stark Naked Theatre Company.


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Clinical Trials Are an Important Part of Drug Development
When you hear about someone you know participating in a clinical study, it often is because the person is sick and is trying an experimental medicine or treatment because more conventional methods haven't worked. However, there are thousands of clinical trials going on around the world every day, testing everything from skin creams to live-drugs to artificial parts. Clinical trials are an important part of drug development as well as other treatments.
Clinical drug development is a long process. It can take many years to get a drug from concept to approved treatment, and the clinical trial process is a big part of that process. Before a drug or any other medical treatment can get approval by the Food and Drug Administrati


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Starting a Proxy Site
A proxy site is a site that allows users to view sites that would otherwise be blocked by firewalls and/or hide their ip address and internet usage.
How does it work?
Well there are many versions but the one I'm most familiar with is the PHP Proxy. A user requests a page or base url. The php on the server uses something like fopen or curl to open the page (file) and get the contents of the page. The content is then displayed on the requesting domain as a page for the user to view. So to the network admin or anyone checking the computers internet access log it just looks like the user visited the proxy site. Continue reading …


text: Binnein Mor is the largest of the Munros in the Mamore region and what a fine peak it is! It has a pointed summit with extremely impressive crags to both the west and east. It shares a north ridge with its little brother Munro Binnein Beag however Binnein Mor outclasses it in every aspect. The summit ridge leading from Binnein Beag is a superb walk with plenty of exposure to keep you on your toes. The southern ridge takes you down a small bit of ascent before splitting to connect with Na Gruagaichean to the SW and The summit arc of Sgurr Eilde Mor both of which are Munros. Most people climb Binnein Mor from the north starting in Glen Nevis. Parking is available at a car park at the western end of the Glen but will involve roughly an 8km walk in through the Glen to reach the base of hill. Binnein Mor is one of Scotland's best Munros.


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Teachers are pretty important in our lives, because they teach us lots of things that improves our life. Some teachers are loved by all, while some are not, but teacher never gives up on their students. This story is about a teacher who used to teach a very weak student who had a hard time learning mathematics and other subjects too. Though, he was from a very disturbed background, and he used to be angry most of the times. This teacher tried everything to make sure that he understands the lessons and excels in life. But something happened which drew them apart. But this teacher gets rewarded for not giving up on this angry student in a very different way. Read on to know what exactly happened with the student.
You will learn something after reading this story, let your friends and family learn too. Share this story of Teacher gets rewarded for not giving up on Facebook, Twitter, Pinterest and other leading social media websites.


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The decision to buy a home or piece of real estate can be one of the biggest you make. Every homebuyer has different wants, needs and concerns. There are so many things to consider. We understand the magnitude of your decision to buy a home. Our goal is to provide you with pertinent information, so YOU can make informed decisions. We will walk with you through the entire process, keeping you up to date and offering practical guidance. Your time is valuable… We want your home buying experience to be fun and exciting, not tiresome and time-consuming.
On a daily basis we are immersed in the business of real estate, knowledgeable in the fluctuations of the ever changing real estate market. If you see any home that interests you, ask us about it. Whether it's advertised by sign, in the newspaper, a "For Sale by Owner", listed with another REALTOR® or not even on the market – We can best represent you in the pursuit of the property. Our professional relationship is critical to the successful purchase of your home.
Here is a list of some of the steps that occur in the purchase of a home:
- Select Representation that meets your needs
- Make an appointment with a Lender for Mortgage Pre-approval
- Examine your needs and find a home
- Preparing an offer
- Negotiate an acceptable offer
- Perform a Home Inspection
- Prepare for Closing & Get Your Keys
If you are ready to take the next step in purchasing a home you may begin by having a look at our Feature Listings. Then we invite you to complete the Buyer's Home Search Questionnaire and send it to us.
Thinking of moving to Ottawa or an outlying area?
We invite you to learn more… >>


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Trade Waste Initiative
What is trade waste?
Trade waste is any used water and liquids from commercial, industrial, business or manufacturing activities. It's important for businesses to manage trade waste as it may contain materials that cause blockages or damage to the sewerage system and the environment.
Reducing trade waste
Green Industries SA work with some of South Australia's most iconic brands to help them improve the way that they manage trade waste. Opportunities identified by Green Industries SA helped save businesses money on trade waste charges, while reduce the amount of water, energy and materials they use to manufacture their products. Over $200,000 has been provided to 25 businesses, allowing them to build business cases for investment in on-site opportunities. Over $1 million has been provided to drive the take-up of the identified opportunities, delivering cost savings and positive environmental outcomes for the South Australian Food and Beverage sector.
Green Industries SA has partnered with the following companies on Trade Waste Initiatives since 2016:
|Australian Bight Seafood Pty Ltd
|Australian Pure Fruits
|Barossa Fine Foods
|Boar's Rock
|C.A Henschke & Co
|Coopers Brewery Ltd
|Dorrien Estate Winery
|International Tastes
|La Casa Del Formaggio
|La Vera Mozzarella
|Macro Meats
|MBL Proteins (Protein Recyclers)
|Orora Limited
|Pirate Life Brewing
|Revenir Winemaking
|Robern Menz
|The South Australian Brewing Company
|Thomas Foods International Lobethal
|Tuna Farmers Pty Ltd
|San Remo Macaroni Company
|Spring Gully Foods Pty Ltd
|Teys Naracoorte
|Vinpac International
|W & RC Milisits (Vili's cakes)
Funding is available from Green Industries SA's Trade Waste Initiative. Find out more
For queries please contact:
Oliver Lovat Project Officer, Trade Waste Initiative: 0437 641 138


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Little Driftwood Boat with Vintage Mother of Pearl Leaf Button
Driftwood sail boat made from locally collected driftwood and the sail is pure cotton and made by my own pattern and hand. I love making sailing boats especially driftwood ones. I don't make them to resemble boats entirety more a combination of the love of crochet creations, textures and structure of the wood & dream representation.
Dimensions: 10 w x 11 h x 4 d cms.
You can find more driftwood boat's here. If there are none listed you can always contact me for a commissioned piece as I know these are popular and may not be long in the shop.
All the driftwood I collect is from the Lancashire coastline particularly Morecambe Bay and South Cumbria. I love to find the different shapes, sizes, twists and turns that are in the textures and structure of driftwood.
All the driftwood is washed thoroughly with disinfectant to eliminate any bacteria or pests. All wood I use is double checked before used in any artwork.
I am happy to post internationally. Items are sent First Class or Airmail. If you would prefer another postal service (i.e. second class, surface mail etc) please let me know and I can adjust the postal costs.
All the packaging I use is recycled and your item will be packed with great care. I only charge what the post office charges myself. No add on extras for paypal fees.


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We've already seen how the LiveSquare screen and the favourite people screen can provide you quick access to your top friends and contacts.
A quick tap on the Contacts icon at the bottom of any of the three main screens gives you access to your full database of contacts, and it's easy to add new contact details to the handset.
Social networking is catered for and there's a fair range of services included.
You'll have to be patient with them, though. The Twitter application, for example, is a Java app that takes a little while to load. Then you have to wait even longer to log in. There are further periods of waiting to endure if you want to look at mentions, or to search.
It's poor in comparison to Twitter apps on Android handsets.
There's a dedicated Facebook client too, but this also suffers. It feels slow and clunky in comparison to using Facebook on faster handsets with better, larger and more responsive touch screens. We wouldn't really want to rely on it.
Still, the handset didn't drop the connection on voice calls, and we had no trouble having a voice-based conversation using the phone.