Welcome to Alabama Essay Example For Students

Welcome to Alabama Essay Ever since Montgomery tycoon William S. Blount wrote the largest single check ever given to an American theatre, the staff of the Alabama Shakespeare Festival has practiced an efficient routine for impressing those out-of-state visitors who seem to think that the title of the company is a charming oxymoron. If all goes as planned, the victims first glance of the elegant $26-million facility will be from the edge of the beautifully landscaped 250-acre park (designed by the late Russell Page) over which the theatre has presided since 1985. The hot Alabama sun will be reflecting in the large pond in front of the 100,000-square-foot, red-brick object of Blounts generosity. As all parking areas have been cleverly hidden in the trees at the side, there should be nothing to spoil the delightful head-on vista. Helpful P.R. people will point out the bronze Puck cavorting on the lawns, the swans imported for their connections to Stratford-on-Avon, the Royal Shakespeare Company flag fluttering above the only American theatre authorized to fly the emblem of the revered British classicists. We will write a custom essay on Welcome to Alabama specifically for you for only $16.38 $13.9/page Order now Venturing indoors, the tour highlights the opulent lobby with its specially commissioned statuary, plush carpets and an elegant patrons lounge with telephone-equipped bathrooms. Should the guest be all too painfully aware of these lean, mean times for resident theatres, proudly quoted facts and figures make the theatres case for international respect with even greater incision. The annual budget (comfortably in the black) is now up to $6 million, with about $2.5 million coming from contributed funds, and about $700,000 in state tax dollars appropriated by the loyal Alabama legislature directly for the theatre. An annual audience of over 250,000 watches a resident company of 25 Equity actors during the theatres peak summer season of rotating repertory. Add massive backstage facilities, a full-time administrative and technical staff of more than 100 and two magnificent auditoria, and the green-with-envy visitor may well be transformed into an enthusiastic ambassador of this resourceful theatre in the middle of nowhere. And thats before any actors mouth has even opened. Such, at least, was the scenario throughout the late 1980s. In the past couple of years, though, the theatres bucolic traditions have come up against their own limitations. Montgomery, a city that cradled the Civil Rights Movement, has a population equally divided between whites and blacks, et the number of African-Americans present in the festivals lush lobbies has never been very high. In the 20 years since the festival was founded in a high school auditorium by Martin Platt (now artistic director of the New Mexico Repertory Theatre), the ASF has specialized in European and American classics, Victorian revivals and competently produced Shakespeare. A strong artistic reputation has been hard won, but the festival cannot claim an auspicious history of reflecting the experience of all of the people in the area it purports to serve. The festivals presence in the state of Alabama has always seemed more an accident of geography, personalities or finances than true stewardship. Such an observation could, of course, be made about most of the large American Shakespeare festivals, many of which play to vacationers from nearby urban areas. And most of these theatres would reasonably claim that their national mission of keeping classic drama alive is distinct from the urban resident theatres, with a necessarily more localized and comprehensive approach to play selection. Up to now, this theatre has never looked for writers in its own backyard. But at a time when many resident theatres are dismissing permanent companies and coping with perilously limited financial resources, the relatively rich Alabama Shakespeare Festival has decided it has new responsibilities to its community and its region. And that means changing the ways things are done. .ud71e4ae32dfa20906389c72d8332a8c5 , .ud71e4ae32dfa20906389c72d8332a8c5 .postImageUrl , .ud71e4ae32dfa20906389c72d8332a8c5 .centered-text-area { min-height: 80px; position: relative; } .ud71e4ae32dfa20906389c72d8332a8c5 , .ud71e4ae32dfa20906389c72d8332a8c5:hover , .ud71e4ae32dfa20906389c72d8332a8c5:visited , .ud71e4ae32dfa20906389c72d8332a8c5:active { border:0!important; } .ud71e4ae32dfa20906389c72d8332a8c5 .clearfix:after { content: ""; display: table; clear: both; } .ud71e4ae32dfa20906389c72d8332a8c5 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud71e4ae32dfa20906389c72d8332a8c5:active , .ud71e4ae32dfa20906389c72d8332a8c5:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud71e4ae32dfa20906389c72d8332a8c5 .centered-text-area { width: 100%; position: relative ; } .ud71e4ae32dfa20906389c72d8332a8c5 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud71e4ae32dfa20906389c72d8332a8c5 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud71e4ae32dfa20906389c72d8332a8c5 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud71e4ae32dfa20906389c72d8332a8c5:hover .ctaButton { background-color: #34495E!important; } .ud71e4ae32dfa20906389c72d8332a8c5 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud71e4ae32dfa20906389c72d8332a8c5 .ud71e4ae32dfa20906389c72d8332a8c5-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud71e4ae32dfa20906389c72d8332a8c5:after { content: ""; display: block; clear: both; } READ: Anatoly Smeliansky EssayWhen Kent Thompson, the festivals 38-year-old artistic director, arrived in Montgomery in 1990, he found that you could not identify the theatre by its programming. American plays were rare, and pieces by southern authors other than Tennessee Williams virtually nonexistent. In an effort to give writers from the theatres region a more important role, Thompson quickly created the Southern Writers Project. Funded by a Special Projects Grant from the National Endowment for the Arts, Thompson and his committee commissioned three diverse scribes to create or adapt plays based on Alabama and its bi-cultural folk history, specifically with a family audience in mind. Playwrights Doug Cooney, Levi Frazier Jr. and Oni Faida Lampley are already hard at work. Thompson anxiously points out that the festivals new commitment to emerging writers with connections to the South goes beyond the typical resident theatre practice of contacting an agent and reading submitted scripts: I want the project to be a commissioning process, where we work with the writer to turn their existing material into a play. The resulting pieces will be workshopped at the theatre this month, and a regional tour is planned for next season with emphasis on communities with populations of fewer than 50,000. Thompson has also commissioned Dennis Covington, an Alabama novelist, to write a stage adaptation of his novel Lizard, about a boy with pinched features who runs away from a mental institution to join a couple of itinerant actors. This young adults story, which takes place in and around Birmingham, is set against the backdrop of a touring production of The Tempest. There are plans to tour Covingtons new play in tandem with its Shakespearean source around the South next year. The most ambitious of Thompsons slew of new projects is his commission of leading historical novelist (but presently minor dramatist) John Jakes to create a modern American history play. Jakes decided to take his cue from the Shakespearean histories and write a two-play opus about the life and times of Lyndon Baines Johnson. Johnson as the subject of a Shakespearean epic? He was a true tragic hero, says the undaunted Jakes with nary a twinkle of irony. His tragic flaw was that he wanted to have it all. Jakes is not planning on writing a quiet closet drama for the Festivals 1993-94 season. There arent enough big-scale plays, he says. And this is one theatre that can do them. If this sudden interest in new work was not sufficient to rattle the festivals loyal but conservative audiences, Thompson has also instigated a policy of nontraditional casting, a phenomenon the festival had never previously embraced. And plays about the African-American experience are suddenly appearing in Montgomery. Last years season included Miss Evers Boys, and David Feldshuhs play had particular resonance when performed within 30 minutes of its Tuskegee setting. That was the first time we have ever had a true mix of the community in this theatre. Local African-Americans were astonished that we were doing something about their lives, says Thompson. A Raisin in the Sun is on next years slate, as well as Dumas, a new play by John MacNichols about both playwrights, father and son. These attempts at bi-culturalism have been greatly boosted by a recently announced grant of $1 million from the Lila Wallace Readers Digest Fund, earmarked specifically for diversifying the festivals audiences. Such innovations carry risks, and Thompson has already heard his share of negative comments from longtime subscribers unhappy with the new direction. But he argues that most of the audience is excited by the theatres new resolve to spend about half of its time on classical drama and the rest on more risky work with contemporary relevance: They recognize that this theatre has more potential than any other other institution in the state to change the perception of Alabama in the media.

