Rendeing 8

The article "Jerry Herman interview: Are we finally ready for this mad, mad world?" was published on the website telegraph.co.uk on 13 Feb 2013.
The article carries a lot of comments on a rare flop from the great Broadway composer Jerry Herman who gets its British premiere tonight – 44 years after it first opened.
Giving appraisal of the situation it's necessary to point out that it’s not uncommon, towards the end of a monumental career, for the giants of musical theatre to want to put their house in order,Andrew Lloyd Webber has been busy filming his shows for posterity. Stephen Sondheim has seen Merrily We Roll Along come good and even the unloved Road Show revived if not resuscitated,who knows, maybe the perpetually rejigged likes of Martin Guerre and Chess will one day be completed and for now it’s the turn of Jerry Herman to breathe new life back into a show which has long suffered from a deficit of love and attention.
In addition the author of the article mentions that "Dear World" was first performed in New York way back in 1969, but when it resurfaces at the Charing Cross Theatre this month, it will be the show’s British premiere,forty-four years seems like a long wait for a musical from the witty composer-lyricist who, in Hello Dolly (1964) and Mame (1966), had given Broadway two wonderfully frothy entertainments,indeed, in Dear World Herman completed a trilogy of shows featuring eccentric, rule-breaking heroines.
In this connection it’s worthwhile mentioning that the show was adapted from Jean Giraudoux’s play "The Madwoman of Chaillot", which tells of a countess who, driven mad by the loss of her lover, dwells in the asement of a Parisian bistro and embarks on a plot to stop a powerful corporation drilling for oil, herman had acted in the play (in the role of a deaf mute) as a university student in Florida: “And I absolutely fell in love with the language, with the storyline, with the heart of that material. With every aspect of it.”
Speaking of this situation it is also interesting to note that Herman thinks the rot set in the minute a huge advertisement appeared in the New York Times with a glamorous picture of Angela Lansbury, who was the darling of Broadway after her performance in Mame,it didn’t look like a show about big oil featuring sewers, nor did it help that Cohen insisted on Dear World at least looking like a Jerry Herman show with high-kicking chorus lines,he also placed it in the cavernous theatre which once housed My Fair Lady.
The author concludes the article by  Jerry's quote :   “I’m so open to experiment with my work. I love it when people have new ideas. It always leads to learning. I don’t learn anything by going to see an exact copy of what I’ve done before. But I do learn when somebody does something a little daring, a little offbeat with it. And I welcome change.”
As for me I think that every artist has his own aims , some of them dreams about success , others about money and there are very few people who works for the art , I think that such people including  Jerry Herman are worth admiring. 

Rendering 7

The article "Damien Molony interview: 'Vampires are addicts'"  was published on the website telegraph.co.uk on 20 Feb 2013.
The article carries a lot of comments on Damien Molony, star of the BBC series Being Human.
Giving appraisal of the situation it's necessary to point out that the actor is one of three current stars of the BBC’s hit TV show Being Human – which follows a werewolf, a ghost and, you guessed it, a vampire as they try to exist amid human beings.
In addition the author of the article mentions that Damien Molony has never seen Twilight and this would not normally be surprising for a man in his late-twenties, but it is in this instance: for Molony, the boxoffice-busting films adapted from Stephenie Meyer’s teen-fantasy novels are competition.
In this connection it’s worthwhile mentioning that Molony insists the difference is clear between the vampire-human romance story that is Twilight and Being Human, which brings bloodthirsty fantasy down to earth with a thump: “Our show is based on relationships. It’s not a vampire and a ghost and werewolf, it is actually three people with curses or afflictions ultimately trying to fit in to society,” he explains.
Speaking of this situation it is also interesting to note that Molony took over from Aiden Turner as the lead vampire for series four and five and will see the programme through to its conclusion later this year,he plays Hal Yorke, a 500-year-old vampire and, incredibly, it is his first TV role,there was something about the part which he understood from the very first moment, though “I knew what I was going to do, before I even read the script. I had this instinctive feeling that if they gave me the script straightaway, I could do the role,” he says.
In conclusion the author of the article expresses the view that for the moment, it is Being Human that is Molony's calling-card, he clearly feels at home in the character of Hal, despite his strong Irish accent being hidden beneath a clipped but soft English one,on screen, he portrays the moments of horror with as much conviction as the one-liners, which are performed with nicely judged understatement.
As for me I think that being an actor it is important to be different and no to play the same role several times, or sooner it will be difficult to spectators to imagine you as anyone else.

Rendering 6

The article "How to grab a front-row seat" was published on the website telegraph.co.uk on  23 Feb 2013.
The article carries a lot of comments on successive rise in West End box-office revenues.
Giving appraisal of the situation it's necessary to point out that unless you already have a ticket in your hot little hand, you’ll have to queue, too, if you are interested in seeing Adrian Lester’s performance as Othello opposite Rory Kinnear’s Iago at the National Theater when it opens in April and the initial run of 30 performances, between April and July, sold out to National Theater members before the public even got a look in.
In addition the author of the article mentions that there are day seats available and you will probably be able to get into the show when it returns to the repertory later in the year, but given this level of demand, it is no wonder that the National Theater now has some 31,000 members paying subscriptions of between £15 and £500 for privileges that include a two-week window of priority booking.
In this connection it’s worthwhile mentioning that membership schemes are not a new phenomenon,but in another unexpected development in our financially strapped but culturally rich times, people with a bit of spare cash are now joining our major arts organisations in order to secure the hot tickets of the moment;this doesn’t just apply to theaters; Tate has 105,000 members whose annual subscriptions give them access to special events and it’s the same story at the Royal Academy, which has 95,000 friends and notices a “significant” surge in take-up during big shows, as visitors seek to beat the crowds.
Speaking of this situation it is also interesting to note that  theater has become a victim of its own success, because the National and the RSC have established such a reputation for quality, each season announcement is greeted with fervent excitement and people want to book tickets, and some are prepared to pay extra in order to ensure that they can.
In conclusion the author of the article expresses the view that  on the other hand, the dominance of priority-bookers can cause frustration for the less-committed or less well-heeled theatergoer – exactly the broad audience that the big subsidised houses are committed to attracting.
As for me I think that situation is very unclear , because on the one hand theater becomes more successful and popular , while on the other it is difficult to get a seat. So that it is necessary to find a solution fo this newly established problem.