Research Concerning the Most Essential Layette Items and Equipment needed for a New Born Baby Essays

Research Concerning the Most Essential Layette Items and Equipment needed for a New Born Baby Essays Research Concerning the Most Essential Layette Items and Equipment needed for a New Born Baby Essay Research Concerning the Most Essential Layette Items and Equipment needed for a New Born Baby Essay spend much time in it* Where to be stored /folding up* Outings /foot, car, public transport* Combined pram pushchair required* Needed for one baby or two* Good suspension important /comfy ride* Swivel front wheels /easy pushing* Should seat be detachable /use as a car seat or baby seat* Family budget /new or second handBottles* Need a wide neck for easy cleaning* Made of clear material so you can check it is clean inside* Graduated measurements on the sides in millimetres or fluid ounces* A cap to keep the teat clean* must be designed so the teat can be placed upside down in bottle for storage or travelling* Sealing disc included so it can be placed in the bottle to prevent spilling of milk.Teat* Hole should be just right. Too big the baby could choke on the milk. Too small the baby could get wind because they swallow air.* Must be checked before every feedSteriliser* A bottle brush must be used to clean the bottle before han d then rinse* Steriliser must be big enough for bottle sizeConvenient and easy to use. Electrical cycle takes all equipment and takes 10 15 minutesBuying Equipment: The Consumer LawThe sale and supply of goods act 1994 gives customers (consumers of goods and services) certain rights. Any goods, which you buy, must be:* Of satisfactory quality this means they must be fit for their normal purpose, bearing in mind the price, which was paid.* As described on the package, on a display sign or by the seller* Fit for any particular purpose known to the sellerIf these conditions are not met, the customer may be entitled to a refund.The consumer protection act 1987 covers:* Product liability if damage or injury has been caused by faulty goods, the consumer can complain compensation.* Misleading price indications it is an offence to give any misleading indications to consumers about the price of goods or services.The general product safety regulations 1994 makes it an offence to sell uns afe goods.If you wish to make a complaint:* Stop using the item* Tell the shop at once* Take it back with the receiptAdvice on consumer matters can be obtained from your local trading standards or consumer protection department.